Taets Art and Conference Center by 123DV Architects, Zaandam, Netherlands

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Rotterdam-based 123DV Architectuur & Consult BV transformed a former ammunition factory into a conference room and art gallery at the Taets Artgallery in Zaandam, Netherlands

While the exterior of the building was kept as it was, the new art and conference roomin the renovated factory, has a stunning interior. Just check out the contrast between the inside and outside.

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The oval conference room in the center of the open space draws the most attention by its form and the effect of light on the copper-clad walls. By sing LED lights on the wall,the rooms have visually different features from its heritage look.

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The main challenge of the project was: How can the spirit of the existing monumental building and former ammunition factory become the outstanding feature of the new conference centre?

In the interior we analyzed 2 monumental features which define the interior space:

1 The gabled roof.
It’s elegance of the metal structure and the craftsmanship of the wooden ceiling.
In order to have maximal impact of the roof landscape the new rooms are kept free from the existing monumental roof. In contrast with the roof, the new walls are treated as abstract white boxes. They are also visually kept free from the floor through the use of Led light.

2 The windows.
Classical window composition through slender metal frames.
The existing monumental slender metal windows are framed in a wooden frame to emphasize the classical appearance. The frame houses all installations such as heating, airco, wooden blinds

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Photos by Christian Richters

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Head-In Exhibition by MAGMA Architecture 2008!, Berlin

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Berlin practice Magma Architecture designed this installation called Head-in for a solo exhibition of their work at Berlinische Galerie in Berlin, Germany, which took place in 2008.

The structure is supported above the floor and made from fabric stretched between aluminium frames on the walls and ceiling of the gallery. Visitors can view models of the practice’s projects – which are suspended inside the void – by standing underneath and inserting their heads through holes in the underside of the structure.

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Here’s some more information from Magma Architecture:

The jetzt | now series in the Berlinische Galerie, museum for contemporary art, architecture and photography features current positions of different artistic genres which have not been shown in a museum previously. Host of the 11th exhibition of the series, head-in | im kopf, is the museum’s architecture collection which Berlin based magma architecture in a solo exhibition.

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Magma architecture is specialised in creating spaces and buildings in complex geometrical shapes. The unusualness of these spaces triggers the spectator’s curiosity and enhances them to appropriate and experience them in unexpected ways. Models of magma architecture’s spaces only insufficiently create the full, physical experience. The aim of the exhibition design was to display not only architectural models as usually on show in exhibitions, but also integrate a 1:1 piece of the characteristic spaces created by magma architecture.

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The centrepiece of the exceptional spatial installation for the Berlinische Galerie is an amorphous spatial sculpture custom tailored for the 150 m² temporary exhibition space. It is constructed of fabric (spandex) which spans between the four walls and ceiling of the exhibition space pending above the floor. Aluminium frames are used to fix the fabric to walls and ceiling.

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Visitors of the exhibition can poke their heads through the fabric evolving surrounded by the organic space and vivid colour of the installation. Inside the suspended room models, drawings and photographs are displayed, amongst others the designs for the revitalisation of the former GDR Radio Center in Berlin, the new Nexus Productions headquarters in London and the pPod mobile theatre. Through carefully orchestrated geometries the space is transformed into a vibrant and dynamic environment revealing a spatial phenomenon not normally achieved in architecture or interior design. The spatial installation appears almost alienated from its surrounds of the Berlinische Galerie yet remains fixed to and ultimately enveloping it to spawn a relationship of dynamism and contrast.

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The interior has been programmed strategically with works to enable the inhabitant to physically immerse themselves in this realm. The production of sensually inspiring spaces and uses and a playful dealing with programmes, functions, materials and geometries practised by the office is mirrored in the exhibition architecture.

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Porsche Museum by Delugan Meissl Associated Architects, Stuttgart

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The Porsche Museum in Stuttgard, Germany, is designed by Delugan Meissl Associated Architects and houses around 80 chronologically- arranged vehicle exhibits.

The new museum enlightens the visitor in an impressive, clear, and interesting manner about the entire history of what is now Dr. Ing. h.c. F. Porsche AG. Production cars have been just as important to the name recognition of the Porsche brand as many vehicles designed specifically for racing. Porsche designs have had an impact on individual mobility even in the early years of motorization.

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The exhibition layout provides separate exhibit areas for the two periods before and after 1948. “Porsche Idea,” “Product History,” and “Thematic Islands” are the three core elements of the museum concept. Visitors making their way through the exhibition will often find these three main elements thematically interlinked:  “Porsche Idea“ , “Product History” and the “Thematic Islands”.

Fascinating about the architecture, isthe impact of the monolithic and the virtually floating exhibition hall. This bold and dynamic architecture reflects the company’s philosophy and provides a foretaste of the experience that awaits visitors to the future museum. It is designed to convey a sense of arrival and approachability, and to guide the visitors smoothly from the basement level into the superstructure.

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In their design, the architects at Delugan Meissl set out to create a place of sensuous experience that reflects the authenticity of Porsche products and services as well as the company’s character, while also reshaping Porscheplatz with an unmistakable appearance.

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The Exhibits

About 80 vehicles and many small exhibits will be on display at the new Porsche Museum in a unique ambience. In addition to world-famous, iconic vehicles such as the 356, 550, 911, and 917, the exhibits include some of the outstanding technical achievements of Professor Ferdinand Porsche from the early 20th century. Even then, the name of Porsche stood for the commitment never to be satisfied with a technical solution that fails to fully meet or exceed all of its requirements, including opportunities for further improvement.

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From the lobby, visitors ascend a spectacular ramp to the entrance of the spacious exhibition area, where they can gain an initial overview of the impressive collection.

Here the visitor is free to choose whether to start chronologically with the company history before 1948, or to head directly into the main area of the exhibition, which contains a chronological history of Porsche products and thematic islands. Both areas are interlinked by the “Porsche Idea” section, which forms the backbone of the exhibition.

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The Idea section explains what makes the various themes and exhibits so unique. It tells of the spirit and the passion that motivate the work at Porsche, and pays tribute to the company as well as the people behind the product.

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More info in dutch, click here

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More automotive stories on ArchiDE:

BMW Museum by Atelier Brückner, Munich, Germanya
Mercedes- Benz Museum by UNStudio, Stuttgart, Germany

Opening Retreat at Kunstfort by UN Studio, Asperen, Netherland

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Dutch architects UN Studio have created an installation in an abandoned fort as part of RETREAT, an art exhibition that they have curated at Fort Asperen near Leerdam in the Netherlands.

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Opening RETREAT Exhibition at KunstFort Asperen, curated by Ben van Berkel and Caroline Bos / UNStudio – 28 June open for public.

On June 28th the exhibition RETREAT at KunstFort Asperen will be open to the public. Ben van Berkel and Caroline Bos invited 12 artists to exhibit works which provide surprising interpretations on the theme of RETREAT from differing disciplines and perspectives.

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The theme shares a close affinity with the work of Van Berkel and Bos, which combines a rich and diverse theoretical position and  to which the artists respond in their own ways with very specific ideas surrounding spatial experience.

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UNStudio has designed a spatial installation which reinterprets the organization of the fort and forms the binding element between the exhibited works. The structure winds through the fort like a ribbon, playing with the changing perceptions and experiences of the space, both literally and symbolically. The material and the diamond structure of the installation reflect the exhibited artworks which are installed around the fort.

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Via designboom.

Images from UNStudio.

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3XN showcase pavilion ’Learning from Nature’, Denmark

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’Learning from Nature’

Self-cleaning surfaces, phase changing materials and built-in sensors that generate energy from the footsteps of the visitors. The 3XN pavilion ‘Learning from Nature’ unites the most advanced technologies and intelligent materials in a preview of the innovative architectural design of tomorrow

The Louisiana Museum of Modern Art invited the Danish architecture firm 3XN to design a pavilion demonstrating cutting edge possibilities within sustainable and intelligent materials. The result is a pavilion that is built of bio composites with integrated intelligence that creates a dynamic interaction with its physical surroundings and its users.

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Sustainability does not equal architectural compromise

The pavilion is called ‘Learning from Nature’ and everything about the pavilion is literally inspired by nature itself: The biological cycle of nature is the fundamental basis for the shape, the materials and the dynamic energy generation. The pavilion is shaped as a Moebius band to symbolize the biological cycle; and the properties of the construction are very like those of nature – for example, the pavilion has a coating of nanoparticles that helps clean the surfaces and clean the air. Additionally, the pavilion is built of biodegradable materials; and as for energy, the pavilion is 100 percent self-sufficient.

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Kim Herforth Nielsen, Principal of 3XN, comments on the project:

– The Pavilion has given us the opportunity to showcase the possibilities which exist in building with sustainable and intelligent materials. Our objective has been to show that Green Architecture can be dynamic and active.  We often think that we need to minimize use of resources at all costs. Instead of focusing on consuming the least amount of energy, we need to focus on producing and using energy and materials in a more intelligent way than is the case today.

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The development of the pavilion is a natural continuation of 3XNs extensive focus on new technologies and materials; a focus that led to the establishment of a unique in-house Research & Development unit in 2007. Since then, 3XN has built an international reputation as one of the most visionary and ambitious architecture firms in the field.

’Learning from Nature’ is unveiled today and can be seen at the Louisiana Museum of Modern Art, Denmark, until October.

Special Thanks to Lise Roland Johansen

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The Hergé Museum by Christian de Portzamparc, Louvain La Neuve, Belgium

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The Hergé museum has officially opened in Louvain- la- Neuve, a small town near Brussels in Belgium. The museum is dedicated to the work of Hergé (or Georges Remi) who created the Tintin comic books.

The museum has been designed by the French architect Christian de Portzamparc.

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Press release:

Over the years, Hergé’s artistic output has become established as a work of distinction.

The idea of a museum had been germinating from as far back as 1979, while he was still alive. The goal was always to make Hergé’s myriad creations known to the wider public. To do justice to such an important project, a lot of time and careful reflection was necessary. The main task was to strike the right balance between the nuances of a complex reality and the legendary status that was starting to develop around the man and his creation.

In 1986, three years after the artist passed away, the idea took shape in the form of the Hergé Foundation. From the start of the new millennium, this organisation (now renamed Studios Hergé) has worked tirelessly to identify and catalogue the most suitable elements for exhibition in a museum consecrated to Hergé.

On 10 January 2001, Tintin’s ‘birthday’, the important announcement was made: the Hergé Museum was to be built in Louvain-la-Neuve, a recently created university town, less than 30 kilometres from Brussels. Eight years later and the dream came true. The Hergé Museum opens its doors at the start of June 2009, two years after the first stone was laid on 22 May 2007, the artist’s birthday.

Expectations are as high as the project is ambitious. A well-known architect was chosen to bring the industrious plans to fruition: the Frenchman Christian de Portzamparc. In recognition of his achievements, in 1994 he was awarded the Pritzker Prize, the most prestigious accolade in international architecture.

De Portzamparc has used all his skills in building design to integrate the principals of Hergé’s work, superbly highlighting the unique features of the latter’s art, which led to his becoming the founder and master of the clear line technique.

Tintin first saw the light of day on 10 January 1929, in the pages of Le Petit Vingtième, the weekly children’s supplement to the daily paper, Le XXe Siècle. The Adventures of Tintin are still as fresh and exciting today as they have ever been, inspiring artists, writers, and directors in both the theatre and cinema. Tintin embodies timeless values that appeal to humankind worldwide.

His captivating escapades are the result of a unique combination of gripping narratives, sublime ‘clear-line’ graphics and universal themes.

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Photography by Nicolas Borel

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Tate Modern extension by Herzog &de Meuron, London

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Here are some images of architects Herzog & de Meuron’s extension to the Tate Modern art gallery in London, which was recently granted planning permission. The extension will add a new wing and also convert the underground tanks (below),which  previously  used to store oil for the former power station, into new galleries.

The extension will provide display and exhibition spaces, performance spaces, education and learning facilities, together with ancillary offices, catering, retail and associated support facilities on 24,786 m2 new space.

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More info and pictures on Tate.org !!

Muritzeum by Wingardh Architects, Germany

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Visitor centre for the region “Mecklenburgische Seenplatte”. A unique central point in Waren in between Müritz, the older town centre and the surrounding countryside. The Müritzeum museum includes a freshwater aquarium, multimedia exhibits, restaurant and a shop.

Architects: Wingårdh Arkitektkontor
Location: Waren (Müritz), Germany
Construction Year: 2005-2007
Partner in GermanyDGI Bauwerk, Berlin Germany
Constructed Area3,137 sqm
Photographer: Wingardh

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BMW Museum by Atelier Brückner, Munich, Germany

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Architects Atelier Brückner designed the scenography of the new  BMW Museum, which opened in Munich last year. The project involved the renovation of the existing Museum bowl (which you can see on the left on the picture) on the site of BMW’s headquarters and building a new space for 4000 square metres of exhibition space. 

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The new BMW Museum in Munich has a modern and dynamic language, which is related to the language of the automotive world. The museum opened on June 21st 2008 and sets a new standard in the realm of brand focused automotive- museums.

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ATELIER BRÜCKNER GmbH, Stuttgart
– Master Planning, General Planning Museum
– Architecture
– Exhibition Design
– Scenography

Project Commencement: 2003
Start of Construction Work: November 1st, 2006
Opening: June 21st, 2008

Total Budget: 80 Million Euro

Exhibition Space: 5,000 m²
Net Total Area: 10,000 m²
Gross Floor Area: 12,200 m²

 

For more information and pictures, please click here to dezeen!

Building photographs by Markus Buck. Model photos by Sebastian Schröter

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3XN wins architecture competition for the Randers Museum of Art

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The new Randers Museum of Art in Denmark will be a building both extrovert and introvert in nature; with reinterpreted classic Danish roots. 

In itself a sculpture sitting in a sculpture garden, the new Randers Museum of Art will be a transition point between town and landscape, art and nature.  Opening up at one end towards the town – and at the other towards the landscape; the Museum will merge these two concepts through the experience of the works of art within it.  The architectural expression is playful, blurring the lines between art and museum.  Using soft transitions, the red-tile façade of the exterior becomes the roof, and similarly on the inside, the floor becomes a wall, and then the wall a ceiling.  The building also merges tradition and innovation incorporating the long Danish tradition of building beautiful and durable buildings in materials taken from the earth on which they are built. 

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‘It was important for us to create a building that was both open to the surrounding environments and yet allows for an intimate experience of the works of art inside.  The new Randers Museum of Art will first and foremost be a frame for the art it contains; but we have worked very hard to create a connection between the art, the nature and of course the community.  It has been a privilege to work with the kind of synergy that results from working with art on the inside and nature on the outside,’ says Kim Herforth Nielsen, Principal Architect and Creative Director at 3XN.

Randers Museum of Art will be a prominent new landmark at the entrance to the town of Randers and alongside the Guden River.  At a size of 7.550 m2, the Museum will house three exhibition galleries, an auditorium, café, boutique and a range of administrative facilities.  The main exhibition gallery will house the Museum’s considerable collection of Danish art – directly connected to the landscape depicted in so many of its works.  The temporary exhibition space balances the national emphasis with its international potential; and a connecting transition between the galleries will be the Dalsgaard zone, named for Danish surrealist painter Sven Dalsgaard – of whom the Museum carries one of the world’s most significant collections. 

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The Official awarding of the competition winner selected for the New Museum of Art happened today at The Randers Art Museum in Denmark.  Director of the Randers Museum of Art, Finn Terman Frederiksen announced the winner from a group of 5 teams including Zaha Hadid, Behnish Arkitekten, CoopHimme(l)blau and entasis a/s.

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Many thanks to 3XN for sharing this information.

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