Open house- ricardo bofill
On the evening of a popular holiday in 1972 the ancient Romanesque Sanctuary caught fire and was destroyed. The building complex was left in blackened ruins, survived only by the original apse and vaulting over the altar and latter-day bell tower. The task of rebuilding the Sanctuary could not be reduced to an archaeological work simply returning the fallen stones to their original position; nor could the strong influence of the local architectural character and landscape be ignored .
The decision to continue along the historical path of Romanesque imagery in theory while applying modern building techniques and designs in practice was also based on the vision that the project had to go further than its program, acting as a counter structure to the environmental degradation inherent in unplanned territories and proposing a way of building in Andorra resulting from its past. The two major elements of this project are the viaduct bridge and the Sanctuary, although other elements on the line are as symbolically important such as (from East to West) the concave amphitheatre, the giant steps, the bridge over the road, the climbing towers, the vaulting arches, the esplanade, the convex theatre, the gushing fountain, the sculpted colonnade and the ride through the forest. The Sanctuary is now built with all its dependencies, manifesting a clear hint of projected continuation in the unfinished arches poised over the valley waiting to connect up with the future bridge. Inspiration grew from the original Romanesque sources through to the Albertian and Palladian neopythagorean use of square roots and circles, including the additions of certain Catalan-Mudejar insinuations.
The decision to continue along the historical path of Romanesque imagery in theory while applying modern building techniques and designs in practice was also based on the vision that the project had to go further than its program, acting as a counter structure to the environmental degradation inherent in unplanned territories and proposing a way of building in Andorra resulting from its past. The two major elements of this project are the viaduct bridge and the Sanctuary, although other elements on the line are as symbolically important such as (from East to West) the concave amphitheatre, the giant steps, the bridge over the road, the climbing towers, the vaulting arches, the esplanade, the convex theatre, the gushing fountain, the sculpted colonnade and the ride through the forest. The Sanctuary is now built with all its dependencies, manifesting a clear hint of projected continuation in the unfinished arches poised over the valley waiting to connect up with the future bridge. Inspiration grew from the original Romanesque sources through to the Albertian and Palladian neopythagorean use of square roots and circles, including the additions of certain Catalan-Mudejar insinuations.
german museum of modern literature
The museum opened in September 2006 and was designed by British architect David Chipperfield and constructed at a cost of €10 million by Leonard Weiss GmbH with engineering by Ingenieurgruppe Bauen.
The museum stands on a rock plateau in Marbach's scenic park, overlooking the valley of the Neckar River. It displays and archives 20th-century literature.
Embedded in the topography, the museum reveals different elevations depending on the viewpoint. By utilising the steep slope of the site, terraces allow for the creation of very different characters – an intimate, shaded entrance on the brow of the hill facing the National Schiller Museum with its forecourt and park, and a grander, more open series of tiered spaces facing the valley below. A pavilion-like volume is located on the highest terrace, providing the entrance to the museum. The interiors of the museum reveal themselves as one descends down through the loggia, foyer and staircase spaces, preparing the visitor for the dark timber-panelled exhibition galleries, illuminated only by artificial light due to fragility and sensitivity of the works on display. At the same time, each of these environmentally controlled spaces borders onto a naturally lit gallery, balancing views inward to the composed, internalized world of texts and manuscripts with the green and scenic valley on the other side of the glass.
The museum stands on a rock plateau in Marbach's scenic park, overlooking the valley of the Neckar River. It displays and archives 20th-century literature.
Embedded in the topography, the museum reveals different elevations depending on the viewpoint. By utilising the steep slope of the site, terraces allow for the creation of very different characters – an intimate, shaded entrance on the brow of the hill facing the National Schiller Museum with its forecourt and park, and a grander, more open series of tiered spaces facing the valley below. A pavilion-like volume is located on the highest terrace, providing the entrance to the museum. The interiors of the museum reveal themselves as one descends down through the loggia, foyer and staircase spaces, preparing the visitor for the dark timber-panelled exhibition galleries, illuminated only by artificial light due to fragility and sensitivity of the works on display. At the same time, each of these environmentally controlled spaces borders onto a naturally lit gallery, balancing views inward to the composed, internalized world of texts and manuscripts with the green and scenic valley on the other side of the glass.