30.09.2014 18:11 clock
the end of the year is closing. Then void the previously repeatedly extended “license” for the New National Gallery, and the time of the general renovation begins. How long it will last, is not in sight. You have to probably start at five years. Five years in which – as always proceed with the collection of 20th century – at least the magnificent building, designed by Ludwig Mies van der Rohe and opened in 1968, deprived the public remains
For the. last three months of its opening, however, maintains the upper hall of the New National Gallery with a fascinating installation.
“Sticks and Stones” called David Chipperfield his “intervention” of 143 gross debarked logs that the prescribed Mies strict Insert raster and yet so act quite differently than the steel of the building.
David Chipperfield and his office will redevelop the New National Gallery, and they are so carefully manage it as before the highly acclaimed restoration of the Neues Museum on Museum Island . The perpetrator from Wednesday to installation provides an aesthetic approach to the project is, whose full extent is not yet determined, just as the costs would be likely to move in the range of 50 million euros is. That Mies’s steel punch but does not represent a cost problem in the first place, but an architecture historic building, as there are few of such rank, make the 143 tree trunks hitting considerably.
Mies van der Rohe did not care about practical requirements
144 it should be original, twelve times twelve, which omit a square in its center. But then it turned out that the two wardrobe fittings – not Mies, who cared little about the practicalities – are immobile and prevented the tricky installation at these locations. Four strains had to be omitted, but were not initially planned three added
You can legitimately be understood metaphorically. as an indication that the rational planning limits. Mies was a supporter of such planning, he created a plan that was not open, and it was – as in his apartment high-rise buildings in Chicago – the possible position of the blinds. In Berlin, Mies realized the dream of a free-floating roof on a completely column-free hall. The steel roof of 65 meters edge length rests on eight pillars, but the two on each side, standing outside the area bounded by a glass skin hall.
you will therefore also considered little. Nowadays, everything seems to us, of course, floating roofs, open spaces; nor born and raised for Mies imperial times, it was different. May have the magic, the Mies himself and his contemporaries of the late sixties years yet to learn the installation Chipperfield calls back into consciousness. The strains of Sitka spruce not support the roof, although they are mounted at the crossing points of the coffered ceiling and these seem to shoulder. A forest of columns extending from the viewer, and here this is otherwise only metaphorically used word in the right place. By the way, now felled trees
have become exactly one hundred years old, planted just before the start of the First World War in a forest at the Pomeranian Baltic coast. The roof hangs up to twelve centimeters by
Each the 8.20-meter-long logs of slightly different diameter and weight is connected to the ceiling by a steel thread; but so that the cover can move: It depends depending on the outside temperature and possible snow load up to twelve inches through. This looks no visitors, but it is one of the wonders of the construction. The trees are lined up, one could think of Birnam Wunderwald from Shakespeare’s “Macbeth”. But the Chipperfield’schen trees do not migrate, they keep their place and form in their naturalness contrast to metal artificiality of the hall. And yet they remind yielding pillars and column have once developed from the use of wooden columns that carry the load of a roof. Support and load, the core theme of the architecture and the very meaning of the term has become invisible in Mies’s abstraction. Chipperfield, it is again demonstrated.
“Sticks and Stones”, as the title reads, come from the English nursery rhyme. Here it’s more of a play on words, coined for the tribes and the stone on which they rest, the granite slabs of the floor. It will only take a quarter, will come to take the place of wooden logs by little metal scaffolding to take the roof inspected. Too long has this revision was delayed, and for years the condition of the house is complained of has resulted in some compromises, and be it only the huge glass panes, the lack of suitable production could not be replaced for years. New disks have to meet enormously increased demands, as indeed the whole building. Could such a bold and at the same time quite reduced design all today realize?
David Chipperfield’s “intervention” can think about. On the night of his forest shines in full brightness – so curious are attracted to each hour, take the beauty, but also the vulnerability of this great miracle space
New National Gallery, to 31 12 .;. Tue, Wed, Fri 10-18, Thu 10-20, Sat, Sun 10-18 clock.
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