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Progetti




 96
         Projects




                        SANAA
                        Zollverein School

                        text by Maura Percoco

                        Località Location                         Essen, Germany

                        Progettisti Architects                    Kazuyo Sejima + Ryue Nishizawa / SANAA

                        Collaboratori Collaborators               Nicole Berganski, Osamu Kato, Andreas Krawczyk,
                                                                  Jonas Elding, Karen Schutz, Junya Ishigami,
                                                                  Hiroaki Katagiri

                        Committente Client                        Entwicklungsgesellschaft Zollverein mbH

                        Project manager Project manager           Drees & Sommer

                        Strutture Structural engineering          SAPS, Bollinger + Grohmann GmbH

                        Impianti Mechanical engineering           TRANSPLAN, TRANSSOLAR, Winter Ingenieure

                        Progetto esecutivo                        Dipl.-Ing. Heinrich Böll Architekt BDA DWB
                        Executive architect                       Dipl.-Ing. Hans Krabel

                        Impresa edile General contractor          Schäfer-Bauten GmbH

                        Progetto Project time                     2006

                        Superficie complessiva Total floor area   7,350m2




096-107 SANAA.indd 96                                                                                               30-07-2008 13:45:46
Christian Richters




                              1




096-107 SANAA.indd 97   30-07-2008 13:46:03
Progetti Scuola Zollverein                        Era difficile continuare a “parlare sottovoce”        differenti tipi di confine (…) mai netti, sempre        1
                                                                                                                                                                    Le pareti perimetrali
                                                      in un contesto monumentale come quello delle          interconnessi”. In questo senso, l’edificio cu-         in cemento armato
                                                      miniere di carbone della Zollverein, nei pressi       bico, con la sua immagine unitaria e sintetica,         della Zollverein School
                                                      di Essen in Germania, nel quale gli architetti        demarca la frontiera tra la periferia e un si-          of Management and
                                                      giapponesi Kazuyo Sejima e Ryue Nishizawa             to di archeologia industriale; ed insieme, è la         Design sono traforate
                                                                                                                                                                    da numerose aperture
                                                      (fondatori dello studio SANAA) si sono cimen-         soluzione di continuità, la porta d’ingresso, ad        quadrate, di diversa
                                                      tati per il progetto dell’omonima scuola di ar-       un’area destinata a divenire, nel masterplan di-        dimensione, disposte in
                                                      te e design. Il compito era complesso poiché          segnato da OMA, il centro europeo di architet-          modo apparentemente
                                                      l’intervento, il primo da realizzare al di fuori      tura, arte e design. Il fuoriscala architettonico,      casuale
                                                                                                                                                                    2
                                                      dei confini nazionali, assumeva il significato        che per sintesi formale e dimensioni sembra             L’edificio cubico,
                                                      di banco di prova della validità ed eloquenza         trasformare questa costruzione in un oggetto            monomaterico e
                                                      di un modo di progettare fuori dal coro – o           astratto, quasi immateriale, riesce infine a sta-       monocromatico, realizzato
                                                      forse divenuto fuori moda – perché fa ricorso         bilire un rapporto dialettico con le ciminiere, i       dallo studio SANAA ad
                                                                                                                                                                    Essen, in Germania
                                                      ad un lessico minimale per esprimere concet-          carriponte, gli impianti di lavaggio e gli edifici      3
                                                      ti di disarmante chiarezza. Ultimato nel 2006,        industriali esistenti. Inseguendo la logica in-         La scuola nel contesto
                                                      l’edificio, con la sua “intensa presenza”, rivela     terpretativa delle relazioni tra le parti, l’edificio   industriale delle miniere
                                                      al pubblico internazionale la coerenza della          cubico di SANAA appare privo di peso, mate-             di carbone Zollverein,
                                                                                                                                                                    dal 2001 classificate
                                                      ricerca sull’essenzialità avviata nel 1995 dal-       ricità e consistenza plastica. Si presenta come         dall’Unesco patrimonio
                                                      lo studio SANAA; e le numerose realizzazioni          una scatola vuota, piena di luce; un involucro          dell’umanità (World
                                                      successive attestano l’esigenza di un ritorno         rarefatto che avvolge e trattiene una porzione          Cultural Heritage Site)
                                                      alla sobrietà dei segni, alla misura, al rigore co-   di “atmosfera” di Zollverein, da destinare alla         4
                                                                                                                                                                    La raffinata spazialità degli
                                                      struttivo. Il progetto prende le mosse dall’idea,     didattica, allo studio e alla ricerca. Per realiz-      interni è enfatizzata da
                                                      tanto chiara quanto semplice, di costruire “un        zare ciò i progettisti hanno sviluppato preva-          una velata illuminazione
                                                      puro volume di aria e di insolita luce”. La co-       lentemente due aspetti nel progetto: quello del         naturale che si diffonde
                                                      struzione si riassume in un solido pressoché          confine tra interno ed esterno, da assottigliare        uniformemente in
                                                                                                                                                                    ambienti fluidi e continui
                                                      cubico, monomaterico e monocromatico, sui             in modo estremo, per annullare l’immagine
                                                      cui prospetti 150 finestre, di forma quadrata e       della consistenza materiale e del peso; e quello
                                                      dimensione variabile, si addensano e diradano         della organizzazione funzionale, da realizzare
                                                      in ragione di orientamento e necessità funzio-        in modo a-gerarchico, disegnando spazi fluidi,
                                                      nale . Analogamente ad altri progetti di Sejima       continui, dove la luce naturale può diffondersi
                                                      & Nishizawa, anche nella scuola di Essen, alla        senza limiti. A supporto dell’idea architettoni-
                                                      sintesi formale fa da contrappunto una raffina-       ca intervengono sofisticate soluzioni tecnologi-
                                                      ta spazialità generata dalla luce naturale che        che. L’esiguo spessore (30cm) delle pareti peri-
                                                      proietta sulle superfici interne le sagome ge-        metrali in cemento armato a faccia vista, forate
                                                      ometriche, illuminate e distorte, delle diverse       dalle molteplici aperture che si presentano co-
                                                      misure delle aperture. “In ogni lavoro – ribadi-      me megapixel luminosi, è reso possibile dalla
                                                      sce nelle interviste Sejima – cerco di costruire      riduzione dei carichi permanenti – realizzando
 98
    Projects Zollverein school




                                 Christian Richters




                                 2




096-107 SANAA.indd 98                                                                                                                                                                               30-07-2008 13:46:18
Christian Richters
                                                                                                                                                                          3

                        1
                        Zollverein School of
                        Management and Design              It was difficult to speak softly in a monumental    turn to a sobriety of signs, to measure, to con-
                        features reinforced cement         setting like that of the coal mines of Zollverein   structive rigor. The project is inspired by an
                        perimeter walls cut by many        near Essen in Germany, where Japanese ar-           idea that is as clear as it is simple, of building
                        square openings of different
                        sizes in a seemingly incidental
                                                           chitects Kazuyo Sejima and Ryue Nishizawa           “a pure volume of air and of unusual light”.
                        arrangement                        (founders of the SANAA firm) have faced the         The construction may be described, in a nut-
                        2                                  challenge of designing the homonymous art           shell, as an almost cubical mass in just one
                        The cubic building, made of a      and design school. The task was complex be-         material and just one color, on whose facades
                        single material and color, was
                        designed by the SANAA studio
                                                           cause the project, the first realized outside the   150 windows, square and of variable dimen-
                        in Essen, Germany                  national borders, became the testing ground of      sions, are arranged, close together in some
                        3                                  the validity and communicative characters of        points and far apart from one another in oth-
                        The school is in the industrial    a way to design that is usual – or that has per-    ers, depending on orientation and functional
                        context of the Zollverein coal
                        mine, which was classified
                                                           haps become unfashionable – because it re-          requirements . Analogously to other projects
                        as an Unesco World Cultural        sorts to a minimal vocabulary to express con-       by Sejima & Nishizawa, also in the school of
                        Heritage Site in 2001              cepts of disarming clarity. Completed in 2006,      Essen the formal synthesis is foiled by a re-
                        4                                  the building, with its “intense presence”, has      fined spatial effect created by daylight which
                        Soft natural lighting spreads
                        evenly in fluid, continuous
                                                           shown an international public the coherence         projects, on the internal surfaces, the geomet-
                        spaces, underscoring the           of a research on essentiality commenced by          ric outlines, illuminated and distorted, of the
                        interiors’ sophisticated spatial   the SANAA firm in 1995, and the many suc-           different measures of the openings. “I always
                        design                             cessive projects bear witness to a need to re-      try to make different types of borders – Sejima




096-107 SANAA.indd 99                                                                                                                                               30-07-2008 13:47:05
Progetti Scuola Zollverein   solai a tessitura bidirezionale – e dall’elimina-
                                 zione degli strati di isolante – inserendo nelle
                                 stesse pareti perimetrali una rete di tubi entro
                                 cui circola acqua a circa 27°C proveniente dal
                                 sottosuolo di un’area limitrofa. La distribuzio-
                                 ne interna ricalca il programma funzionale:
                                 4 principali categorie d’uso corrispondenti
                                 ai 4 livelli sovrapposti in cui è organizzata la
                                 scuola. Semplicità volumetrica e chiarezza
                                 dell’impianto vengono appena complicate dal-
                                 la differente altezza degli interpiani che ge-
                                 nerano, nella sovrapposizione di solai identici
                                 (35x35m), sensazioni dissimili. Dall’impressio-
                                 ne di sobrietà degli ambienti comuni al piano
                                 terra (h4,40m), alla percezione di solennità
                                 degli spazi per la didattica e lo scambio di idee
                                 al secondo livello, cui si addice l’interpiano di
                                 altezza maggiore (h9,80m); dal senso di mi-
                                 sura della biblioteca al terzo piano (h5,00m),
                                 all’atmosfera di intimità degli uffici al quarto
                                 (h3,15m), fino all’idea di vastità dell’area per
                                 eventi sul tetto-giardino, coperta in parte alla
                                 quota di 7,30m. Nella logica di una “trasparen-
                                 za percettiva”, prodotta non tanto dai materia-
                                 li quanto dalla configurazione degli interni,
                                 la struttura è ridotta all’essenziale. Tre nuclei
                                 cavi in cemento armato a faccia vista – che con-
                                 tengono i collegamenti verticali e i servizi – e
                                 due esili colonne in acciaio, smaltate di bianco,
                                 sono liberamente collocati entro il perimetro
                                 dell’edificio. Questi volumi, come oggetti auto-
                                 nomi, interrompono i solai per ridurne la luce
                                 strutturale, ma mantengono la fluidità dello
                                 spazio. È lo studio dei confini tra le diverse
                                 aree funzionali, infine, a consentire alla luce,
                                 diffondendosi con omogeneità, di annullare la

100
                                 points out in the interview – not strong borders
                                 but connection(...)”. In this sense the cubical
                                 building, with its unitary and synthetic image,
                                 marks the border between the city outskirts
                                 and a site of industrial archaeology, and at
                                 the same time it acts as demarcation, as en-
                                 trance gate to an area that according to the
                                 master plan designed by OMA will become the
                                 European center of architecture, art and de-
                                 sign. The architectural over-size effect, which
                                 by formal synthesis and dimensions seems to
                                 turn this building into an abstract, almost im-
                                 material object, finally succeeds in establish-
                                 ing a dialectic relationship with the chimneys,
                                 the bridge cranes, the washing plants and the
                                 industrial buildings in the area. Pursing a logic
                                 based on an interpretation of the relations be-
                                 tween the parts, the cubical building designed
                                 by SANAA appears weightless, without matter
                                 and plastic consistency. It looks like an empty
                                 box, filled with light, a rarefied shell which To
                                 accomplish this the architects have focused on
    Projects Zollverein school




                                 two aspects of the project: that of the demarca-
                                 tion between interior and exterior, which has
                                 been reduced to a minimal thickness in order
                                 to cancel the image of the consistency of the
                                 material and weight, and that of the functional
                                 organization, realized in an anti-hierarchical
                                 manner, to design fluid, continuous spaces in-
                                                                                                          Christian Richters
                                                                                     Christian Richters




                                 to which natural light may flood without any
                                 restrictions. Sophisticated technological solu-
                                 tions make the architectural idea feasible.
                                 The thinness of the outer walls (30cm) in un-
                                 treated reinforced concrete, perforated by the
                                 numerous openings that remind of luminous           4                    7




096-107 SANAA.indd 100                                                                                                         30-07-2008 13:47:23
096-107 SANAA.indd 101   30-07-2008 13:47:36
A
    Progetti Scuola Zollverein   5, 6, 7, 8
                                 Le piante dei quattro
                                 livelli sovrapposti in cui
                                 è organizzata la scuola,
                                                                                                                                           6
                                 corrispondenti alle 4
                                 principali categorie
                                 d’uso: ambienti pubblici
                                 al piano terra, aree per
                                 la didattica al primo,
                                 biblioteca al secondo, area             2
                                 amministrativa al terzo:
                                 1. reception; 2. caffetteria;
                                 3. auditorium; 4. spazio
                                 espositivo; 5. aula studio;
                                 6. area riposo; 7. aule per
                                 seminari; 8. biblioteca;
                                                                                 1
                                 9. sala conferenze;                                                                                                      5
                                 10. patio; 11. ufficio
                                 9
                                 Le sagome geometriche,
                                 illuminate e distorte,                                                    3
                                 delle diverse misure
                                 delle aperture che la luce
                                 naturale disegna sulle
                                 superfici interne                           4                         4
                                 10
                                 I prospetti dell’edificio
                                 rispettivamente esposti
                                 ad est, a nord, ad ovest e a     5                            A                         6                                          0        3   5m
                                 sud. Le aperture quadrate
                                 hanno lati di tre diverse
                                 dimensioni: 280cm, 180cm
                                 o 140cm




                                                                         6            7                                               10
                                                                                                                                                11


                                                                                          7        7                                                          10
                                                                          8




                                                                                                                                                 9                 11
102                                                                                        4




                                                                                                                              10                                        10




                                                                                           8                                                         10




                                                                  7                                                      8




                                 5, 6, 7, 8
                                                                      megapixels, is possible thanks to the reduction    izing the library on the third floor (h5.00) and
                                 The floor plans of the
                                 school’s four stacked levels         of the permanent loads – by means of floors        the more intimate atmosphere of the offices on
                                 correspond to four major             with two-directional web and the elimina-          the fourth (h3.15m); finally, the roof garden,
                                 uses: public spaces on the           tion of layers of insulating materials, replaced   partially covered by a roof at a height of 7.30m,
                                 ground floor; teaching
                                                                      by the introduction of a grid of pipes in the      dedicated to events, is characterized by a feel-
                                 spaces on the first floor; the
                                 library on the second floor;         walls, in which water at a temperature of about    ing of vastness.
                                 and the administrative area          27°C, channeled from a nearby underground          According to a logic of “perceptive transpar-
                                 on the third: 1. reception;          source, circulates. The internal distribution      ency” produced by the configuration of the
                                 2. cafeteria; 3. auditorium;
                                                                      reflects the functional program: 4 main cat-       interiors rather than by the materials as such,
                                 4. exhibition space;
                                 5. working space; 6. lounge;         egories corresponding to the 4 superimposed        the structure is reduced to the essential. Three
    Projects Zollverein school




                                 7. Seminar rooms; 8. library;        floors in which the school is organized. The       hollow nuclei in untreated reinforced con-
                                 9. conference room;                  volumetric simplicity and clarity of the system    crete – which contain the vertical connections,
                                 10. patio; 11. office
                                                                      is made slightly more complicated by the dif-      bathrooms and accessory facilities – and two
                                 9
                                 Distorted geometric forms            ferent heights of the intermediate floors that     slender steel columns, varnished in white, are
                                 of natural light from the            create very different sensations in the super-     placed freely within the perimeter of the build-
                                 different sized windows              imposition of the identical floors (measuring      ing. These volumes, like autonomous objects,
                                 are thrown on the interior
                                                                      35x35m). The sober atmosphere of the com-          interrupt the floors to reduce the structural
                                 surfaces
                                 10                                   munal areas on the ground floor (h4.40m)           span, without interfering with the fluidity of
                                 The building’s elevations,           contrasts with the solemn air of the the edu-      the space. Finally, it is the study of the bor-
                                 facing east, north, west and         cational spaces and exchange of ideas on the       ders between the different areas that makes
                                 south, respectively. The
                                                                      second floor, appropriate for the area with the    it possible for the light to enter evenly and
                                 square windows have sides
                                 with three different sizes:          highest ceilings (h9.80) ; this interior is very   cancel the spatial hierarchy. The areas of the
                                 280cm, 180cm or 140cm                different from the sense of measure character-     entrance, reception, café and the exhibition




096-107 SANAA.indd 102                                                                                                                                                                30-07-2008 13:47:48
Christian Richters




      9




                                 10




096-107 SANAA.indd 103     30-07-2008 13:47:50
Progetti Scuola Zollverein        gerarchia spaziale. Le zone d’ingresso, di ri-         ed “affondato” nel solaio del piano terra; se le
                                      cevimento, della caffetteria e di esposizione al       aule dei seminari si presentano come tre “sca-
                                      piano terra; le aree per l’istruzione, il dialogo      tole” autonome, bianche ed astratte, collocate
                                      e il riposo al primo piano; i depositi e le aree di    al terzo livello. O infine, se gli uffici e le stan-
                                      lettura al terzo, hanno tra loro limiti effimeri,      ze per riunioni al quarto piano, disimpegnati
                                      labili, appena accennati dall’assetto degli ar-        da uno “spazio interstiziale” sul perimetro, si
                                      redi. La disposizione appare piuttosto un sug-         addensano in una fitta scacchiera liberamente
                                      gerimento, un’opzione d’uso tra le numerose            interrotta da cinque patii che ritagliano cinque
                                      possibili. Ed è ancora una questione di confini,       “quadrati di cielo” e scompaginano ancora il
                                      di continuità e relazioni tra le parti, se l’audito-   confine tra gli ambienti serrati del lavoro e lo
                                      rium è trattato come un prisma di vetro, isolato       spazio vuoto della luce.




                                                                                                                                                    0
                                                                                                                                                    2
                                                                                                                                                    5m
104

                                                            t=




                                 11
    Projects Zollverein school




                                      space on the ground floor; the areas dedicated         like three autonomous “boxes”, white and ab-
                                      to teaching, dialogue and rest on the first floor;     stract, arranged on the third floor; and finally
                                      the storage and reading rooms on the third,            the way the offices and meeting rooms on
                                      are divided by ephemeral, faint limits, only just      the fourth floor, connected by an “interstitial
                                      suggested by the arrangement of the furniture.         space” a interstitial space that goes around
                                      The distribution appears as an indication, as          the perimeter, become more dense, to form a
                                      one possible way to use the space among many           chessboard pattern that is freely interrupted
                                      other, possible solutions. Borders, continuity         by five patios that form five “squares of sky”,
                                      and relations between the parts have inspired          once again shifting the borders between the
                                      many other aspects of this project, as the way         compact work areas and the empty space of
                                      the auditorium is treated like a glass prism,          the light. envelops and withholds a portion of
                                      isolated and “sunk” into the ground floor; the         the “atmosphere” of Zollverein, dedicating it
                                      way in which the seminary halls are designed           to teaching, study and research.




096-107 SANAA.indd 104                                                                                                                                   30-07-2008 13:48:21
11
        La sezione evidenzia
        le differenti altezze di
        interpiano tra i solai
        12
        Immagine del tetto-
        giardino parzialmente
        coperto
        13
         Vista interna dell’area
        amministrativa al quarto
        livello. Gli uffici e le sale
        riunioni sono organizzati
        secondo una serrata
        scacchiera, disimpegnati
        da uno “spazio
        interstiziale” sul perimetro
        e illuminati da cinque patii




                                                Christian Richters
                                               12




        11
        The section highlights the
        different heights of the
        space between floors
        12
        Image of the partially
        covered roof-garden
        13
        Interior view of fourth
        floor administration area.
        The offices and meeting
        rooms are organized in
        a tight checkerboard
        pattern, coming out into an
        “interstitial space” along
        the perimeter, lit by five
        patios
        14
        A construction stage of the
        floor slabs patented system
        by Cobiax
        15
        Construction detail of floor
        slabs with a two-directional
        composition plan for large
        structural spans, reducing
                                                Christian Richters




        permanent loads by
        approximately 30%
        16
        Night image of cubic
        volume dematerialized by
        the many windows, looking
        like lighted megapixels                13




096-107 SANAA.indd 105                  5-08-2008 15:31:13
Progetti Scuola Zollverein        Informazioni                                      14
                                      Information                                       Una fase della costruzione
                                                                                        dei solai, sistema brevettato
                                                                                        dalla Cobiax
                                      Solaio alleggeriti         Cobiax Technologies    15
                                      Flat slabs                 GmbH                   Dettaglio costruttivo
                                                                                        dei solai a tessitura
                                      Casserature                Westag & Getalit AG,   bidirezionale per ampie
                                      Formworks                  Rheda-Wiedenbrück      luci strutturali che
                                                                                        consentono di ridurre i
                                      Cemento                    Dyckerhoff Beton       carichi permanenti del
                                                                                        30% circa
                                      Concrete                   GmbH & Co. KG
                                                                                        16
                                                                                         Immagine notturna
                                      Impianti climatizzazione   Transsolar             del volume cubico
                                      Air-conditioning system    Energietechnik GmbH    smaterializzato dalle
                                                                                        numerose aperture che
                                                                                        appaiono come megapixel
                                                                                        luminosi




106




                                 14
    Projects Zollverein school




                                                                                                                            15




096-107 SANAA.indd 106                                                                                                  6-08-2008 11:56:53
Christian Richters




        16




096-107 SANAA.indd 107        30-07-2008 13:49:46

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Zollverein School, Essen, Germany.

  • 1. Progetti 96 Projects SANAA Zollverein School text by Maura Percoco Località Location Essen, Germany Progettisti Architects Kazuyo Sejima + Ryue Nishizawa / SANAA Collaboratori Collaborators Nicole Berganski, Osamu Kato, Andreas Krawczyk, Jonas Elding, Karen Schutz, Junya Ishigami, Hiroaki Katagiri Committente Client Entwicklungsgesellschaft Zollverein mbH Project manager Project manager Drees & Sommer Strutture Structural engineering SAPS, Bollinger + Grohmann GmbH Impianti Mechanical engineering TRANSPLAN, TRANSSOLAR, Winter Ingenieure Progetto esecutivo Dipl.-Ing. Heinrich Böll Architekt BDA DWB Executive architect Dipl.-Ing. Hans Krabel Impresa edile General contractor Schäfer-Bauten GmbH Progetto Project time 2006 Superficie complessiva Total floor area 7,350m2 096-107 SANAA.indd 96 30-07-2008 13:45:46
  • 2. Christian Richters 1 096-107 SANAA.indd 97 30-07-2008 13:46:03
  • 3. Progetti Scuola Zollverein Era difficile continuare a “parlare sottovoce” differenti tipi di confine (…) mai netti, sempre 1 Le pareti perimetrali in un contesto monumentale come quello delle interconnessi”. In questo senso, l’edificio cu- in cemento armato miniere di carbone della Zollverein, nei pressi bico, con la sua immagine unitaria e sintetica, della Zollverein School di Essen in Germania, nel quale gli architetti demarca la frontiera tra la periferia e un si- of Management and giapponesi Kazuyo Sejima e Ryue Nishizawa to di archeologia industriale; ed insieme, è la Design sono traforate da numerose aperture (fondatori dello studio SANAA) si sono cimen- soluzione di continuità, la porta d’ingresso, ad quadrate, di diversa tati per il progetto dell’omonima scuola di ar- un’area destinata a divenire, nel masterplan di- dimensione, disposte in te e design. Il compito era complesso poiché segnato da OMA, il centro europeo di architet- modo apparentemente l’intervento, il primo da realizzare al di fuori tura, arte e design. Il fuoriscala architettonico, casuale 2 dei confini nazionali, assumeva il significato che per sintesi formale e dimensioni sembra L’edificio cubico, di banco di prova della validità ed eloquenza trasformare questa costruzione in un oggetto monomaterico e di un modo di progettare fuori dal coro – o astratto, quasi immateriale, riesce infine a sta- monocromatico, realizzato forse divenuto fuori moda – perché fa ricorso bilire un rapporto dialettico con le ciminiere, i dallo studio SANAA ad Essen, in Germania ad un lessico minimale per esprimere concet- carriponte, gli impianti di lavaggio e gli edifici 3 ti di disarmante chiarezza. Ultimato nel 2006, industriali esistenti. Inseguendo la logica in- La scuola nel contesto l’edificio, con la sua “intensa presenza”, rivela terpretativa delle relazioni tra le parti, l’edificio industriale delle miniere al pubblico internazionale la coerenza della cubico di SANAA appare privo di peso, mate- di carbone Zollverein, dal 2001 classificate ricerca sull’essenzialità avviata nel 1995 dal- ricità e consistenza plastica. Si presenta come dall’Unesco patrimonio lo studio SANAA; e le numerose realizzazioni una scatola vuota, piena di luce; un involucro dell’umanità (World successive attestano l’esigenza di un ritorno rarefatto che avvolge e trattiene una porzione Cultural Heritage Site) alla sobrietà dei segni, alla misura, al rigore co- di “atmosfera” di Zollverein, da destinare alla 4 La raffinata spazialità degli struttivo. Il progetto prende le mosse dall’idea, didattica, allo studio e alla ricerca. Per realiz- interni è enfatizzata da tanto chiara quanto semplice, di costruire “un zare ciò i progettisti hanno sviluppato preva- una velata illuminazione puro volume di aria e di insolita luce”. La co- lentemente due aspetti nel progetto: quello del naturale che si diffonde struzione si riassume in un solido pressoché confine tra interno ed esterno, da assottigliare uniformemente in ambienti fluidi e continui cubico, monomaterico e monocromatico, sui in modo estremo, per annullare l’immagine cui prospetti 150 finestre, di forma quadrata e della consistenza materiale e del peso; e quello dimensione variabile, si addensano e diradano della organizzazione funzionale, da realizzare in ragione di orientamento e necessità funzio- in modo a-gerarchico, disegnando spazi fluidi, nale . Analogamente ad altri progetti di Sejima continui, dove la luce naturale può diffondersi & Nishizawa, anche nella scuola di Essen, alla senza limiti. A supporto dell’idea architettoni- sintesi formale fa da contrappunto una raffina- ca intervengono sofisticate soluzioni tecnologi- ta spazialità generata dalla luce naturale che che. L’esiguo spessore (30cm) delle pareti peri- proietta sulle superfici interne le sagome ge- metrali in cemento armato a faccia vista, forate ometriche, illuminate e distorte, delle diverse dalle molteplici aperture che si presentano co- misure delle aperture. “In ogni lavoro – ribadi- me megapixel luminosi, è reso possibile dalla sce nelle interviste Sejima – cerco di costruire riduzione dei carichi permanenti – realizzando 98 Projects Zollverein school Christian Richters 2 096-107 SANAA.indd 98 30-07-2008 13:46:18
  • 4. Christian Richters 3 1 Zollverein School of Management and Design It was difficult to speak softly in a monumental turn to a sobriety of signs, to measure, to con- features reinforced cement setting like that of the coal mines of Zollverein structive rigor. The project is inspired by an perimeter walls cut by many near Essen in Germany, where Japanese ar- idea that is as clear as it is simple, of building square openings of different sizes in a seemingly incidental chitects Kazuyo Sejima and Ryue Nishizawa “a pure volume of air and of unusual light”. arrangement (founders of the SANAA firm) have faced the The construction may be described, in a nut- 2 challenge of designing the homonymous art shell, as an almost cubical mass in just one The cubic building, made of a and design school. The task was complex be- material and just one color, on whose facades single material and color, was designed by the SANAA studio cause the project, the first realized outside the 150 windows, square and of variable dimen- in Essen, Germany national borders, became the testing ground of sions, are arranged, close together in some 3 the validity and communicative characters of points and far apart from one another in oth- The school is in the industrial a way to design that is usual – or that has per- ers, depending on orientation and functional context of the Zollverein coal mine, which was classified haps become unfashionable – because it re- requirements . Analogously to other projects as an Unesco World Cultural sorts to a minimal vocabulary to express con- by Sejima & Nishizawa, also in the school of Heritage Site in 2001 cepts of disarming clarity. Completed in 2006, Essen the formal synthesis is foiled by a re- 4 the building, with its “intense presence”, has fined spatial effect created by daylight which Soft natural lighting spreads evenly in fluid, continuous shown an international public the coherence projects, on the internal surfaces, the geomet- spaces, underscoring the of a research on essentiality commenced by ric outlines, illuminated and distorted, of the interiors’ sophisticated spatial the SANAA firm in 1995, and the many suc- different measures of the openings. “I always design cessive projects bear witness to a need to re- try to make different types of borders – Sejima 096-107 SANAA.indd 99 30-07-2008 13:47:05
  • 5. Progetti Scuola Zollverein solai a tessitura bidirezionale – e dall’elimina- zione degli strati di isolante – inserendo nelle stesse pareti perimetrali una rete di tubi entro cui circola acqua a circa 27°C proveniente dal sottosuolo di un’area limitrofa. La distribuzio- ne interna ricalca il programma funzionale: 4 principali categorie d’uso corrispondenti ai 4 livelli sovrapposti in cui è organizzata la scuola. Semplicità volumetrica e chiarezza dell’impianto vengono appena complicate dal- la differente altezza degli interpiani che ge- nerano, nella sovrapposizione di solai identici (35x35m), sensazioni dissimili. Dall’impressio- ne di sobrietà degli ambienti comuni al piano terra (h4,40m), alla percezione di solennità degli spazi per la didattica e lo scambio di idee al secondo livello, cui si addice l’interpiano di altezza maggiore (h9,80m); dal senso di mi- sura della biblioteca al terzo piano (h5,00m), all’atmosfera di intimità degli uffici al quarto (h3,15m), fino all’idea di vastità dell’area per eventi sul tetto-giardino, coperta in parte alla quota di 7,30m. Nella logica di una “trasparen- za percettiva”, prodotta non tanto dai materia- li quanto dalla configurazione degli interni, la struttura è ridotta all’essenziale. Tre nuclei cavi in cemento armato a faccia vista – che con- tengono i collegamenti verticali e i servizi – e due esili colonne in acciaio, smaltate di bianco, sono liberamente collocati entro il perimetro dell’edificio. Questi volumi, come oggetti auto- nomi, interrompono i solai per ridurne la luce strutturale, ma mantengono la fluidità dello spazio. È lo studio dei confini tra le diverse aree funzionali, infine, a consentire alla luce, diffondendosi con omogeneità, di annullare la 100 points out in the interview – not strong borders but connection(...)”. In this sense the cubical building, with its unitary and synthetic image, marks the border between the city outskirts and a site of industrial archaeology, and at the same time it acts as demarcation, as en- trance gate to an area that according to the master plan designed by OMA will become the European center of architecture, art and de- sign. The architectural over-size effect, which by formal synthesis and dimensions seems to turn this building into an abstract, almost im- material object, finally succeeds in establish- ing a dialectic relationship with the chimneys, the bridge cranes, the washing plants and the industrial buildings in the area. Pursing a logic based on an interpretation of the relations be- tween the parts, the cubical building designed by SANAA appears weightless, without matter and plastic consistency. It looks like an empty box, filled with light, a rarefied shell which To accomplish this the architects have focused on Projects Zollverein school two aspects of the project: that of the demarca- tion between interior and exterior, which has been reduced to a minimal thickness in order to cancel the image of the consistency of the material and weight, and that of the functional organization, realized in an anti-hierarchical manner, to design fluid, continuous spaces in- Christian Richters Christian Richters to which natural light may flood without any restrictions. Sophisticated technological solu- tions make the architectural idea feasible. The thinness of the outer walls (30cm) in un- treated reinforced concrete, perforated by the numerous openings that remind of luminous 4 7 096-107 SANAA.indd 100 30-07-2008 13:47:23
  • 6. 096-107 SANAA.indd 101 30-07-2008 13:47:36
  • 7. A Progetti Scuola Zollverein 5, 6, 7, 8 Le piante dei quattro livelli sovrapposti in cui è organizzata la scuola, 6 corrispondenti alle 4 principali categorie d’uso: ambienti pubblici al piano terra, aree per la didattica al primo, biblioteca al secondo, area 2 amministrativa al terzo: 1. reception; 2. caffetteria; 3. auditorium; 4. spazio espositivo; 5. aula studio; 6. area riposo; 7. aule per seminari; 8. biblioteca; 1 9. sala conferenze; 5 10. patio; 11. ufficio 9 Le sagome geometriche, illuminate e distorte, 3 delle diverse misure delle aperture che la luce naturale disegna sulle superfici interne 4 4 10 I prospetti dell’edificio rispettivamente esposti ad est, a nord, ad ovest e a 5 A 6 0 3 5m sud. Le aperture quadrate hanno lati di tre diverse dimensioni: 280cm, 180cm o 140cm 6 7 10 11 7 7 10 8 9 11 102 4 10 10 8 10 7 8 5, 6, 7, 8 megapixels, is possible thanks to the reduction izing the library on the third floor (h5.00) and The floor plans of the school’s four stacked levels of the permanent loads – by means of floors the more intimate atmosphere of the offices on correspond to four major with two-directional web and the elimina- the fourth (h3.15m); finally, the roof garden, uses: public spaces on the tion of layers of insulating materials, replaced partially covered by a roof at a height of 7.30m, ground floor; teaching by the introduction of a grid of pipes in the dedicated to events, is characterized by a feel- spaces on the first floor; the library on the second floor; walls, in which water at a temperature of about ing of vastness. and the administrative area 27°C, channeled from a nearby underground According to a logic of “perceptive transpar- on the third: 1. reception; source, circulates. The internal distribution ency” produced by the configuration of the 2. cafeteria; 3. auditorium; reflects the functional program: 4 main cat- interiors rather than by the materials as such, 4. exhibition space; 5. working space; 6. lounge; egories corresponding to the 4 superimposed the structure is reduced to the essential. Three Projects Zollverein school 7. Seminar rooms; 8. library; floors in which the school is organized. The hollow nuclei in untreated reinforced con- 9. conference room; volumetric simplicity and clarity of the system crete – which contain the vertical connections, 10. patio; 11. office is made slightly more complicated by the dif- bathrooms and accessory facilities – and two 9 Distorted geometric forms ferent heights of the intermediate floors that slender steel columns, varnished in white, are of natural light from the create very different sensations in the super- placed freely within the perimeter of the build- different sized windows imposition of the identical floors (measuring ing. These volumes, like autonomous objects, are thrown on the interior 35x35m). The sober atmosphere of the com- interrupt the floors to reduce the structural surfaces 10 munal areas on the ground floor (h4.40m) span, without interfering with the fluidity of The building’s elevations, contrasts with the solemn air of the the edu- the space. Finally, it is the study of the bor- facing east, north, west and cational spaces and exchange of ideas on the ders between the different areas that makes south, respectively. The second floor, appropriate for the area with the it possible for the light to enter evenly and square windows have sides with three different sizes: highest ceilings (h9.80) ; this interior is very cancel the spatial hierarchy. The areas of the 280cm, 180cm or 140cm different from the sense of measure character- entrance, reception, café and the exhibition 096-107 SANAA.indd 102 30-07-2008 13:47:48
  • 8. Christian Richters 9 10 096-107 SANAA.indd 103 30-07-2008 13:47:50
  • 9. Progetti Scuola Zollverein gerarchia spaziale. Le zone d’ingresso, di ri- ed “affondato” nel solaio del piano terra; se le cevimento, della caffetteria e di esposizione al aule dei seminari si presentano come tre “sca- piano terra; le aree per l’istruzione, il dialogo tole” autonome, bianche ed astratte, collocate e il riposo al primo piano; i depositi e le aree di al terzo livello. O infine, se gli uffici e le stan- lettura al terzo, hanno tra loro limiti effimeri, ze per riunioni al quarto piano, disimpegnati labili, appena accennati dall’assetto degli ar- da uno “spazio interstiziale” sul perimetro, si redi. La disposizione appare piuttosto un sug- addensano in una fitta scacchiera liberamente gerimento, un’opzione d’uso tra le numerose interrotta da cinque patii che ritagliano cinque possibili. Ed è ancora una questione di confini, “quadrati di cielo” e scompaginano ancora il di continuità e relazioni tra le parti, se l’audito- confine tra gli ambienti serrati del lavoro e lo rium è trattato come un prisma di vetro, isolato spazio vuoto della luce. 0 2 5m 104 t= 11 Projects Zollverein school space on the ground floor; the areas dedicated like three autonomous “boxes”, white and ab- to teaching, dialogue and rest on the first floor; stract, arranged on the third floor; and finally the storage and reading rooms on the third, the way the offices and meeting rooms on are divided by ephemeral, faint limits, only just the fourth floor, connected by an “interstitial suggested by the arrangement of the furniture. space” a interstitial space that goes around The distribution appears as an indication, as the perimeter, become more dense, to form a one possible way to use the space among many chessboard pattern that is freely interrupted other, possible solutions. Borders, continuity by five patios that form five “squares of sky”, and relations between the parts have inspired once again shifting the borders between the many other aspects of this project, as the way compact work areas and the empty space of the auditorium is treated like a glass prism, the light. envelops and withholds a portion of isolated and “sunk” into the ground floor; the the “atmosphere” of Zollverein, dedicating it way in which the seminary halls are designed to teaching, study and research. 096-107 SANAA.indd 104 30-07-2008 13:48:21
  • 10. 11 La sezione evidenzia le differenti altezze di interpiano tra i solai 12 Immagine del tetto- giardino parzialmente coperto 13 Vista interna dell’area amministrativa al quarto livello. Gli uffici e le sale riunioni sono organizzati secondo una serrata scacchiera, disimpegnati da uno “spazio interstiziale” sul perimetro e illuminati da cinque patii Christian Richters 12 11 The section highlights the different heights of the space between floors 12 Image of the partially covered roof-garden 13 Interior view of fourth floor administration area. The offices and meeting rooms are organized in a tight checkerboard pattern, coming out into an “interstitial space” along the perimeter, lit by five patios 14 A construction stage of the floor slabs patented system by Cobiax 15 Construction detail of floor slabs with a two-directional composition plan for large structural spans, reducing Christian Richters permanent loads by approximately 30% 16 Night image of cubic volume dematerialized by the many windows, looking like lighted megapixels 13 096-107 SANAA.indd 105 5-08-2008 15:31:13
  • 11. Progetti Scuola Zollverein Informazioni 14 Information Una fase della costruzione dei solai, sistema brevettato dalla Cobiax Solaio alleggeriti Cobiax Technologies 15 Flat slabs GmbH Dettaglio costruttivo dei solai a tessitura Casserature Westag & Getalit AG, bidirezionale per ampie Formworks Rheda-Wiedenbrück luci strutturali che consentono di ridurre i Cemento Dyckerhoff Beton carichi permanenti del 30% circa Concrete GmbH & Co. KG 16 Immagine notturna Impianti climatizzazione Transsolar del volume cubico Air-conditioning system Energietechnik GmbH smaterializzato dalle numerose aperture che appaiono come megapixel luminosi 106 14 Projects Zollverein school 15 096-107 SANAA.indd 106 6-08-2008 11:56:53
  • 12. Christian Richters 16 096-107 SANAA.indd 107 30-07-2008 13:49:46