Reinforced concrete
Gravel, sand, cement, water and corrugated
steel bars, is roughly what is contained in reinforced concrete. It withstands
compression, traction and bending forces, is resistant, exceptionally durable
and with sober character. [Sounds like great qualities for a boyfriend] The
gardener, Charles Monnier, used wire mesh for his pots in 1868 and then in the
field of architecture in the 1890s Ernest L. Ransome and François Hennebique
used this novel material. Thanks to this material it was possible for
architecture to take a leap towards modernity. Continuing in time, the house
built by Perret at 25 Rue Frnaklin is another example of how with the use of
this material it is possible to leave the plant flexible in addition to
creating an innovative-looking facade. Auguste Perret found inspiration in
reinforced concrete. These earlier uses of concrete gave Le Corbusier an
impetus for his work.
Yes, we must talk a little about Le
Corbusier.
The architecture of the promenade,
movement, rotation and frontality to achieve these architectural strategies he
built the famous Ville Savoie, Possy from 1929 and in this, Le Corbusier makes
use of his faithful friend, reinforced concrete. This magnificent material and
the brilliance of the genius make it possible for him to explain in a practical
way “the five points towards a new architecture”. These five points are the
direct consequence of the use of this material, let us analyze them.
The pilotis: their modern ideal of
housing does not touch the ground, it levitates and alienates itself from the
place.
The roof garden: it transfers the
same importance as to the rest of the plants, giving a leisure nature necessary
for the health of the individual.
The free plan: free partition of the
interior rooms allows the inclusion of different uses according to the needs of
the inhabitant.
The ribbon window: allows a
panoramic view, contemplation of the landscape without impediments or
partitioned windows.
The free facade: allows the use of the
facade adapted to the interior functional needs thanks to this light membrane.
After this minimal introduction to
modern architecture, I want to introduce a recent discovery.
The new building Kunstmuseum Basel:
The winners of the competition for the expansion of the museum were the
architectural firm, “Christ & Gantenbein”. Sometimes it is easier to start
painting on a blank canvas than when there are pre-existing ones, namely: it is
about the extension of the current Kunstmuseum museum from 1936 containing the oldest
public art collection in the world, a difficult contest, the site was not
physically connected and divided by a busy road to the pre-existence.
Looking at this building, we see how
it is an ingenious solution to connect one building with the other, in section
(probably where the architects began to design) it can be observed how, under
this path a two-level basement is created and thus the first functional problem
is solved. Also remarkable is the solution for loading and unloading of goods.
It is honest, visible and safe from the street, located on the west facade in
front of the pre-existing building. Another simple, modest and effective
solution.
The choice of materials.
Sober, timeless materials, concrete,
aluminum, wood for the floor, in general it is as Christ explains “… a
contemporary version of the traditional architecture museum.” Probably thanks
to the choice of material. The main vertical circulation emanates a mysterious magic
masterfully combining these materials tinted with a dim overhead light that
draw abstract figures in the texture of the concrete. Art as a priority, art as
the main object, architecture is a secondary actor that magnifies art with its
elegant and sober muteness. "Spaces of stark materiality" is how Luis
Fernández-Galiano defines them in the magazine "229 ArquitecturaViva", referring to other works in the same direction I refer to in this
essay.
Outside, the architects opt for
brick that adds horizontality, rhythm and texture to the façade, creating a
formal and chromatic union with the existing building.
Back in the 2000s, a book called
"Media Facades" came into my hands. I never imagined that what I
thought, strident, belonging to the aesthetics of Las Vegas or neon cities,
would be used with as much taste and sobriety as in the facade of this
building. I was pleasantly surprised with the visit to this museum and of
course with the Rembrandt exhibition inside.
To represent this building in 3D it
is relatively easy if you have good images of the textures to use. I leave you
a video where it is better explained how to make concrete textures.
Bibliography
Xavier Monteys (2005) Le
Corbusier: Obras y proyectos. Barcelona Editorial Gustavo Gili
Leonardo Benevolo (2007) Historia
de la arquitectura. Barcelona. Editorial Gustavo Gili
Sigfried Giedion (2009) Espacio,
tiempo y arquitectura. Barcelona. Editorial Reverté
Jean-Louis Cohen (2015) Vida y
obra de Le Corbusier. Barcelona. Editorial Gustavo Gil.
Christoph Merien Verlag (2016). The
making of - the new building Kunstmuseum Basel. Editors: Philippe Bischof,
Department of Presidential Affairs Basel-Stadt; Stefan Charles, Kusntmuseum
Bassel.
229 “Arquitectura Viva” (Noviembre
2020). Chist & Gantenbein. Expresionismo racional. Madrid.
Arquitectura Viva SL
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| The new building Kunstmuseum Basel 2016 |
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