Curated by María Francisca González
MUSEUMS & EXHIBIT, RENOVATION • BERLIN, GERMANY
Architects : Franco Stella
Area : 100000 m²
Year : 2020
Photographs : Stefan Müller
Manufacturers : Franken-Schotter
Lead Architects : Herman Duquesnoy, Sigurd Hauer, Peter Westermann, Michelangelo Zucchini, Fabian Hegholz
Partners : Hilmer & Sattler und Albrecht Gesellschaft von Architekten
Client : Federal Republic of Germany represented by the “Stiftung Humboldt Forum im Berliner Schloss”
Realisation Team : Detlef Krug with Alexander Scholz, Uwe Otte
Facades : Stuhhemmer Architekten on
Structures : ARGE TPW (Wetzel & von Seht, Krone und Pichler Ingenieure)
Physics Of Buildings : Müller-BBM
Air Conditioning : ILA- Inros Lackner, Winter Gebäudetecknik, Karoplan, Geothermie Neubrandeburg, IGEA
Electrical Systems : Arge Innius, OPB- Obermeyer, ISA Saupe
Media Technology : BBM-Müller
Exhibition Design : Ralph Appelbaum Associates
Corporate Design : Holzer Kobler Architekturen
Arrangement Of External Free Areas : bbz Landschaftsarchitekten
City : Berlin
Country : Germany
Textual content description offered by the architects. The previous Berlin Palace(Berliner Schloss), constructed since 1443 because the residence of the Brandenburg princes, was partially reworked originally of the 18th century into the baroque palace of those self same sovereigns, who in 1701 grew to become kings of Prussia and in 1871 additionally German emperors. Broken by the Second World Conflict II bombing, the Berlin Palace was lastly razed to the bottom for ideological reasons- as an emblem of Prussian militarism -in 1950 by the holders of political energy of the GDR.
He was the city and architectural director of the historic-monumental Centre of Berlin, constructed through the eighteenth and nineteenth centuries, which nonetheless exists, though largely rebuilt after the devastation of the Second World Conflict. The monumental axis Unter den Linden – the just about uninterrupted sequence of private and non-private buildings that reaches the Brandenburg Gate– had begun after which had discovered the purpose of arrival within the Palace; its ‘backyard of delights’ (Lustgarten) was reworked through the nineteenth century into the Museum Island, with the development of 5 nice artwork museums; the portion of the Lustgarten in entrance of the Palace grew to become the ‘Sq. of the 4 Powers’ of the Prussian state, with the development of the symbolic buildings of Faith (the Cathedral), of the Army (the Arsenal), and of Tradition (the Museum , now the Altes Museum, designed by Schinkel), whose Greek temple colonnade is defined by its being reverse the Palace.
The previous director of the Metropolis Centre returns as a instructor of city historical past
To rediscover the function of the Palace within the building of the Berlin Centre, the reconstruction of its facades is of basic significance, as a result of the facade, by advantage of its city publicity and the permanence of its form over time, is the aspect that greater than another communicates the age of the unique building of the Palace, and due to this fact its relations with the opposite buildings of its city context.
The Berlin Palace as a harmonious mixture of Outdated and New
The brand new Berlin Palace (Berliner Schloss – Humboldt Discussion board) is a unitary, baroque and fashionable building, conceived as a “assembly place with the cultures of the world”, devoted to the Humboldt brothers. It seems as a harmonius mixture between the reconstructed baroque a part of the misplaced Palace (a “masterpiece of the European Baroque” in Schinkel’s phrases) and a contemporary added half.
The ‘devoted to the unique’ reconstruction of the stereometry and facades of the Baroque Palace – that’s, the a part of the Palace, redesigned on the finish of the 17th / early 18th century by Schlüter and Eosander – and of the Stüler’s 19th-century dome, was determined by the German Parliament in 2002 , and confirmed by the 2008 Competitors program. The brand new building consists of 5 new buildings: one outdoors, within the space of the Renaissance Palace, the opposite 4 within the space of the primary inside courtyard, the Eosanderhof. The Palace, the Metropolis Gate, the Piazza and the Theater are the superb locations of architecture and the town, which encourage the mix of Outdated and New: each outdoors, within the city picture of the building, each inside, within the architecture of its three courtyards.
The Palace as a building with 5 portals as Metropolis gates and three courtyards as Piazza
The brand new building going through the Spree, is meant because the ‘fourth wing’ of the reconstructed Baroque building, finishing Schlüter’s unique concept of reworking the Palace right into a unitary edifice, following the instance of the Italian Renaissance and Baroque ones. The dimensions and the figurative rules of the façade are much like these of the three reconstructed wings: by advantage of the extraordinary measurement of its window openings, particularly their depth of over a meter, the entrance on the Spree appears like a ‘facade of loggias’ , which suggests the general public character of the building.
The 4 inside items of the brand new costruction full the Schlüterhof as a theater-square and realizes two new courtyard-squares in relation to the portals rebuilt as a Metropolis gate: the Schloss-Passage, whose new ‘colonnaded approach’ bear in mind an historic Roman discussion board, and the Große Lobby that evokes the Theater, with the reconstructed triumphal arch’-portal because the ‘ scene entrance’ and the brand new galleries because the lodges for spectators. The brand new Berlin Palace could be described as a ‘metropolis within the type of a palace’, designed each for thousands and thousands of holiday makers from world wide and for the each day lifetime of 1000’s of residents. By way of its at all times open portals, the exterior squares mixes with the interior courtyards in a grandiose public house within the coronary heart of Berlin.
The facade of Partitions and Columns
The fashionable one in addition to the baroque facade usually presents the mix of partitions and columns.Each partitions, baroque and fashionable, are a three-layer building: a strengthened concrete building-supporting wall, a thermal insulation, and the facade-wall. The baroque one is a brick wall with a median thickness of 65 cm: a self-supporting building (and never a dangling ‘masks’), which ensures a facade with no obvious joints; the fashionable one is fabricated from prefabricated slabs of strengthened with cement blended with clear sandstone.The baroque columnsand its architraves are reconstructed by including items of pure stone with the identical measurement, form and materials of the unique one; the fashionable ones are prefabricated monoliths, made, in addition to the slabs,of strengthened withe cement and clear sandstone.
The carved stones
Some stone artifacts have been restored, protecting their present fragmented situation; others, essentially the most of them, have been reconstructed of their unique completeness of kind and matter. The restored stones are variously mutilated figures, irreparably blackened by the patina of time: some have returned to the open the place they had been; others, too weak to return outdoor, discover their place inside, in particular exhibition areas. Virtually all of the carved stones that had been on the surface have been rebuilt: some, resembling statues or high-reliefs, are distinctive items, made by the hand of the sculptor; nearly all of the others, resembling friezes, frames, capitals or balustrades –altogethermore than three thousand items– have been mechanically replicated ranging from 300 fashions, first of clay after which of plaster, made within the so-called Palace Manufacturing facility (Schlossbauhütte) by quite a few sculptors and stonemasons.
The inner areas
Virtually all inside areas have all been redesigned and modernly geared up in keeping with their new goal; the association of pillars and beams is cautious to not undermine the potential for reconstructing locations of specific historical-artistic worth sooner or later. The overall helpful floor, distributed over 4 flooring, is 42.000 m2: a few half is meant for the collections of the Ethnological Museum and the Museum of Asian Artwork, and about 10.000 m2 for areas of basic public curiosity.
On the bottom flooring are the Entrance and Stairs Corridor, the Humboldt-Lobby, rooms for exhibits, conferences and short-term exhibitions, the Sculpture Corridor, bookshop, eating places and cafes; on the primary flooring are the exhibition areas of a particular Berlin Museum and the Humboldt College; on the second and third flooring, are the collections of the Ethnological Museum and the Museum of Asian Artwork, analysis and restoration laboratories. The underground flooring – except for an space of about 1500 m2, the place the cellars of the outdated Palace could be visited– and your complete flooring beneath the roof, are supposed for technical gear. Above the roof, in continuity with the underlying ‘cube-north’, the are a pavilion of a café-restaurant, surrounded by a terrace with a phenomenal view to the town.
