“And – it is important to remember to let light shine behind coloured glass at some angles even during the bright sunshine. This would produce wonderful twilight effects in the dawn hours.” Paul Scheerbart in “Glass Architecture” 1914<\/p>\n
<\/p>\n
While glass once was a projection screen for bold dreams of world renewal, today we have reduced it largely to just one of its properties: It is used because of its transparency, even if we have to glue three panes together because of the thermal requirements.<\/p>\n
<\/p>\n
But what if we look at it from the opposite perspective? If weather resistance and durability make it a suitable material for roofing and – quite incidentally – it becomes a roof lantern? Daylight harms the exhibition pieces. Transparency is therefore of no technical use here, and yet it is particularly the gentle shimmering light that gives the new museum roof its unique character. Over the course of a day, the roof skin reveals itself in infinite shades. Sometimes the substructure is hazily visible, sometimes it is only the smooth surface. On the central access axis, visitors are still able to look through the semi-transparent cast glazing. The surrounding roofs and hills emerge as silhouettes and allow a vague location in the urban space when arriving at the top floor.<\/p>\n
<\/p>\n
The already existing addition to the central building is integrated into the new roof. The large new roof incorporates the entire above-ground extension of the museum and allows the classicist fa\u00e7ade composition to be perceived more clearly than before. Whether it would be possible to expose the original brick fa\u00e7ade or not would have to be examined at a later date.<\/p>\n
<\/p>\n
The construction of wooden ribs and clay fillings creates an ideal climate for the exhibits on the one hand. On the other hand, it represents a sustainable construction method with easily separable materials. Moreover, despite the natural materials, a high degree of prefabrication and thus a controlled and efficient construction process can be achieved.<\/p>\n
<\/p>\n
In the street, the glasses reappear as canopies of the caf\u00e9. They are reminiscent of familiar images of glazed canopies and yet constructively speak a new language. With their vicinity to the pedestrian level, they create a connection from bottom to top. Despite the relatively small intervention in the lower fa\u00e7ade, the whole conversion is thus woven into a large whole. The caf\u00e9 itself is organised on two levels – so only a small part of the existing mezzanine floor needs to be lowered. A paved pattern of coloured stones completes the appearance. The museum manifests its place in the city with the extended seam and outlines a place to linger in the street.<\/p>\n
<\/p>\n
As a special embroidery technique, the Or nu\u00e9 is designed to play with light reflections and changing shades.<\/p>\n
<\/p>\n
Image: Filippo Bolognese<\/p>\n
<\/p>\n","protected":false},"featured_media":1139,"template":"","class_list":["post-1010","projects","type-projects","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\n