In Context_The New Bauhaus Museum
The project proposal for the new Bauhaus museum was created by the history of project, urban park on the corner of Friedrichstrasse and Kavalierstraße, a few kilometers from the headquarters of the Bauhaus school. This park However, as shown by some historical plans welcomed two royal palaces not more rebuilt after the bombings of World War II. The traces of such buildings therefore become genesis of the project leading to the creation of a wall that incorporates the facades of these buildings no longer exist and a two-story building that becomes enclosure of two stories, that of the Bauhaus school and the city of Dessau.
The museum entrance is located on the quiet north Friedrichstraße where a comfortable “cordonata” allows access to the basement (-1.60 m), designed following the idea of the journeys made thanks to the many gaps that beg to peer inside the museum rooms on the basement thus creating a visual relationship between the plans of museum, are located on this level, in addition to the ticket office and adjoining lobby with cloakroom,
On the latter it is positioned at the heart of the museum space, where the exhibition halls, in line with the concept of a single room and gallery, allowing visitors to learn about the history of Buhaus school. In addition to the exhibition rooms on this floor are also located
some of the main functions of the museum as the administration with a courtyard for its workers, educational workshops and the logistics department which enjoys a separate access for employees and a discharge area of the works.
From this level through the big ramp, which in addition to acting as a link between the two floors, hosts temporary exhibitions, the visitor accesses a “polilobato” space strong analogy with the ancient prehistoric caves, situated on a basement (-8.00 m).
the conference room with a direct link to the administrative area and a dining areaflanked by a court that allows natural light into the adjacent spaces.
The museum is thus designed not only as a function of the history of the Bauhaus school and related theories derived from it that the architects (and others) are bound today, but
also according to the history of the city where it will be built.
“Each city receives its form from the desert it opposes”
Who influences you graphically?
During my studies I have always sought the appropriate references to communicate my ideas. I have always been inspired by the graphics work of other architects like OMA, Alvaro Siza and Barozzi Veiga. But for these images I have been mainly influenced by two people : the painter Giorgio De Chirico and the filmmaker Lars von Trier in particular from the film “Dog Ville”. I find it very interesting their images. They are able to communicate their thoughts with few elements and few colors. They create enigmatic images, communicating an idea with a symbols.
What is your take on the hyper realistic render?
The hyper realistic rendering are very useful in communicating an idea of the project. But sometimes the architects are obsessed in achieving a realistic level of rendeder. This condition makes us forget one important thing, the images are used to communicate an idea or a thought. If our idea does not is communicated our work will have been useless. The architecture must be built and not remain just a pretty picture.
What is the effect and purpose of the very ‘white’ atmosphere of the images? How does this relate to the connotations of the 21st century museum as a white box?
The white pictures are neutral pictures,these pictures have the purpose to focus the object represented. My intent is to create a mistic atmosphere. An environment like the one created in the paintings of Giorgio De Chirico proposing an essential architecture therefore a minimalist image. My idea of a museum of the 21st century does not correspond to a white cube, but my idee of museum correspond to a neutral space, it must be capable to express the idea of the artists containing. When I think of a museum, I remember the Guggenheim Museum by Frank Lloyd Wright, this is not just a white space but it is an emotional space that allows the maximum expression of artists and visitors.
How does your graphic aesthetic respond to the Bauhaus movement?
My graphics corresponds to the Bauhaus movement for the use of color, shapes of the objects and photographic composition. I never studied graphic design but I have always admired the work of Johannes Itten and László Moholy-Nagy. Their studies have greatly influenced this work. But I firmly believe that the Bauhaus school has affected the whole of the last century art.
To what extent does the physical model help in exploring the proposal?
The physical model is an important tool to study the proposal, it’s an object that can be touched thus allowing fully to appreciate the design errors. The physical model as opposed to a 3D model can contribute to an understanding of potential irregularities since its creation. In addition, the manual activities allows you to interact with matter, this “contact” helps to modify and improve their ideas.