캠퍼스 중장기 발전 플랜의 일환으로 교내에 필요로 하는 교육지원 프로그램과 갬퍼스 내 고유한 캐릭터 창출을 위해 이번 도서관 프로젝트는 시작된다.
주변시선을 압도하는 오가닉한 형상 -에어로 다이나믹한 형상-과 메자닛 층으로 겹겹히 레이어드 된 내부 콘크리트 슬래브로 도서관의 건축은 분리 된다. 구조로 부터 분리된 자유로운 외피는 지속가능한 건축의 지향점을 목표로 디자인된다. 같은 체적 내 가장 적은 외피면적을 차지하는 에어로 다이나믹한 형상은 건축물의 열에너지 운영측면에서 가장 효율적인 방향을 제시하는 동시에 외부 태양으로 부터 유입되는 다량의 직사광선을 차단, 버퍼하게 된다. -때로는 투명하게 때로는 불투명하게 외부 판넬은 디자인되며, 이에 따라 유입된 자연광은 내부 이중 외피로 설치된 멤브레인 막을 통해 균등하게 간접광으로 전달된다.-
내부 공간은 여러개의 다이나믹한 슬래브가 곡선을 이루면서 더블 메자닛 층을 구성, 센터코어를 통해 연결된다. 지속가능한 건축의 기능적인 요소와 심미적인 요소는 이렇게 조화를 이루며 전체 도서관을 형성시킨다.
reviewed by SJ
The library is the culmination of
decades of research and experimentation by the studio on how buildings
can utilise passive and active technologies to radically increase energy
efficiency and reduce the impact on the environment. This consists of
two interrelated parts: the design of a new central library, housing the
collections of 11 separate libraries; and the restoration of the
existing campus buildings.
Architects: Foster + Partners
Location: Free University of Berlin, Koserstraße 20, 14195 Berlin, Germany
Architects In Charge: Norman Foster, David Nelson, Stefan Behling, Christian Hallmann, Ulrich Hamann, Ingo Pott
Project Team: Bettina Bauer, Stefan Baumgart, Florian Boxberg,
Mark Braun, Niels Brockenhuus-Schack, Andre Heukamp, Stanley Fuls,
Ulrich Goertz, Wendelin Hinsch, Andreas Medinger, Jan Roth, Diana
Schaffrannek, David Schröder, Mark Sutcliffe, Hugh Whitehead
Year: 2005
Photographs: Reinhard Gorner, Nigel Young – Foster + Partners, Rudi Meisel
Structural Engineering: Pichler Ingenieure
Mechanical & Electrical Engineering: Schmidt Reuter Partner – PIN Ingenieure
Planning Supervisor: Kappes Scholtz (Library), Büro Noack (Institutes)
Asbestos Removal: Büro Peters
Fire Engineering: Hosser Hass und Partner
Quantity Surveyors: Höhler und Partner
Acoustic Engineering: Büro Moll
Building Physicist: Büro Langkau Arnsberg
Façade Engineering: IFFT Karlotto Schott
Client: Senatsverwaltung für Stadtentwicklung
Total Cost: EUR 59.3 Million
Architecturally, the library combines a massed concrete structure with a light diaphanous envelope. This juxtaposition not only informs the building’s formal character, but is also key to its ecological programme. Describing the impetus behind the design, David Nelson, the senior partner in charge, noted: “We realised that students would spend hundreds of hours in the library and wanted to provide them with the perfect environment to study – one which was animated by natural light and air.” Students can sit at the reading desks that run continuously around each floor plate and access the bibliographic collections which are housed in the four-storey central core.
As the design progressed, the floor plates evolved into a series of
undulating curves, which creates a formal dynamism and spacious
double-height mezzanine spaces. The library’s aerodynamic water-drop
shaped enclosure was developed to house the maximum amount of floor area
within the minimum building envelope, remain in scale with the
surrounding buildings, and allow landscaped courtyards on ether side of
the library. Its unique cranial form has already earned the library the
nickname – the ‘Berlin Brain.’
The building enclosure consists of three parts. The external shell is
alternately clad in opaque aluminium and transparent glazed panels that
correspond to the solar path – helping regulate the internal
temperature. In a playful allusion to the importance of colour in the
original campus, the supporting steel frame – which is formed of radial
geometries – is painted yellow, making the structure legible and
emphasising the cavity between the inner and outer skins. A
translucent glass fibre inner membrane acts as a diffuser to spread
natural light, ‘glowing’ with ambient light throughout the day and
subtly registering the weather outside in a dappled play of reflections
and patterns over its surface. Views through the transparent panels and
openings allow glimpses of the sky above, with the light diaphanous
envelope giving an impression of being surrounded by light and air.
The double skin of the enclosure acts as an air duct and thermal buffer,
‘breathing’ by opening and closing different panels. In combination
with the mass of the concrete structure, which is a passive thermal
store that is further heated and cooled by piped water inside the
structure, it acts in response to Berlin’s varying climate. In lower
temperatures (below 6°c), the external skin closes like a cocoon and
fresh air is drawn through an undercroft and warmed as it passes through
by the thermal core. In moderate temperatures (above 16°), a mix of
fresh and recirculated air is cooled by the core. While for 60 percent
of the year, the library can be entirely naturally ventilated by opening
various panels and using controlled fresh air drawn in through the
undercroft. During the day the library is entirely naturally lit. These
factors mean that the library will consume 35 percent less energy than a
comparable building.
The site of the new library was formed by combining six separate
courtyards. Together with the restoration of the existing campus
buildings, this reorganisation was the second part of the Free
University redevelopment. Opened in 1971, Candilis Josic Woods and
Schiedhelm’s mat-like campus design was planned to ensure that the
buildings could be reconfigured as the university’s needs dictated.
Buildings were clustered around a series of internal streets and
corridors to encourage open communication, with the faculty and
facilities decentralised across the university. As such, the Free
University exemplified the architectural experiments of the 1960s by
Team X and others who sought to produce an architecture that was itself
an organisational structure. Conceived as an ‘ideal city,’ the Free
University was immediately hailed as a milestone in university design.
From the beginning of the project, the Foster team was adamant that the existing buildings should be restored along the principles of the original design. The interior layouts were rearranged and rationalised to reflect the contemporary faculty structures and contemporary teaching practices. Wherever possible, the original fixtures were refurbished and all the carpets replaced with duplicates made by the original supplier. In particular, the team were sensitive in their approach to restoring the facade panel system, which was designed by the French engineer, Jean Prouvé, following Le Corbusier’s ‘Modulor’ proportional system and the principles of flexibility and prefabrication.
Although the Cor-ten steel panels Prouvé specified had
self-protecting corrosive characteristics, resulting in a reddened
colour that is the source of the building’s nickname ‘die Rostlaube’ –
the ‘rust-bucket’, these panels were prone to decay and required
replacement. In keeping with the original intent, the Foster team reclad
the buildings in bronze, which is self- protecting and will eventually
weather to a tonal finish that is virtually indistinguishable from the
original panels. In addition, the original awnings were replaced to form
a colourful juxtaposition against the panels.
As Lord Foster noted, the structural system proved so flexible that much of the remaining structure from the reorganisation could be demounted and reerected in different locations. This proved that “the original design of the Free University was, in many ways, years ahead of its time – an inspiration that we drew from as we designed the new library to be a forward-thinking exemplar of environmental building.”
from archdaily