AM KUPFERGRABEN 10 PDF

Contemporary Fine Arts. Architect: David Chipperfield. Web: www. The gallery Am Kupfergraben 10 is located on the Kupfergraben canal, overlooking the Lustgarten and the Museum Island. The intention was to bild a modern building which incorporated but did not replicate the past. As part of the cityscape, the composition of the four-storey gallery building reacts to its immediate historic context, while the scale of its window openings reflects the urban dimension of a corner building.

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The gallery Am Kupfergraben 10 is located on the Kupfergraben canal, overlooking the Lustgarten and the Museum Island. The intention was to build a modern building which incorporated but did not replicate the past. As part of the cityscape, the composition of the four-storey gallery building reacts to its immediate historic context, while the scale of its window openings reflects the urban dimensions of a corner building.

As an urban infill, the new building connects with both of its neighbouring buildings with regard to their respective building heights and occupies the footprint of the preceding building destroyed in the war , while at the same time developing its own sculptural quality. The facades are of brick masonry on reconstituted stone courses with no visible expansion joints, using salvaged bricks pointed with slurry.

Large window openings reflect the urban scale of the site and define the composition of the facade, given structure by their untreated wooden sashes. While solid materials that will age well characterise the exterior, the interior is defined by daylight and proportion. The building cores organise the space of the 5. The simple floor plan varies throughout the four storeys depending on the form of the volume and the placement of the window openings.

The gallery spaces are side lit from different directions, and daylight is controlled by interior folding shutters. The intention was to create a series of well proportioned and well lit rooms for living, working, or showing art — in a townhouse dedicated to the arts and directly related to the cultural heart of the city. The gallery was opened in November Website: Berlin. Related posts.

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Am Kupfergraben 10, Gallery, Berlin

It occupies the footprint of a building destroyed in World War II. It is a contemporary building that reacts to its immediate historic context, referencing the past without replicating it. The location is unique in that it is where the urban block pattern typical of Berlin comes to an end and is replaced by a collection of large-scale independent structures. As an urban infill, the building is of a height that is consistent with both of its neighbours while developing its own sculptural language. They are generously proportioned — bringing views of the city into the building as if part of the art collection — and are articulated by folding shutters and frames made of ipe, a tropical wood sustainably sourced and left untreated.

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Gallery building Am Kupfergraben

The gallery Am Kupfergraben 10 is located on the Kupfergraben canal, overlooking the Lustgarten and the Museum Island. The intention was to build a modern building which incorporated but did not replicate the past. As part of the cityscape, the composition of the four-storey gallery building reacts to its immediate historic context, while the scale of its window openings reflects the urban dimensions of a corner building. As an urban infill, the new building connects with both of its neighbouring buildings with regard to their respective building heights and occupies the footprint of the preceding building destroyed in the war , while at the same time developing its own sculptural quality. The facades are of brick masonry on reconstituted stone courses with no visible expansion joints, using salvaged bricks pointed with slurry. Large window openings reflect the urban scale of the site and define the composition of the facade, given structure by their untreated wooden sashes. While solid materials that will age well characterise the exterior, the interior is defined by daylight and proportion.

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May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the "cover story," "the focus. Content that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2. Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post.

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