David Chipperfield

       works inspiration-David chipperfeild

 

After my visit to the david chipperfeild's wakefield hepworth gallery and having experienced minimalistic architecture done by the master it invoked me to look at his various other projects.

 

                                                                   His style of approaching the design in a philosophical context with

a strong research behind it and then the subject being reduced to its necessary elements striked me the most of all.His strong sense of geomerty and interaction of light in the spaces designed were another inspiration in design for me.

Going through his other projects especially his approach towards museums and galleries to understand his minimalistic style in different contexts other than the hepworth gallery.

i found 3 projects the most striking

 

 1.MUSEUM OF MODERN LITERATURE MARBACH

     

The museum is located in Marbach’s scenic park, on top of a rock plateau overlooking the valley of the Neckar River.The views around the site are spectacular with historic buildings on it.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 are seen 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 .At the same time, each of these environmentally controlled spaces opens into a naturally lit gallery, balancing views inward to the composed.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A clearly defined material concept using solid materials (fair-faced concrete, sandblasted reconstituted stone with limestone aggregate, limestone, wood, felt and glass) gives the calm, rational architectural language a sensual physical presence.

 

         

section showing different elevations depending on the viewpoint.



 

 

pavilion-like volume is located on the highest terrace, providing the entrance to the museum










2. NEUES MUSEUM AT BERLIN

A building which was a key work of art, hitory in the 19th century and destroyed in during the second world war which has been elaborately restored and recreated under the direction of the British star architect David Chipperfield. The building now provides a new home for the Egyptian Museum and Papyrus Collection and the Museum of Prehistory and Early History, together with artefacts from the Collection of Classical Antiquities.

 The design focused on repairing and restoring the original volume, respecting the historical structure. Both the restoration and repair of the existing is driven by the idea that the original structure should be emphasized in its spatial context and original materiality – the new reflects the lost without imitating it.

The key aim of the project was to recomplete the original volume of the parts that remained after the destruction of the Second World War. The original sequence of rooms was restored with new building sections that create continuity with the existing structure. The archaeological restoration followed the guidelines of the Charter of Venice, respecting the historical structure in its different states of preservation. All the gaps in the existing structure were filled in without competing with the existing structure in terms of brightness and surface.

The new exhibition rooms are built of large format pre-fabricated concrete elements consisting of white cement mixed with Saxonian marble chips. Formed from the same concrete elements, the new main staircase repeats the original without replicating it, and sits within a majestic hall that is preserved only as a brick volume, devoid of its original ornamentation. Other new volumes – the Northwest wing, with the Egyptian court and the Apollo risalit, the apse in the Greek courtyard, and the South Dome – are built of recycled handmade bricks, complementing the preserved sections. With the reinstatement and completion of the mostly preserved colonnade at the Eastern and Southern side of the Neues Museum, the pre-war urban situation is re-established to the East. A new building, the James Simon Gallery, will be constructed between the Neues Museum and the Spree, echoing the urban situation of the site pre-1938

 

 



3. CITY OF CULTURES, MILAN

The campus of museums is located in between a unused industrial area. the inspiration of the building was the typical milan streets with intricate inner courtyards and how they act in space.
the design looked to emphasise the exsisting qualities of the site which i found intresting.
the most impressive part of the design was the approach where the new building was designed in contradiction to the surrounding industrial buildings making it stand out and somehow including the surrounding buildings to emphasise its own beauty and hence restoring them.

There is a square where a king of great hall is designed through which the public move towards the different exhibition spaces.  The spaces can be acessed without necessarily having to enter the museums. Nothing looks out onto the street, the building complex is developed inside a perimeter of existing buildings, around a central courtyard with a curious flower like or amoeba shape. “The advantage of this is to have a kind of orientation space, a place of transition between the outside world and the museum areas, a space which can also be used for collateral events open to the public which are not necessarily exhibitions”

Chipperfield describes the building as “an onion”; the public area is the outside layer, gradually moving through the galleries you move deeper into it. It is accessed at ground floor level – a kind of transparent plinth in glass and mirror, whilst the rest is clad in titanium zinc – to then, via a series of complementary activities which exploit both the entrance and exit of the museum (ticket office, bookshop, library…), move up to the first floor where the main exhibition rooms and the auditorium lie. On the top floor a restaurant faces onto the courtyard which may be used independently from the rest of the building.

















The walls are made of a double layer of translucent glass, house the system of walkways and will also be used as a projection screen and to display the museum collections.

The decision to preserve the original character of the pre-existing buildings and especially those linked to an industrial function, such as the metal shutters and the use of concrete for the floors adds character to the design.

From an architectural point of view, the solutions adopted are extremely flexible, in order to allow the structure to adapt to the needs and functions of the different environments.