press sheet Spengergasse 37 1050 Vienna, Austria T +43 (0) 1 546 60- 0 F +43 (0) 1 546 60- 600 office@coop-himmelblau.at www.coop-himmelblau.at 1 2 Wolf D. Prix / W. Dreibholz & Partner ZT GmbH press sheet Spengergasse 37 1050 Vienna, Austria T +43 (0) 1 546 60- 0 F +43 (0) 1 546 60- 600 office@coop-himmelblau.at www.coop-himmelblau.at is not a color but an idea of creating architecture with fantasy, as buoyant and variable as clouds. 4 Wolf D. Prix / Design Principal / CEO / Co-Founder of COOP HIMMELB(L)AU 1968 5 The Cloud is an organism for living. The structure is mobile, the space can be modified. The building materials are air and dynamics. (Technique is a means to an end but not an end in itself. Architecture is content, not shell.) The Cloud was designed for the study Living forms for the future and was planned as a realization for the Documenta V. It was thoroughly developed down to the smallest detail in terms of concrete form and structure. Cloud 1968 6 The Cloud - COOP HIMMELB(L)AU, 1968 88 Erwin Wurm 9 10 10 under construction European Central Bank (ECB) frankfurt, germany competition, 1 Prize 20032014 House of Music aalborg, denmark competition, 1 prize 2003/20082012 Dalian International Conference Center dalian, china competition, 1 prize 20082011 Busan Cinema Center busan, south korea competition, 1 prize 20052011 Muse des Confuences lyon, france competition, 1 prize 20012014 Apartment Building Liesing Brewery vienna, austria 2002/20062011 11 project data concept text European Central Bank (ECB) Urbanism and Architecture The location for the new headquarters of the European Central Bank (ECB) in Frankfurts Ostend district has the potential of adding a new landmark to the Frankfurt skyline that will be visible at great dis- tances. The starting point for the design of the towers was the urban perspectives of the city of Frankfurt. At a height of around 185 meters, the double tower, with its polygo- nal shape and east-west orientation, has a striking profle that is visible from all important reference points in Frankfurts city center, as well as from the river Main. Thanks to its form and presence, the double tower will become a characteristic feature of the Frankfurt skyline. Urban planning and integration The imposing form of the Grossmarkthalle (wholesale market), which so strongly characterizes Frankfurts skyline and the north bank of the river Main, unites with the vertical profle of the towers to form a signifcant ensemble that considers both the local urban design environment and the general urban spatial context, thus creating a tension between Frankfurts banking district and the Ostend area. By concentrating the ECBs functions in the Grossmarkthalle, the south side of the premises, facing the Main, can be largely kept free of construction. The prominent view of the south side of the hall from the Main embankment with the clearly visible profle of the high-rise emphasizes its special position. The architectural concept of the tower The tower ensemble is the result of a design process inspired by the urban links with the city of Frankfurt. Owing to its clear orientation towards the important urban perspectives, the ensemble enters into a dialogue with the important urban reference points in Frankfurt: the Alte Oper, the Museumsufer and the fnancial district. Starting with the economical typology of a double-slab high-rise, a second design step combines the urban planning specifcations with the geometric transformation of the towers, in order to generate a multi-faceted building structure while preserving its urban signifcance. The vertical city The atrium between the ofce towers becomes a vertical city. Through platforms we are creating spaces, plazas and pathways between the towers, just as they exist in a city. The connecting and transferring levels divide the atrium horizontally into three sections of diferent sizes, with heights ranging from around 45 to 60 meters. These connecting platforms, bridges, ramps and stairs form a net- work of links between the ofce towers. They create short paths between the individual ofce foors in each tower and thus enable larger, interconnected usable ofce spaces on one or more foors in both towers, thereby also promoting informal communication. This new typology supports a dynamic development of form and enables diferentiated ofce spaces with diferent panoramic perspectives. The Grossmarkthalle a forum for communication Our design reinforces the Grossmarkthalles existing potential as an urban foyer housing a conference and visitor center, as well as a library and restaurant, through the incorporation of a building for the press center which traverses the structure of the Grossmarkthalle. This so-called entrance building, in which ECB press conferences will be held, occupies a special position in content, form and space and thereby marks the entrance to the ECB. Since the western parts of the Grossmarkthalle were reconstructed after being destroyed during the Second World War and do not, there- fore, represent part of the substance of the original building even in the way they are constructed we propose, as agreed with the historic preservation authority, that the incision for the new entrance to the ECB be in this part of the hall. We continued to develop the concept of integrating the extensive functional areas into the Grossmarkthalle, as suggested during the Optimisation Phase. As before, the required new facilities are being placed in the spacious interior of the hall as independent building structures (the house within a house concept). The building struc- tures, which are at diagonal angles to the Grossmarkthalle, allow the hall to be experienced along dynamic spatial sequences and this not only in the public areas of the halls ground foor, but also on the upper levels, which, with their conference and restaurant facilities, are largely reserved for employees of the ECB. The restaurant struc- ture, as a visible sign of the new functional areas in the hall, gener- ously orients the employee restaurant and terrace towards the Main in the south. Program: Ofce Competition Phase 1: 2003, 1st Prize Competition Phase 2: 20032004 Revision Phase: 2004 Optimization Phase: 2005 Start of Planning: 2004 Scheduled Opening: 2014 Site Area: 120,000 m Gross Floor Area: 185,000 m Client: European Central Bank (ECB), Frankfurt/M., Germany frankfurt, germany 20032014 12 View from West, Gossmarkthalle and Tower / Isochrom.com 13 project data concept text COOP HIMMELB(L)AUs design for The House of Music in Aalborg com- bines Cultural and Educational functions with shared public spaces, performance spaces and infrastructure in an open system enabling synergy and exchange between the public, artists, students and edu- cators a shared Hybrid space. Music, Creativity and Art are the centers of inspiration, both of the shared-synergetic behavior and of the form and expression of the architecture. Formal and informal encounters and exchanges are enabled via public spaces that are oriented towards the adjacent Culture Square and Fjord, and are designed to serve as interchange platforms con- necting the semi-public and private functions of the multiple institu- tions housed within, and providing areas of exchange of information, knowledge and inspiration for the various residents and the public in the House of Music. A 1,300 seat, world class, symphonic concert hall is at the core of a compact U-shaped block of music, educational and performance support spaces which wrap around the Main Hall on three sides. The Building composition opens to the north in a vertical public foyer with views over the fjord and adjacent Culture Square. Three addi- tional halls of various sizes and functions complement the Main Hall and are organized below the Foyer in a vertical inversion of the classi- cal front-of-house / back-of-house horizontal orientation, optimizing foor space and providing a lively vertical social space with a mix of users and visitors. House of Music aalborg, denmark 2003/20082012 Program: Concert Hall, Education Competition (1st Prize): 2003 Start of Planning: Hom II: Feb.2008 Net Area: 11,896 m Gross Area: 12,052 m Client: North Jutland House of Music Foundation, Aalborg, Denmark 14 Main Entrance & Restaurant / COOP HIMMELB(L)AU 15 project data concept text Architectural Concept The building has both to refect the promising modern future of Dalian and its tradition as an important port, trade, industry and tourism city. The formal language of our project is not pictographic, but associa- tive; it will combine and merge the rational structure and organi- zation of its modern conference center typology with the foating spaces of traditional Asian architecture as well as with a design remi- nescent of the soft surfaces generated by the forces of the sea. The project combines the following functions within one hybrid build- ing with synergetic efects of functionality and spatial richness. Conference Center Theater and Opera House Exhibition Center Parking, Delivery and Disposal A public zone at ground level allows for diferentiating accessibility for the diferent groups of users, with the shopping and exhibition facilities directly connected to the conference center providing dra- matic sight axis within the building. The actual performance and conference spaces are situated at +15 m above the entrance hall. The grand theater, with a capacity of 1,600 seats and a stage tower, directly opposite of a fexible conference hall for 2,500 seats, is positioned at the core in the center of the building. With this arrangement the main stage can be used for the classical theater auditorium as well as for the fexible multipurpose hall. The main auditorium is additionally equipped with backstage areas like in traditional theaters and opera houses. This scheme is appropri- ate to broaden the range of options for the use of this space: from convention, musical, theater even up to classical opera, with very little additional investment. The main auditorium has the option to get equipped with a fexible foor providing all possible utilization from banquet to parliamentary seating. The smaller conference spaces are arranged like pearls around this core, providing very short connections between the diferent areas, thus saving time while changing between the diferent units. Most conference rooms and the circulation areas have direct daylight from above. Through this open and fuid arrangement the theater and confer- ence spaces on the main level establish a kind of urban structure with squares and street spaces, which facilitates on the one hand user orientation within the building by identifable address- es, and on the other hand provides also the required informal meeting places, chill-out and catering zones in between the halls, with view on the outside an ideal atmosphere for modern confer- ence utilization. The access to the basement parking garage, truck delivery and waste disposal is located at the southwestern part of the site, thus freeing the front driveway to the entrances from transit trafc. The main entrance from the sea side corresponds to the future develop- ments, including the connection to the future cruise terminal. Dalian International Conference Center Program: Conference Center Competition: 03/2008, 1st Prize Start of Planning: 07/2008 Start of Construction: 11/2008 Groundbreaking: 15 November 2008 Completion: 2011 Site Area: 40,000 m Gross Floor Area Total: 117,650 m Client: Dalian Municipal People's Government, P.R. China dalian, china 20082011 16 Main Entrance View / Coop Himmelb(l)au 17 project data concept text Busan Cinema Center busan, south korea 20052011 The Busan Cinema Center A multifunctional urban plaza COOP HIMMELB(L)AUs design for the Busan Cinema Center and home of the Pusan International Film Festival (PIFF) provides a new intersection between public space, cultural programs, entertainment, technology and architecture creating vibrant landmarks within the urban landscape. LED saturated outdoor roof elements acting as a virtual sky connect building-objects and plaza-zones into a continuous, multifunctional public urban space. Media, technology, entertainment and leisure are merged in an open- architecture of changeable and tailored event experiences. The result is a responsive and changing space of fows acting as an urban cata- lyst for cultural exchange and transformation. Project Description The concept envisions an urban plaza of overlapping zones includ- ing an Urban Valley, a Red Carpet Zone, a Walk of Fame and the PIFF Canal Park. The urban plaza is formed by building and plaza ele- ments sheltered by two large roofs that are enabled with computer programmed LED outdoor ceiling surfaces. The larger of the roofs includes a column-free cantilever of 85 meters over a multifunctional Memorial Court event plaza. The urban zones of the complex are formed by individual and recognizable building objects placed below the outdoor roofs. The building objects contain theater, indoor and outdoor cinemas, convention halls, ofce spaces, creative studios and dining areas in a mixture of sheltered and linked indoor and outdoor public spaces. The design of these spaces supports fexible, hybrid functionality that can be used both during the annual festival period and day-to-day use without interruption. The urban zones defned by functional surfaces in plan are further ar- ticulated in a sectional dialogue between stone-clad ground forms of the CineMountain and PIFF Hill, and the metal and LED clad sky elements of the roofs. The materiality of the building objects diferen- tiates the spaces and articulates the architectural concept. Through their shape, placement and materiality, the various parts create a dynamic and informal tension between the ground and the roof. Program: Commercial Cinema, Outdoor Cinema, Public Plaza and Home of Film Festival Competition: 11/2005, 1st Prize Site Area: 32,100 m Gross Floor Area: 57,981 m (interior) Built-up Area: 10,005 m Volume: 349,700 m Start of Planning: 01/2007 Start of Construction: 10/2008 Completion: 10/2011 (estimated); Scheduled Opening: 11/2011 Building Costs: EUR 100 Mio (budget) Client: P(B)usan International Film Festival Organizing Committee 18 View From East, Urban Plaza / Isochrom.com 19 project data concept text Crystal Cloud of Knowledge The future society will be a society of knowledge. However this knowledge can hardly be split into clearly defned felds. Innovations develop within interspaces, within indistinctness, within the overlapping and hybridising. Questions regarding the future will be decided within transitional felds situated between technology, biology and ethics that are the central themes of the Muse des Con- fuences. Mutations of form, penetrations, deformations, simultanei- ties, breakdowns and variabilities have an efect on architecture. The resulting architecture is characterised by the interactions, the fusion and mutation of diferent entities constituting a new shape. The Muse des Confuences does not consider itself as an exclusive temple for the intellectual bourgeoisie but as a public place providing access to the knowledge of our age. Stimulating a direct and active use, it is not only a museum site but also a venue in town. The architecture hybridises the typology of a museum with the typology of an urban leisure space. Hard Space Soft Space The concept of two complexly connected architectural units are a result of the striking interface-like situation of the building site. The crystal rising towards the side of the town is conceived as an urban forum and entrance hall for visitors. Its shape that can be read clearly stands for the everyday world. In contrast to this the cloud hides the knowledge about the future; it is a soft space of hidden streams and countless transitions. Within the Muse des Confuences the present and the future, the known and the still unknown are conceived as a spatial arrangement trying to spur public curiosity. As an extension of the park located on the Southern top of the island a new urban space formulates itself; a landscape consisting of ramps and surfaces merging the inside and the outside and resulting in a dynamic sequence of spatial events. This movement is also followed by the alternating spatial structure of the exhibition halls. Closed Black Boxes and free exhibition areas alternate by exploiting the double room height of two levels. The architecture is as changeable as the content entrusted. The idea of the permanent reinvention of an urban event enables Lyon to perfectly position itself within a regional as well as within a global context. lyon, france 20012014 Muse des Confuences Program: Museum Competition: 2001, 1st Prize Start of Planning: 2002 Start of Construction: 10/2006 Scheduled Completion: 2014 Site Area: 20,975 m Floor Area: 26,700 m Building Costs: EUR 100 Mio Client: Dpartement du Rhne, Lyon, France 20 Rendering, View from North West / Isochrom.com 21 project data concept text Apartment Building Liesing Brewery The designs urban planning concept develops from the distinc- tive topography of an east-west ridge along the Liesing River. In a zone between urban and suburban structures, the planning area is characterized by the transition from enclosed building blocks south of the Breitenfurter Strae, an open, fragmented ur- ban fabric in the north, the long-stretched Liesinger Platz square to the east, and the aqueduct in the west. Planned as a backbone of the design is a distinctive, space form- ing, snake-shaped structure that redefnes the urban space along the existing topography as it stretches between the aqueduct and the enclosed building fronts on the north side of Liesinger Platz; a vertical connection is created between the levels of Breitenfurter Strae and the levels of the old brewery cellar. The structure thus becomes a built topography, which allows for a multilevel city district. A linear, southwardly terraced building extends between this structure and Breitenfurter Strae, which through projections and recesses adds dynamic to the spatial fow along the street. The building height of the terraced houses diminishes toward the west; a high building in the east defnes Liesinger Platz and simultaneously marks the entry to the shopping center and the entire complex. Between these two building structures variable, fowing public squares and spatial sequences are created, which through the shopping center are interwoven with the newly designed Liesing- er Platz into an accentuated multi-level spatial continuum, defn- ing the shopping center as an indoor shopping street. At several strategic points this new east- west stretching urban fabric is interrupted through broad gaps, so that on the one hand the green spaces in the north and on the other the urban spaces in the south can freely fow through. This creates a connection of the existing housing south of the Liesing River with the public spaces of the complex and the natural landscape in the north and enables generous visual connections between the various urban spaces. Through the manifold connections between existing structures, free spaces, and the topography of the natural green space, the entire complex becomes a built urban landscape. Program: Residential, Shopping, Ofce, Landscape Expert Study: 20002001 Masterplan: 20012002 Design And Site Development Competition: 20052006 Masterplan Subarea Implementation: Start of Planning: 2006 Completion: 2011 The Mixed Use Program contains:; Housing: 23,000 m BGF Ofce: 4,300 m BGF Special Form of Housing/Housing For The Elderly: 8.700 m BGF Total: 36,000m BGF Landscape Design: Plaza: 13,200 m Design of the Shopping Front: Extile Front: 3,000 m (in Cooperation with Artist Peter Kogler) Glasfront Shopping: 1,300 m Total Building Costs: EUR 32 Mio Client: ARWAG Bautrger Gesellschaft m.b.H. / WIEN SD Gemeinntzige Bau- und Wohnungsgenossenschaft vienna, austria 2002/20062011 22 Model Photo, View from South East / Markus Pillhofer 23 24 in planning The Open Parliament of Albania tirana, albania competition, 1 Prize 2011 Energy Roof Perugia perugia, italy 2009 Strongoli Art Museum strongoli, italy 20092012 Museum of Contemporary Art & Planning Exhibition shenzhen, china competition, 1 prize 20072013 25 The Open Parliament of Albania Architectural and urban design strategies As the future political center of the Albanian Republic, the Open Parliament of Albania creates an outstanding architectural landmark in one of the main parts of Tiranas urban fabric. Situated along the compositional axis of the city, it is located in vicinity to the major governmental institutions. The design for the Open Parliament of Albania relies on three main ideas: To provide a strong urban statement in this exposed part of Tiranas urban fabric; To assemble the diferent functions in one building ensemble that is compact enough to create a public forum and a park on the southern part of the site; To create a unique building for the most important public institu- tion of the Albanian Republic with a contemporary architectural approach shaped to optimize active and passive energy use. The design incorporates fundamental democratic values such as openness, transparency and public co-determination. The simulta- neity of competing political concepts within a democratic society is translated into the design concept: Diferent building elements are not opposed, but coexist in one building ensemble with a contempo- rary aesthetic that allows visualizing new functions and meanings. Energy Concept The new parliamentary building for the Republic of Albania is de- signed to capture the natural resources and energy fows of its sur- roundings and employ them to provide optimal environmental condi- tions for its occupants. The spatial confguration of the building form and the optimization of the building envelope together with the use of renewable energy sources ensure an energy efcient design and reduce dependence on fossil fuel energy sources. The Parliamentary Hall Spatially, the new Parliaments Chamber refects a basic democratic principle, the power of the electorate, by situating the public above the elected assembly members while placing the chamber hall at the physical and metaphorical center of the building ensemble. Program: Ofce, Parliament Competition: 2010/11, 1st Prize Site Area: 28,000 m Gross Floor Area: 38,650 m Client: The Republic of Albania, The Parliament tirana, albania 2011- 26 COOP HIMMELB(L)AU 27 project data concept text Energy Roof Perugia Location The new glass gallery along Via Mazzini in the center of Perugia cov- ered by the Energy Roof creates the entry point to the archaeological underground passage that connects the city center with the mini metro station Pincetto. Urban Strategy By means of a glass gallery along Via Mazzini, a new public space and attractor is created. The place is defned by its history, dynamic circulation fows and urban liveliness. The new paradigmatic design of the Energy Roof creates a distinctive and highly recognizable icon for the city and a statement for aesthetic sustainability correspond- ing with the ancient buildings of Via Mazzini. It assigns the entrance to the archaeological underground passage leading through the his- tory of Perugia. Walking through history The underground passage is not only a shortcut in between the city center at Via Mazzini and the arrival point of the Mini Metro station Pincetto but also an exhibition space. Historical documents show the existence of the old Etruscan city wall in the area bellow Piazza Gia- como Matteotti which COOP HIMMELB(L)AU proposes to excavate as part of an underground public gallery space exhibiting the history of Perugia. Controlled views and look-out points make orientation easy. Openings in the ground of the Piazza Giacomo Matteotti visually con- nect the underground passage with the Energy Roof. Energy Roof The roof design is driven by the generation of energy for the city. While the orientation of the west wing is optimized in relation to solar radiation, the east wing captures wind. The roof consists of 3 layers: the energy generating top layer, the structural layer in the middle and a layer on the bottom as a combination of laminated glazing and translucent pneumatic cushions. The top layer includes transparent photovoltaic cells to generate electricity and shade the sun. The orientation of the individual cells is generated and optimized by a computer driven scripting program. Furthermore 5 wind turbines that are placed inside the structural layer are generating additional energy. Both the roof and the under- ground passage are energy self-sufcient. Generation of Energy - Photovoltaic During the design process of the energy roof a special focus has been put on using photovoltaic cells as functional and aesthetic elements. To maintain visual connections to the surroundings we propose to use frameless glass elements with integrated transparent photovol- taic cells for the top layer of the roof. Therefore sun-shading, energy generation and architectural integration are all combined in one ele- ment. The chosen geometry of the panels follows the overall shape of the Energy Roof, and curved lines made of photovoltaic cells are created. The photovoltaic elements are peeling of the surface and tilted to- wards the sun where the roof area is oriented to the North East. The resulting gaps are closed by passive glass panels which appear simi- lar to the active panels. This installation creates a photovoltaic energy generator with a per- formance of around 73 kWp. The annual output of 100 MWh provides a major contribution to environmentally friendly generation of ener- gy. With the wind turbines and an additional performance of around 25 kWp a peak performance of around 100KWp is reached. Structural Description - Preliminary The roof consists of three layers with the structural layer in the middle. The other two layers are the energy generating layer on the top and the glazing layer on the bottom. In the summer, the east wing of the roof, forming a rotor blade, captures wind, thus providing air ventilation for cooling. The structure therefore has to be sufciently open to drive the fresh air to the street level from above. The roof structure is approximately 80 meters long supported by a tripod in the middle. There are ten members connecting the roof structure and the tripod. The structure, forming a rotor blade, is 16 meters wide at the ends while in the middle part, around the support- ing points, the roof slims. The geometry of the structure is determined by crossed planes that are arrayed in longitudinal direction. The intersection of the planes and the geometry of the propeller describe the perimeter of the load bearing structure. To provide the sufcient air-ventilation and to reduce the self-weight of the structure holes are cut in the plane of the planes in a way that the remaining areas are connected and are performing as a rigid and optimized composition. These connected planes consist of single beams and act as trusses. Program: Energy Roof Local Partner: Heliopolis 21 Architetti Associati, San Giuliano Terme (Pisa), Italy Civil & Structural Engineer: B+G Ingenieure, Bollinger und Grohmann GmbH, Frankfurt, Germany Energy Design: Baumgartner GmbH, Germany Client: Universit degli Sudi di Perugia/ Dipartimento di Ingegneria Civile e Ambientale, Italy perugia, italy 2009 28 View from South East / Coop Himmelb(l)au 29 project data concept text Strongoli Art Museum Visible from far away on the top of the Motta Grande, a hill just out- side of Strongoli, the new Art Museum Strongoli creates a remarkable landmark for the city in the heart of Calabria. Not only is the museum a cultural institution, but also a generator for the future development of Calabria, a place of cultivated entertain- ment and recreation and a destination for locals and tourists alike. The hybrid form of the building is developed from the connection of three functional bodies: an iconic, cone-shaped construction with the public entrance, the main volume of a multifunctional hall which houses the exhibitions, and a daringly cantilevered panoramic restaurant. This sculpural merging of forms is enveloped by a cur- vated outer skin, which responds dynamically to climatic forces like the sun, wind and also the conditions of view on the surrounding landscape. The public entrance in the cone-shaped foyer area is oriented to- wards the city. Its spiralling ramp which gives access to the exhibi- tion zone makes it is also a spectacular event space. At the other end of the building, the restaurant ofers a great view to the sea in the east and on the surrounding landscape from its panoramic terrace. Between these two parts the visitors itinerary leads in a loop through the two-storey fexible exhibition area. The spaces for regular exhibitions are situated on its upper level, below lies the VideoLab for contemporary media art. Both spaces are directly ac- cessed by two elevators from the service area in the basement, which includes also the administrative spaces lighted from the downhill side. The multifunctional hall can also be used as lecture hall, audi- torium, cinema, or just as an extension of the foyer when there are public events. Thus the new Art Museum Strongoli is not only a place to experience art, but also of cultural exchange, with the potential to become one of the hippest destinations in southern Italy. Program: Museum Gross Floor Area: 6,000 m Museum Curator: Carla Piscitelli stongoli, italy 20082014 30 View from North East towards Motta Grande / Isochrom.com 31 project data concept text Museum of Contemporary Art & Planning Exhibition The design is an urban meeting point and serves as a dynamic ele- ment in the progressive system of the City of Shenzen in the middle of their new center, the "Futian Cultural Center". The building inte- grates itself in the language of the established master plan with a site area of approximately 30.000 sqm and represents the discovery of an individual exciting object. The form of the 40 m high building is a result of a vertical extru- sion and rotation from the rectangular ground foor through to the roof level. A new entry orientation has been achieved through this rotation to the axial center of the cultural zone of the Futian Central District and to the main circulatory fows. The resulting rotation gen- erates a dynamic building in the form of an "active wave". By using black anodized metal and black glass, the active wave is frozen into an urban monolith. Program: Museum Competition (1st Prize): 2007 Start of Planning: 2008 Start of Construction: 2010 Estimated Completion: 2013 Site Area: 21,688 m Gross Floor Area: 80,000 m Building Costs: 90 Mio. Building Height: 40 m Number of Stories: 7 Max Building Length: 160m Max Building Width: 140 m Clients: Shenzhen Municipal Culture Bureau, Shenzhen, China & Shenzhen Municipal Planning Bureau, Shenzhen, China Structural Engineering: B+G Ingenieure, Bollinger und Grohmann GmbH, Frankfurt, Germany; Mechanical Engineering (Hvacs): Arup/ Brian Cody, Berlin, Germany shenzhen, china 20072013 32 Museum of Contemporary Art & Planning Exhibition Main Entrance View/ Coop Himmelb(l)au 33 34 recent competition/studies (selection) Archaeological Museum Egypt tell el-daba, egypt 2010 Silver Cloud cairo, egypt 2009 Mixed Use Center Baku baku, azerbaijan 2008 Zorlu Gateway Center istanbul, turkey 2007 35 Archaeological Museum Egypt tell el-daba, egypt 2010 This project for a new Archaeological Museum in Egypt is situated near the excavation site of Tell el-Daba in the eastern Nile delta. Here, Archeologists could locate the remains of major antique trading centers dating from more than 3000 years ago, including Avaris, the Hyksos capital of the Middle Kingdom, and Pi-Ramesse, the capital of the New Kingdom. Surrounded by agricultural land, the new building will stand out as a landmark on the bank of the Elhosania Fakos River. Concept The design of the museum, infuenced by the history of the site and its specifc conditions of topography and climate, and organized by the functional program, lead to a unique architectural space which in turn is responsive to its uses and the environment. The development of the form, derived from the geometry of a truncated pyramid, has been driven by four main strategies. Accessible Landmark The building is a walkable monument. From the entrance plaza a spi- ral ramp leads upwards as a loop around the museum embedded in its sloped exterior surface, thereby ofering a gradually changing and widening panoramic view to the surrounding landscape. The walkway ends at the top in front of a caf and a secondary entrance, which allows the visitors to start their tour inside not only from ground foor, but also from high above. Program The main entrance plaza on 5.00m can be reached by a straight ramp set at a right angle to the building. Passing by the ticket coun- ter, the visitors enter the exhibition hall, a large and tapered space reaching right under the top of the building volume, thus allowing to accomodate very large exhibits. The hall is framed by the bookshop and the library, while all service functions are hidden at the back of the building. Starting on the ground foor, the exhibition continues on a large ramp, corresponding to the exterior walkway and spiralling up to the top level of the space, ending at the caf at the top level. To take shortcuts the visitors can also use the elevators, which stand in the middle of the hall as a towering multifaceted structure. The caf on the top level can be opened to the general public. From here the visi- tors can turn back, or complete the round tour on the outside. Seeing by walking The exhibition concept follows the idea that the museum experience will be more rewarding for the visitors when the round tour ofers more than rows of displays in a neutral space. While moving through the subtle choreography stimulated by the fuidly diferentiated se- quence of spaces, the visitors of the Archeological Museum Egypt can enjoy the continuous change of perception of perspective, lighting, material texture and climate without disturbing the contemplation of the excavation objects and documents. The sun is cooling The monolithic pyramid-like shape of the building maximizes the sur- face exposed to direct sunlight, which benefts also its environmental sustainability: the building envelope has been optimized by integrat- ing parameters like wind and sun into a computer based model for an energy-active faade, a system which allows to use the heat of the outside air to create a pleasantly conditioned ambience. The energy faade contains a thermal air plenum that makes use of the intense solar energy through adiabatic cooling to modulate the temperature and humidity of the interior. The concept aims for a building that gen- erates more energy than it is using itself. The fat top of the energy faade also acts as a giant louvre, fltering down the bright desert light to a difuse, even illumination of the exhibition hall. Program: Archeological Museum Client: sterreichisches Archo- logisches Institut IA, Cairo, Egypt 36 Coop Himmelb(l)au 37 project data concept text Silver Cloud cairo, egypt 2009 Urban Context and Concept Egypt, with its strategic location, has become the second most popu- lous country in Africa. Owing to its specifc geographic conditions, most urban development in Egypt has taken place in the Nile Valley and Delta, which represent only 4 per cent of its total area. Cairo has become the largest urban centre not only in Africa, but also in the Middle East. The city's history has been closely related to that of Egypt. In recent decades this led to a massive process of concentration, with the result that Cairo today is not only the capital of Egypt but also its economic, social, service, and administrative centre. The city's size and rapid growth have resulted in serious problems in most aspects of the life of its population. The government has attempted both to decentralize population and activities from Cairo and to reorganize and manage its growth at the national, regional, and local levels. The establishment of new cities, satellite or independent, were intro- duced to be developed as growth centres in order to attract economic activities and population from the core region. The cities are situated along the major regional radials to tie the greater Cairo region to other economic regions such as Suez, Ismailia, and Alexandria. Their size is intended to be large enough to guarantee an adequate level of self-sufciency in terms of employment and services. If these settlements continue to grow at the same rate, in a few years an extensive urban corridor may appear along this regional road and a new megalopolitan area may emerge. Such a metropolitan area would house almost half of the Egyptian population. The task of our project is to create a focal point, an instantly recogniz- able landmark of one part of the above mentioned urban develop- ment in an area called New Cairo. The new settlements need to establish their own urban identity and identifcation points to avoid the risk of just being faceless and ex- changeable. The outer skin of the building consists of three dimensional deformed steel frames covered with stainless steel or aluminium panels to cre- ate a instantly recognise able building envelope even if just seen for seconds out of a moving car. Program: Automotive Showroom Competition: 05/2009 Site Area: 7,424 m Net Floor Area: 30,455 m Gross Floor Area: 33,650 m Footprint: 3,220 m Volume: 195,950 m Number of Floors: 7 Above Ground: 4 Underground: 3 Client: GB AUTO SAE Structural Engineering: B+G Ingenieure, Bollinger und Grohmann GmbH, Frankfurt, Germany 38 Coop Himmelb(l)au 39 project data concept text Urban Context The site of the Mixed Use Center Baku is located in the new city cen- ter; Nizami District of the City of Baku. The Old town Center and the Fountain Square in the West, the Central Railway Station in the North and the Government House in the South all together create a very lively urban environment. The close Baku Bay shore park Boulevard and many public parks and plazas around the area facilitate public outdoor spaces and recreation sources in this new vibrant urban development environment. The Mixed Use Center Baku design proposes a high density Landmark Building Complex that is an expression of the refnement of the inner architectural qualities of the building elements which are shaped by urban and climate considerations, economies of structure and mate- rials as also program proposals and orientation of main views to the city and the sea. Architectural Concept The high end luxury Residential Tower sits on the South west side on top a lifted Shopping Center base. It is orientated to the public plaza on Khagani Street and to the roof garden of the Shopping Base. The 5-Star Hotel & Ofce Tower marks the building blocks corner in the south east on Pushkin Street. The Shoppings Center base horizontal strips are shaped according to visibility and react to main people fows, entrances, trafc circulation and surrounding public zones. The special features of the project proposal are a VIP spiral ramp above the main entrance of the Shopping Center that provides a spectacular drop of next to the upper main lobbies of the Residen- tial Tower and the 5-star Hotel on the roof level 20m above ground. Within the Shopping Center and Wellness; Spa area is a combined pool aquarium feature that is the core of the shopping event space. On the roof it provides an outdoor swimming pool for VIP guests and residents and inside it ofers spectacular views into a shark aquarium that hovers above the Shopping Plaza; Foyer level. Visitors circulate around the water tank including the swimming pool and it creates atmospheric water refections and skylight from above for the foyer space of the Shopping Center. Mixed Use Center Baku Program: Mixed Use Buildings Competition: 2008 Gross Floor Area Total: 133,800 m Gross Floor Area Program: 96,700 m (Above Ground) Client: ARENA JSC Elebrus Mammadov baku, azerbaijan 2008 40 MIxED USE BUILDING WITH TWO ICONIC TOWERS SILKROAD CG 41 project data concept text Monofunctional structures do not correspond to the architecture and the urban development of the 21st century. Future urban develop- ment will mirror the complexity of peoples intellectual and material lives. This is why not only the media represent the urban culture of tomorrow, but architecture does too. For us, a city must convey diver- sity and tension. Coop Himmelblau, 1990 In response to the brief for a new, 550.000 sq. landmark, mixed-use facility for a prominent site in Istanbul, we propose a new model city- center as a signal for future development and an iconic gateway to the emerging new central business district of the City. The Zorlu Gateway Center is formed by the overlapping of public and private spaces of living, working, meeting, shopping and leisure in a networked system of dense and lively public, commercial and urban spaces. The urban, functional and symbolic ambitions of the proposal explore fve main themes in a design that is organized around active indoor and outdoor public plazas and generous terraced gardens; Landmark and Identifcation Density and Variety Urban Liveliness Landscape Sustainability Organization A vast and fuid shopping city comprising 3 levels and covering the total site footprint forms an urban landscape atop 4 levels of subter- ranean parking. A large and dynamic shaped cloud roof incorporat- ing large skylit openings foats above the shopping area, itself orga- nized around two main sunken plazas and lit by daylight from above and diagonally. Entertainment and dining areas are incorporated within the roof cloud, while its upper, landscaped surface is designed as the Zorlu Park, providing garden and leisure activities for the Residential Towers in a semi-private location with a view to the City and Bosphorus beyond. Penetrating and interconnecting with the Shopping City and forming networks of dense points within it, a series of variable use and vari- able formed towers of about 100 m in height form the northern and eastern perimeters of the site. The towers are typologically shaped in relation to their use and responsiveness to sun, wind and view, and express a variety of languages in an open aesthetic system. At the northwest site corner along the main boulevard from the Bos- phorus bridge, the tower buildings of the convention center, conven- tion hotel and lifestyle hotel and serviced apartments are formed as two landmark Urban Gates marking the approach axes to the site and entrance to the new central business district and indicating the landmark presence of the Zorlu Gateway Center. Three soft-folded residential high rise towers are placed along the sites quieter, east- ern edge with a commanding view to the Bosphorus and metropolis of Istanbul. Zorlu Gateway Center Program: Mixed Use Complex, Shopping, Ofce, Residential Competition: 2007 Site Area: 84,000 m Floor Area: above Ground 229,860 m Floor Area: below Ground 341,760 m Client: Zorlu Property Development & Investment Inc., Istanbul, Turkey istanbul, turkey 2007 42 MIxED USE COMPLEx: LIVING, WORKING, MEETING, SHOPPING AND LEISURE ISOCHROM.COM 43 44 completed (selection) Martin Luther Church hainburg, austria 20082011 Pavilion 21 MINI Opera Space munich, germany 20082010 Central Los Angeles Area High School #9 for the Visual and Performing Arts los angeles, california, usa 20022008 BMW Welt munich, germany 20012007 Akron Art Museum akron, ohio, usa 20012007 Academy of Fine Arts munich, germany 1992/20022005 Apartment Building Gasometer B vienna, austria 19952001 SEG Apartment Tower vienna, austria 19941998 UFA Cinema Center dresden, germany 19931998 Rooftop Remodelling Falkestrasse vienna, austria 1983/8788 project data concept text Martin Luther Church hainburg, austria 20082011 In less than a year a protestant church together with a sanctuary, a church hall and supplementary spaces was built in the centre of the Lower Austrian town Hainburg, at the site of a predecessor church that doesnt exist anymore since the 17th century. The shape of the building is derived from that of a huge table, with its entire roof construction resting on the legs of the table four steel columns. Another key element is the ceiling of the prayer room: its design language has been developed from the shape of the curved roof of a neighboring Romanesque ossuary the geometry of this century-old building is translated into a form, in line with the times, via todays digital instruments. The play with light and transparency has a special place in this proj- ect. The light comes from above: three large winding openings in the roof guide it into the interior. The correlation of the number Three to the concept of Trinity in the Christian theology can be interpreted as a deliberate coincidence. The church interior itself is not only a place of mysticism and qui- etude as an antithesis of our rather fast and media-dominated times but also an open space for the community. The sanctuary gives access to the glass-covered childrens corner, illuminated by daylight, which accomodates also the baptistery. The actual community hall is situated behind it: folding doors on the entire length of the space between the two main chambers allow for combining them to one continuous spatial sequence. An folded glass faade on the opposite side opens the space towards the street. A third building element, a longitudinal slab building along a small side alley, fanks both main spaces and comprises the sacristy, the pastors ofce, a small kitchen and other ancillary rooms. A handi- capped accessible ramp between the three building components accesses the church garden on higher ground. The sculptural bell tower at the forecourt constitutes the fourth ele- ment of the building ensemble. Like other projects of COOP HIMMELB(L)AU the roof elements of the church building were assembled in a shipyard. The implementation of the intricate geometries required specifc technologies of metal- processing and manufacturing only available in shipbuilding indus- try. The reference to shipbuilding is at the same time also reminiscent of Le Corbusier who served as an important role model, not least because of his La Tourette monastery. Program: Church Start of Planning: 2008 Start of Construction: 08/2010 Completion: 04/2011 Site Area: ca. 420 m Gross Floor Area: 289 m Structural engineering: Bollinger Grohmann Schneider ZT GmbH, Vienna, Austria Construction Survey: Spirk & Partner ZT GmbH, Vienna, Austria Client: Association Freunde der Evan- gelischen Kirche in Hainburg/Donau, Austria User: Evangelische Pfarrgemeinde A.B. Bruck a.d. Leitha Hainburg/Donau, Austria 46 MARKUS PILLHOFER 47 project data concept text Pavilion 21 MINI Opera Space The Pavilion 21 MINI Opera Space is a temporary mobile perfor- mance space for 300 visitors to be located on the Marstallplatz in the City of Munich. It is intended to be used for a wide range of events at the annual Opera Festival 2010 and then to travel to other locations. The design approach studies the impact of physical infuences on our hearing perception and how to apply soundscape efects to alter our sensation through transforming and adopting building volumes and their material specifcations. Contrary to our built environment sound or music has no present materiality so it is always perceived at the moment of its generation. Because of this immediate perception of sound our sensations could range from supreme beauty to painful intolerability. In architecture and urban planning soundscaping de- sign approaches of exterior spaces are barley recognized and hardly ever applied therefore many public spaces are unattractive in our psychological perception. The design goal for the pavilion is to impact a unique soundscape by helping to reduce the apparent noise and to create a zone of silence next to the pavilion. Creating an absolute zone of silence is techni- cally not possible, but this term used here is intended to describe an area where you can sense a change in the soundscape that gives the impression of a quieter environment. This strategy for achieving this concept uses three mechanisms, frstly the shielding efect of the plaza to block sound from the road, secondly the shaping of the pavilion surface to collect and defect sound and thirdly the material characteristic of the Pavilion surface to absorb and refect sound. The Pavilions spatial structure acts here as a transformator that changes our perception and sensation of the soundcape and music on the plaza around the Pavilion and inside the performance space. Parallel to acoustical approaches and simulations, the generation of the form of the Pavilion was driven by the concept of material- izing music into architecture. Selected sequences of songs become dynamic forces that transform and create spatial form. Here we transcribed a sequence of Jimi Hendrix Purple Haze Scuse me while I kiss sky. Analyzing the frequencies of the sound fle and linking it to the computer generated 3D model, the scripting tool then parametrically transforms the shell into pyramid shapes like spikes. Music is frozen and creates architectural space. To meet internal acoustics design objective, the proposal includes provision for a combination of perforated sound absorbing panels and pyramid-shaped, non-perforated sound difusing panels on the side walls and ceiling, with a sound refective foor and stage. Sound- refective parallel surfaces between the side-walls and between the foor and ceiling are avoided here and are therefore tilted and rotated in relationship to the generated exterior shape. The interior performance space has overall clear dimensions of 21 m length and 17m width and a variable clear height from 6m to 8m. The backstage service area is conceived as a fexible open space for art- ists changing room and storage. Site Area: 1.790 m Net Area: 430 m Gross Area: 560 m Footprint: 560 m Volume: 4.350 m Height: 12.5 m Length: 38.5 m Width: 25.5 m Acquisition/Study: 02/2008 Start of Planning: 10/2009 Start of Construction: 04/2010 Opening: 06/2010 Building Costs: Eur 2.1 Mio Net (Excl. Vat) Client: The Free State of Bavaria represented by The Bavarian State Opera Munich, Germany munich, germany 20082010 48 Temporary Opera Space - Top View Duccio Malagamba 49 project data concept text Program and Site The Central Los Angeles Public High School for the Visual and Per- forming Arts of the Los Angeles Unifed School District (LAUSD) is part of phase II of LAUSDs rigorous state bond funded plan to have 155 new schools built in its district by 2012. It is located on a 9.8 acre site on Grand Avenue in downtown Los Angeles. The school will be a comprehensive High School and in addition will ofer courses in the Visual Arts, Performing Arts, Music and Dance. Due to its central loca- tion on Grand Avenue the High School will be a part of the cultural facilities along the Grand Avenue cultural corridor, joining the Disney Concert Hall, Music Center, Colburn School of Music, Museum of Con- temporary Art and the Cathedral of our Lady of the Angels. To fulfll its mandate to be a public facility in keeping with the spirit of the other facilities on Grand Avenue the school campus will include a profes- sional performing arts theater for just below 1,000 visitors, a venue, which so far has been missing in the spectrum of performance facili- ties downtown Los Angeles. The theater will be used for educational purposes, will be open to the public and for use by other institutions, and is equipped with a full stage, orchestra pit, back stage and fy- loft. The school will house approximately 1,800 students organized in four academies, one for each discipline in the Arts. Accordingly, the campus is comprised of seven buildings, the theater building, four classroom buildings, the library and the cafeteria. The unique central location of the site downtown, separated from the Grand Avenue corridor by the 101 freeway and thus visually ex- posed along the edge of one of the most widely used thoroughfares in downtown Los Angeles, was a determining factor in the decision to use this site to create LAUSDs fagship high school for the Visual and Performing Arts and together with the program served as the point of departure for the architectural concept for the school. Architectural Signs - Chess Concept COOP HIMMELB(L)AUs design concept is to use architectural signs as symbols to communicate the commitment of the Los Angeles commu- nity to Art. Like chess fgures three sculptural buildings, which relate to the context of downtown Los Angeles and the program, re-defne spatially and energetically the otherwise orthogonal arrangement of the master plan. A Tower fgure with spiraling ramp in the shape of the number 9 located on top of the theaters fy-loft serves as a widely visible sign for the Arts in the city and a point of identifcation for the students. Inside the tower, an event, conference and exhibi- tion space with a view across the city is planned to be located. The theater complex is placed at the corner of Grand Avenue and the 101 Freeway. The tower connects the school visually and formally with downtown Los Angeles, and together with the Cathedrals tower the twin towers will become a new landmark for the city. In addition to the tower a representational Lobby on Grand Avenue serves as the public entrance and integrates the school with the Grand Avenue corridor. Like a bridgehead the Lobby connects the site with the cul- tural facilities on the other side of the freeway. It is envisioned that the theater with all its amenities can be made available for public and commercial events to create additional revenue for the school. As the symbol for learning and education the Library, or the Space of Knowledge, is formally expressed through a slanted, truncated cone and placed in the center of the school courtyard. Inside, the cone pro- vides a large open space illuminated from above by a circular skylight thus ofering an open, dynamic, but introverted and concentrated space for contemplation and focused learning. Through its diagonal position in relationship to the other buildings and its slanted form, the dynamic, circular building directs views and fows of people through the school courtyards, changes the perception of the court- yard space and provides a point of orientation for the students within the campus. In addition to the public entrance on Grand Avenue the seven build- ings frame a second representational entrance, the main school en- trance, located at the intersection of Grand Avenue and Cesar Chavez Street and facing the community. The main school entrance is for- mally expressed through an 80 wide grand open stair, which leads directly into the main school courtyard with the conical library in its center and theater and tower in the background. The main entrance symbolically sets the stage for the students to experience this school as a decisive stage in their life and education. To provide opportunities for public spaces within a high school through the architecture and supported by the performing arts pro- gram is one of the main contributions of this project to education and the community, and unique in contemporary public school buildings in Los Angeles. Central Los Angeles Area High School #9 for the Visual and Performing Arts Program: High School for the Visual and Performing Arts Start of Planning: 10/2002 Start of Construction: 03/2006 Completion: 10/2008 Floor Area: 21,204 m Site Area: 39,578 m Budget: USD 171.9 Mio (include site and landscaping) Client: LAUSD, Los Angeles Unifed School District, Los Angeles, CA, USA Executive Architect: HMC Architects, Ontario, CA, USA los angeles, usa 20022008 50 Courtyard View with Auditorium and Library Roland Halbe 51 project data concept text In 2000, the BMW Group decided to build a brand-experience and car-delivery center in close vicinity to the corporate headquarters and the BMW museum. 275 architects participated in an open in- ternational competition for the project. In a multi-stage selection procedure, the design by COOP HIMMELB(L)AU came out winning in July 2001. One of the central design ideas is to expand the existing confguration of the BMW Tower and the museum with an additional element so as to create a spatial, ideal, and identity-forming architectural ensemble. The design proposal by COOP HIMMELB(L)AU consists of a large trans- parent hall with a sculptural roof and a double cone informed by the relation with the existing company headquarter building. Conception The realization of the technical building facilities within the scope of the architecture led to a planning model with fve thematic blocks: Hall, Premiere, Forum, Gastronomy and Double Cone. Hall A low-tech concept optimized ecologically using high-tech methods The technical solution here is based on previous experience with large halls. All of the necessary features were realized successfully according to a low-tech concept. The interrelations of daylight and artifcial light with ambient climate and acoustics infuence peoples feeling of well-being in the Hall. The concept for the technological building systems takes up these relationships and integrates them in an interdependent manner, adapting their range of infuence by modifying their dimensions or building in appropriate control mecha- nisms. A major goal in designing the systems was to save energy. This aim is achieved by minimizing the mechanical apparatus for ven- tilation, heating and cooling. The gigantic Hall is thus conceived as a solar-heated, naturally ventilated sub-climatic area, a multifunctional space that does not follow the otherwise customary requirements for heating and ventilation. Premiere Exhaust gas difusion prevented through negative pressure The key task of the new BMW Welt is to deliver cars in the Premiere section with all concepts geared toward enhancing the experience of delivery. Because of the exhaust gases that this task involves, special considerations and calculations had to be made in terms of the ventilation plan, since the Premiere is open to the Hall the major space in this world of experience. Beyond merely fne-tuning the volume of air intake and outfow currents, it was also important to extract the exhaust fumes directly and pump in fresh air. Planning here was based on an assumed turnover of 40 cars per hour, or 250 cars per day. Forum A room-in-a-room for maximum fexibility The Forum is a separate event area for up to 1.200 persons, equipped to meet all the specifcations for a full-fedged theater or conference room. Tower Island solutions place high demands on building systems to ensure well-being The technical equipment discreetly supports the gastronomic func- tions. In places where guests spend longer periods of time, air sources are placed near the foor. In order to ensure pleasant air quality even near the glass faades, the vertical faade support pro- fles are heated to prevent the cold downdrafts typical for this kind of construction. Double Cone An event space ofering all the options of a public assembly place The Double Cone is used as an exhibition space and for special events. Air is brought in by means of a low-induction system along the base of the faade and streams into the roof through the opening at the top of the cone. Floor air conditioning and air circulation cool- ers in the wall and foor areas ensure the necessary comfort level. In the in-between seasons, natural ventilation via faade shutters is used. The structural design of BMW Welt represents a special chal- lenge when determining how to conduct supply lines. Because of the vast support-free space, which is borne by only 11 columns plus the elevator shafts, the supply cross-sections for the Lounge foors and the Tower had to be integrated into the few supporting core cross- sections. This situation necessitated close coordination at a very early project phase between those responsible for structural engi- neering, the routing of facility services and building technology. BMW Welt Program: Event Exhibition and Automobile Delivery Center Competition: 2001, 1st Prize Start of Planning: 11/2001 Start of Construction: 08/2003 Opening: 10/2007 Site Area: 25,000 m Gross Floor Area: approx. 73,000 m; Budget: above EUR 100 Mio Client: BMW AG, Munich, Germany; Structural Engineering: B+G Ingenieure, Bollinger und Grohmann GmbH, Frankfurt/M., Germany munich, germany 20022007 52 View from East towards Double Cone and Main Hall Marcus Buck 53 project data concept text Akron Art Museum Museum as Urban Space The concept of museums has changed radically since the miracle chamber ("Wunderkammer") of Rudolf II and Ferdinand II in the 16th century. The museum of today is no longer conceived only as an institution for the storage and display of knowledge, it is an urban concept. The museum of the future is a three-dimensional sign in the city which exhibits the content of our visual world. Museums are no longer only exhibition spaces to display diverse forms of digital and analog vi- sual information, but they also function as spaces that cater to urban experiences. This means that art should be able to fow out of the building and the city should be able to fow inside. This zone becomes a hybrid space where various types of people can meet and unexpected events can occur. Rather than going to the museum simply to look at art, visitors are encouraged to engage in artistic discourse, attend music and arts festivals, or to simply pass the time until an appointment. Our design is therefore an urban connector as well as a destination point. Design The building is broken up into 3 parts: the Crystal, the Gallery Box, and the Roof Cloud. The Crystal serves as the main entry and oper- ates as an orientation and connection space serving both the new and old buildings. It is a grand, fexible space that can also be used for banquets, arts festivals, and events hosted by outside organiza- tions. The traditional idea of a banquet hall as an enclosed isolated event space dissolves away into a visible, public experience. The energy necessary for lighting, heating and cooling the Crystal is minimized by strategic building massing and extensive daylighting. The mass and location of the Gallery Box and High Roof protect the southern oriented Crystal glazing from direct sunlight. At the same time the refectivity of the faade material raises natural light levels in the Crystal and reduces the need to power artifcial light sources. The Crystal utilizes microclimate zones as a heating and cooling con- cept. These diferent zones are determined by analyzing the type and anticipated length of occupancy in various areas of the crystal and are conditioned through optimization of active and passive means. By eliminating the need to condition the entire air volume in the Crys- tal, and by focusing the energy used to condition the space in the areas where people are located, operating costs and energy use are signifcantly reduced. The interior of the Gallery Box is an expansive space which has very few columns and is therefore extremely fexible for varying exhibition requirements. A large freight elevator brings oversized works to and from the storage areas and serves as a link between the loading dock and Gallery Box. Natural light is eliminated in the galleries so that it can be strictly controlled and damage from sunlight can be eliminated. The foors of the Gallery Box and Crystal are composed of poured in place concrete slabs with water flled tubes that supply heating and cooling by changing temperature state of the massive foor slab. This radiant foor system is more efcient than simple forced air systems because it uses the mass of the concrete as a storage device which delivers a stable continuous source of heating and cooling. Forced air systems are much less efcient than radiant systems because of the extra work required by the system when occupancy loads sud- denly change and create a far higher burden of use of non-renewable resources. The Roof Cloud, which hovers above the building, creates a blurred envelope for the museum because of its sheer mass and materiality. It encloses interior space, provides shade for exterior spaces, and operates as a horizontal landmark in the city. Program: Museum of Contemporary Art Competition: 2001, 1st Prize Design Development: 2002 Start of Construction: 06/2004 Completion: 06/2007 Opening: 07/2007 Site Area: 8,370 m Total usable Floor Area: 8,244 m Existing building (renovated) usable Floor Area: 2,367 m Extension (new construction) usable Floor Area: 5,877 m Building Costs: USD 20 Mio Client: Akron Art Museum, Ohio, USA akron, ohio, usa 20012007 54 Akron Art Museum View towards 1899 Building, Main Entrance and Gallery Box Roland Halbe 55 project data concept text Academy of Fine Arts The project was to expand the Academy of Fine Arts in Munich, built in 1876. COOP HIMMELB(L)AUs design concept is based on the idea of trans- forming the three diferent urban spatial systems which come to- gether on the site. Those three are the axial system of Leopoldstrae / Akademiestrae containing its stately buildings, the structure of Schwabing, developed over time into small-scale, diferentiated buildings, and the garden areas of Leopoldpark and Akademiegarten which hold historical trees under landmark conservation. The resulting open confguration of buildings locked together pro- duces a sequence of transitory connecting spaces between the park and urban spaces: the glass facade acting as a media membrane, the gate to the Academy, the inner court, the studio terraces functioning as both the connecting link to the park and the gate to the park. This confguration then takes on diferentiated relationships to the exte- rior spaces. Diagonal ramps and gangways connect the functional areas of the various parts of the building and thus the diferent departments. In this way, an energized complex is created, which corresponds ideally to the diversity of needs of creative activity. Connections arise be- tween painting studios, the plastic workshop, sculpture studios, the media workshop, photography studios and the print workshop. The studio for sculptors lies on the ground foor in two sections of the building and spans across terraces to the park; those of the painters and the guests are in the upper studio foors and are connected to the roof terraces. Workshops are located in all parts of the building. The meeting room and the rectors ofces are connected to the administrative section by means of an open gangway. By covering the central inner court with a roof, an additional space is created which integrates the conglomerate of diferent spaces into a unifed whole and at the same time allows the building complex to be more economical in terms of energy efciency. The minimal extra costs brought about by the spacious hall are more than ofset by op- timization of energy consumption over the middle and long term. The inner court opens up through a glass facade to the city in the south and to the park in the north. A public space, the caf is situated such that it can be connected to the inner court by means of mobile wall elements, making it into ex- hibition space. It is oriented towards the city over the south terrace. The two to four story buildings are planned as solid wall construction, the cantilevered building parts as steel truss constructions. Program: Art Academy Competition: 1992 Usable Floor Area: 5,666 m Gross Floor Area: 9,909 m Gross Volume: 44,761 m Design Development: 1995 Construction Documents: 20022003 Start of Construction: 07/2003 Completion: 10/2005 Total Construction Costs (gross): 15.2 Mio Euro; Client: Freistaat Bayern, Germany Structural Engineering: Planungsgruppe Brachmann, Munich, Germany munich, germany 1992/20022005 56 View towards Main Entrance Duccio Malagamba 57 project data concept text Apartment Building Gasometer B The four historical Gasometers originally housed the tanks for the gas supply of Vienna. After the closure of these Gasometers the in- terior elements were dismantled, leaving the classical facades. The specifc location of these Gasometers within an industrial site as well as the unusual character of the resulting spaces led to the Gasom- eters often being used for diverse cultural activities. The location of the project presents a special opportunity to develop the urban fabric of Vienna by means of various alterations of the transportation system, such as the extension of the U3 subway and the construction of the North-East Highway. In addition to COOP HIMMELB(L)AU, three other architectural teams are working out new living opportunities to be realized in the remain- ing Gasometers. An Entertainment Center and Shopping Mall are also integrated into the complex, making it into a new city center. The concept of the COOP HIMMELB(L)AU Gasometer B adds three new volumes to the existing facade: The cylinder inside the Gasometer, the striking addition of the shield that is visible from outside, and the multifunctional event hall situated in the base of the Gasometer. Inside the cylinder and the shield are apartments and ofces. The lighting for these inside spaces is provided by the conical innercourt, and that for the outside through the historical Gasometer wall. The lighting for the shield is provided through a spacious north-oriented glass facade with loggias. The 360 apartments ofer diferentiated living forms, ranging from 3-room-maisonette-apartments and loft-apartments to smaller ones like student apartments. By combining ofce and apartment uses, new ways of working and living are expected. The Gasometer - separated diferently for inhabitants and for visitors - can be accessed either from the outside via Guglgasse, or directly from the subway station through the connecting shopping mall. The mall connects all Gasometers on the ground level. Inside the Gasometer B a spacial and functional bufer between the event hall and the apart- ment/ofce wing is created. Internal communication is thereby inten- sifed. The "Sky-Lobby" on the 6th foor creates a social space for the inhabitants. Other remaining spaces can be used as common areas. The foyer of the event hall is connected with the subway both by means of the "Night-Mall" of the Gasometer A, and directly through an entrance at Guglgasse. The "Night-Mall" also hosts common spaces, thus becoming a transit area for people arriving or leaving the event hall. Program: Residential, Shopping, Event Hall Start of Planning: 02/1995 Design Development: 1998 Construction: 12/19982001 Completion: 09/2001 Floor Area: 35,000 m Volume: 132,000 m Height: 60 m Budget: EUR 47.24 Mio Client: WBV Wohnbauvereinigung fr Privatangestellte, Vienna, Austria Structural Engineering: Fritsch-Chiari, Vienna, Austria vienna, austria 19952001 58 Apartment Building Gasometer B Dialogue of Old and New Gerald Zugmann 59 project data concept text SEG Apartment Tower Located between Wagramerstrae and Kratochwilestrae and ad- jacent to the "Alte Donau" metro station, the 60m high SEG - Tower from COOP HIMMELB(L)AU forms in conjunction with two other pro- jected high-rise buildings the new district "Donau - City". The tower includes 70 apartments, 9 eating facilities, ofces and practices on 25 foors. The complete arrangement captivates by its immediate nearness to the city core and the shopping center "Donauzentrum" as well as by its location in one of the favourite leisure districts of Vienna. It is also captivating due to its striking height and its quality of space, which is determined by diferent typological concepts. Two major considerations were important for the design of the outer form of the COOP HIMMELB(L)AU building: On the one hand the concept of the tower is based on the idea to put two houses, one on top of the other, in a way such that a common space would occur at the intersection. This common space - called a sky-lobby - is then used for the accommodation of a venue, a play- ground, a "teleworking caf" and a sundeck. On the other hand the concept of the so-called climate facade was developed, which is the linking and surrounding element between the two components. This is an "intelligent" glass facade that regulates together with the "air - box" on top of the roof and the circulation core (planned as heat accumulator) the cooling of the apartments in summer and the heating in winter. This well calculated system ofers a higher level of comfort during hot weather and a minimizing of costs during the heating period. Besides its function as a sound protection, the cli- mate facade provides space for glazed loggias placed in front of the apartments and comprising two or three foors. These loggias allow green spaces, not normally seen in high-rise buildings, and a view to the city and to nature, also uncommon for urban living. The concept of the glass skin surrounding the building enables an orientation of all buildings towards south. All apartments (ranging from 55m2 to 130m2) are based on a loft concept with an open plan and without load-bearing walls. This concept enables a fexible layout of all the apartments. A concierge located in the two-foor entrance lobby will provide optimal service for all the inhabitants. Concept of the Climate facade The glass facade, developed from the architectural concept, is in- tended to passively exploit solar energy. Thus less initial investment for the energy system is needed and the amortisation period would be considerably shortened. It is also planned to power compressor engines by means of wind energy, which would provide necessary air circulation in the building. Passive Energy Concept The glass facade is the medium through which thermal energy will be stored as radiant energy potential during winter, spring and autumn. The facade faces southeast and southwest. The thermal energy pro- duced during daylight hours will be supplied to a thermal reservoir unit located in the interior of the building. In this way, a milder, more equitable room climate as compared to the exterior conditions will be created in the areas of the building directly behind the climate facade. The exploitation of solar energy will lead to a considerable reduction in total energy consumption. This is efected on the one hand by the stabilisation of the diferences in temperature between the interior living space and the loggia area, and on the other hand by the direct supply of energy to the apartments from the thermal reservoir inside the core area of the building. Thermal Mass The central thermal mass is to be a reinforced concrete shaft. To ex- pedite the energy exchange process, this shaft will be equipped with heat exchange surfaces, also made of reinforced concrete. To guarantee heat exchange between the loggia area and the climate facade, air circulation between the two system areas will be provided mechanically. This air circulation will be efected by the ventilators in the thermal mass shaft. Program: Residential; Start of Planning: 03/1994 Start of Construction: 03/1996 Completion: 09/1998 Floor Area: 7,100 m Volume: 32,000 m Height: 60 m Budget: EUR 8.72 Mio Client: SEG Stadterneuerungs- und Eigentumswohnungsgesellschaft m. b. H., Vienna, Austria Construction Documents: ARGE Eiger Nord, Vienna, Austria Structural Engineering: Projektierungs- bro fr Industrie-, Hoch- und Tiefbauten AG, Vienna, Austria vienna, austria 19941998 60 Sustainable Building technology: Energy Box on rooftop Duccio Malagamba 61 project data concept text UFA Cinema Center The Urban Design Concept The urban design concept of the UFA Cinema Center confronts the issue of public space, which is currently endangered in European cities. This situation is caused by the fnancial insolvency of city governments, which forces the sale of public space to developers, who then propose monofunctional buildings in order to maximize capital return. By disintegrating the monofunctionality of these structures and add- ing urban functions to them, a new urbanity can arise in the city. This character of this urbanity would not only be determined by functional diferentiation and the creation of new spatial sequences thereby, but also by the injection of media events. The project for the UFA Cinema Center is a result of the urban design concept developed for the planning competition Pragerstrae Nord. Pragerstrae was defned as a dynamic spatial sequence, defned by tangents and diagonals rather than by axis. The interweaving of public squares, public interiors, and passage- ways was proposed as a way of energizing and densifying the new center of Dresden. The junctures between these urban vectors are defned as public spaces. The UFA Cinema Center is located at one of these junctures; it is for- mulated as the urban connection between Pragerplatz and St. Peters- burger Strae. Thereby The Cinema itself is thereby transformed into a public space. The Architectural Design Concept The design is characterized by two intricately interconnected building units: The Cinema Block, with eight cinemas and seating for 2600, and the Crystal, a glass shell which serves simultaneously as foyer and Public Square. The Cinema Block The Cinema Block opens up towards the street and is permeable for pedestrian trafc between Pragerstrae and St. Petersburger Strae. It is diferentiated by the circulation system of the cinemas and by views through to St. Petersburger Strae. The Crystal The Crystal is no longer merely a functional entry hall to the cinemas, but an urban passageway. The bridges, ramps and stairs to the cinemas are themselves urban expressions. They allow views of the movement of people on a multi- tude of levels, unfolding the urban space into three dimensions. The lively quality of this space can be described in relation to the dynamic structure of flm. The Skybar, the "foating" double-cone inside the foyer, is accessible and will host diferent functions (caf, bar etc.). In this way, the content of the building becomes visible to the city as much as the city is visible from the building. It is an inside-out build- ing which sustains a dialogue with the city. The media event - pro- jected from the interior towards the exterior - assists in the creation of urban space. Program: Cinema Competition: 1993 Design Development: 1996 Construction: 19971998 Completion: 03/1998 Floor Area: 6,174 m Volume: 53,725 m Budget: EUR 16.36 Mio Client: Ufa Theater AG, Dsseldorf, Germany Construction Documents: ARGE Eiger Nord Wien, Vienna, Austria Structural Engineering: B+G Ingenieure, Bollinger und Grohmann GmbH, Frankfurt/M., Germany dresden, germany 19931998 62 View Towards Main Entrance Gerald Zugmann 63 project data concept text Rooftop Remodelling Falkestrasse If there was ever really a task in architecture, then this was it: The law frm Schuppich, Sporn, Winischhofer, Schuppich wished to extend their ofce upwards. The ofce is situated on the frst and second foor of the building on the corner of Falkestrasse and Biber- strasse in the inner City of Vienna. The attention was to be focussed on a large meeting room. Adjacent to it several smaller ofce units were to be designed. Although the construction site was 21 meters above the ground and one of the streets just happened to be Falkestrasse (Falcon Street), we did not in this case think of a bird or wings, although it was hard not to. The preliminary design of 1983 depicts the corner solution. (If there really is such a thing as a solution in architecture.) There are no alcoves or turrets on the roof, no context of proportions, materials or colors but, instead, a visualized line of energy which, coming from the street spans the project, thus breaking the existing roof and thereby opening it. While designing, we envisioned a lightning bolt reversed and a taut arc. This space-creating taut arc - an element of our architecture that since 1980 has progressively become more important - is both the steel backbone of the project and its posture. The open, glazed sur- faces and the closed, folded or linear surfaces of the outer shell con- trol the light and allow or restrict the view. Both directions of view, that from outside and that from within, which are captured in one of the early drawings, defne the complexity of the construction's spacial relations. The diferentiated and diferen- tiating constructional system, which is a cross between a bridge and an airplane, translates the spacial energy into constructional reality. The project constitutes two storeys with a height of 7.80 m, with a fat area of 400 m. The spacial layout consists of a 90 m meeting room, three ofce units include an ofce space, a reception area and adjacent rooms. It would also be possible to use the ofce as an apartment. The construction tookone year and was completed on December 23rd, 1988. Program: Ofce Design: 1983 Design Development: 1987 Construction: 1988 Completion: 1988 Floor Area: 400 m Volume: 2,400 m Budget: EUR 1.5 Mio Client: Law frm Schuppich, Sporn, Winischhofer, Vienna, Austria Structural Engineering: Oskar Graf, Vienna, Austria vienna, austria 1983/19871988 64 Rooftop Office Gerald Zugmann 65 APARTMENT BUILDING GASOMETER B, Vienna, Austria, 19952001 JVC - NEW URBAN ENTERTAINMENT CENTER, Guadalajara, Mexico, 1998 ACADEMy OF FINE ARTS, Munich, Germany, 1992/20022005 SEG APARTMENT TOWER, Vienna, Austria, 19941998 SEG APARTMENT BLOCK REMISE, Vienna, Austria, 19942000 UFA CINEMA CENTER, Dresden, Germany, 19931998 GRONINGER MUSEUM- THE EAST PAVILION Groningen, The Netherlands, 19931994 OFFICE AND RESEARCH CENTER SEIBERSDORF Seibersdorf, Austria, 19911995 ROOFTOP REMODELING FALKESTRASSE Vienna, Austria, 1983/19871988 FUNDER FACTORy 3, St.Veit/Glan, Austria, 19871989 THE HEART OF A CITy - MELUN SNART, Mlun Senart, France, 1986 THE BLAZING WING, Graz, Austria, 1980 CENTRAL LOS ANGELES AREA HIGH SCHOOL #9 Los Angeles, California, USA, 20022008 TOWN TOWN - ERDBERG OFFICE TOWER, Vienna, Austria, 2000/20102012 MUSE DES CONFLUENCES, Lyon, France, 20012014 BMW WELT, Munich, Germany, 20012007 AKRON ART MUSEUM, Akron, Ohio, USA, 20012007 VILLA S., Millstatt, Austria, 20012006 HAMMERHEAD COMMUNITIES - OUTER BANKS, North Carolina, USA, 2001 THE GREAT EGyPTIAN MUSEUM, Cairo, Egypt, 2002 HOUSE OF MUSIC I, Aalborg, Denmark, 2002 APARTMENT TOWERS WIENERBERG CITy, Vienna, Austria, 1999-2004 EXPO.02 - FORUMARTEPLAGE, Biel, Switzerland, 1999-2002 APARTMENT AND OFFICE BUILDING SCHLACHTHAUSGASSE Vienna, Austria, 2001/2003-2005 COMMUNICATION CENTER KONSTANTINOVSKy, St.Petersburg, Russia, 2007 ZORLU GATEWAy CENTER, Istanbul, Turkey, 2007 HOTEL AT DMCLARK SqUARE, Budapest, Hungary, 2007 MUSEUMOF CONTEMPORARy ART & PLANNING EXHIBITION Shenzhen, China, 20072013 HOUSE OF MUSIC II, AALBORG, Denmark, 2003/20082012 CLOUD ROOF - FAIR EXTENSION, Riva del Garda, Italy, 20062012 RHEIN MAIN ARENA, Frankfurt/M., Germany, 2006 SPACE OF CONTEMPORARy ARTISTIC CREATION, Cordoba, Spain, 2005 BUSAN CINEMA CENTER, Busan, Corea, 20052011 SKy-ARC / SCI-ARC - 24 HOUR LIVING, CULTURE AND ARTS DISTRICT Los Angeles, California, USA, 2005 GUADALAJARA COUNTRy CLUB - TORRES PLATA, Guadalajara, Mexico, 2005 THE NEW PREMISES OF THE EUROPEAN CENTRAL BANK (ECB) Frankfurt/M., Germany, 20032014 www.coop-himmelblau.at TOWER AT SUK AL THALATH AL GADEEM, Tripoli, Libya, 2007 DALIAN INTERNATIONAL CONFERENCE CENTER, Dalian, China, 20082011 SUSTAINABLE CITy - NORDWESTBAHNHOF, Vienna, Austria, 2008 SOCCER STADIUMZARAGOZA, Zaragoza, Spain, 2008 DR. MARTIN LUTHER CHURCH, Hainburg, Austria, 20082011 MIXED USE CENTER BAKU, Baku, Azerbaijan, 2008 ART MUSEUMSTRONGOLI, Strongoli, Italy, 20082014 OPERA PAVILION, Munich, Germany, 20082010 ARCHEOLOGICAL MUSEUMEGyPT, Tell el-Daba, Egypt, 2010 COOP HIMMELB(L)AU was founded by Wolf D. Prix, Helmut Swiczinsky, and Michael Holzer in Vienna, Austria, in 1968, and is active in architecture, urban planning, design, and art. In 1988, a second studio was opened in Los Angeles, USA. Further project of- fces are located in Frankfurt, Germany; Paris, France; and Hongkong,China. COOP HIMMELB(L)AU employs currently 150 team members from nineteen nations. OFFICE PROFILE The architectural studio COOP HIMMELB(L)AU is di- rected by Wolf D. Prix, Wolfdieter Dreibholz, Harald Krieger, Karolin Schmidbaur and Project Partners. Those are Andrea Graser, Hartmut Hank, Helmut Hol- leis, Markus Pillhofer, Markus Prossnigg, Wolfgang Reicht, Frank Stepper, and Michael Volk. After Michael Holzer left the team in 1971, and with the retirement of Helmut Swiczinsky in 2001 from COOP HIMMELB(L)AUs daily operations and in 2006 from the ofce, Wolf D. Prix is leading the studio as Design Principal/ CEO. In 2000, Wolfdieter Dreib- holz joined COOP HIMMELB(L)AU as CEO of COOP HIMMELB(L)AU Mex S. A. de C. V. and became a part- ner of COOP HIMMELB(L)AU Wolf D. Prix / W. Dreib- holz & Partner ZT GmbH, and CEO of the main studio in 2004. In 2003 Harald Krieger was designated as Partner of COOP HIMMELB(L)AU Wolf D. Prix / W. Dreib- holz & Partner ZT GmbH and is managing director of COOP HIMMELB(L)AU Europe GmbH, Frankfurt/ M., Germany, since 2006. Karolin Schmidbaur was made Partner of the ofce in 1996 and is currently Design and Managing Partner of COOP HIMMELB(L)AU Vienna (since 2009) as well as the Director of the ofce in Los Angeles, California (since 2003). PROJECTS (SELECTION) COOP HIMMELB(L)AUs most well-known projects in- clude: the Rooftop Remodeling Falkestrae in Vienna (1988) ; the master plan for the City of Melun-Sn- art in France; the Groninger Museum, East Pavilion in Groningen (1994) in the Netherlands; the design for the EXPO.02Forum Arteplage in Biel, Switzerland; the multifunctional UFA Cinema Center in Dresden, Germany (1998); the Academy of Fine Arts (2005) and the BMW Welt (2007) in Munich, Germany; the Akron Art Museum in Ohio, USA (2007); the Central Los An- geles Area High School #9 of Visual and Performing Arts in Los Angeles, CA, USA (2008); and the Pavilion 21 MINI Opera Space in Munich, Germany (2010). COOP HIMMELB(L)AU realized further key projects in Vienna in the past years, including the SEG Apartment Tower (1998), followed by the SEG Apartment Block Remise (2000); the Apartment Building Gasometer B (2001); and the Apartment and Ofce Building, Schlachthausgasse (2005). Among the recent projects that COOP HIMMEL- B(L)AU is pursuing throughout the world are the Muse des Confuences in Lyon, France (2014); the House of Music in Aalborg, Denmark (2012); the Eu- ropean Central Banks new headquarters in Frankfurt am Main, Germany (2014); the Busan Cinema Center in Busan, South Korea (2011); and the Dalian Interna- tional Conference Center in China (2011). Additional projects in planning are the Museum of Contempo- rary Art & Planning Exhibition in Shenzhen, China (2012); the expansion of the Fair and Multifunctional Hall in Riva del Garda, Italy (2014); the Cultural Cen- ter Zarautz, Spain (2012); the Central Bank of Azer- baijan, Baku, Azerbaijan (2014) as well as the Martin Luther Church in Hainburg, Austria (2011). HONORS AND AWARDS (SELECTION) Over the course of the past three decades, COOP HIMMELB(L)AU has received numerous international awards. These include: the Frderungspreis fr Bau- kunst, Berlin (1982), the Award of the City of Vienna for Architecture (1988), the Erich Schelling Architek- tur Preis (1992), the Progressive Architecture/ P. A. Award (1989, 1990, and 1991), the Groer ster- reichischer Staatspreis (1999) as well as the Euro- Biography 70 pean Steel Design Award (2001). In December 2002, COOP HIMMELB(L)AU was made Ofcier de lordre des arts et des lettres and was awarded the Ehrenzeichen fr Verdienste um das Land Wien. In 2005, for the design of the Akron Art Museum, our ofce received the American Architecture Award. Our ofce was awarded the 2007 International Architecture Award for four projects: for the Busan Cinema Complex, the Akademie der Bildenden Knste, the Great Egyptian Museum at the pyramids in Giza, and the Space of Contemporary Artistic Creation in Cordoba. In 2008 COOP HIMMELB(L)AU has been announced for the RIBA International Award for the Akron Art Museum and the RIBA European Award for the BMW Welt. In 2010, COOP HIMMELB(L)AU won the MIPIM Architec- tural Review Future Projects Award in the category sustainability for their project Town Town Erdberg. EXHIBITIONS (SELECTION) Recognized as seminal for the architecture of the future, the works of COOP HIMMELB(L)AU have con- tinually been the subject of international exhibitions. Among the largest and most widely known are the solo retrospectives Construire le Ciel in 1992 at the Centre Georges Pompidou in Paris, France, and the exhibition entitled Deconstructivist Architecture held in 1988 at the Museum of Modern Art, New York, under the cura- torship of Philip Johnson and Mark Wigley. Internationally renowned institutions such as the Get- ty Foundation in Los Angeles, the Austrian Museum of Applied Arts/Contemporary Art (MAK) in Vienna and the Centre Georges Pompidou in Paris display the works of COOP HIMMELB(L)AU as part of their perma- nent exhibitions. In 1996, COOP HIMMELB(L)AU was invited to serve as the Austrian representative to the 6 th International Architecture Exhibition of La Biennale di Venezia, It- aly. Since then, our studio has been a regular partici- pant, presenting several projects such as the Muse des Confuences and the Guangzhou Opera House. The Muse des Confuences in Lyon was additionally shown at the Latent Utopias exhibition in Graz, Aus- tria, from October 2002 to March 2003. COOP HIMMELB(L)AU has also been presented on several occasions at the Aedes East Gallery in Berlin, for example, at well-known shows such as Skyline in 1985, The Vienna Trilogy + One Cinema in 1998, and the exhibition on the competition for the BMW Event and Delivery Center in 2002. In the same year, COOP HIMMELB(L)AU was also present at the 8th In- ternational Architecture Exhibition of La Biennale di Venezia, Italy, with the projects BMW Welt and a de- sign for the new World Trade Center. In 2007/08, the exhibition COOP HIMMELB(L)AU.Beyond the Blue was shown at the MAK in Vienna and traveled in 2009 to the Wexner Center for the Arts, Columbus, Ohio, USA. At the 11th International Architecture Exhibition of La Biennale di Venezia, Italy, COOP HIMMELB(L)AU has been presented with two contributions: Astro Balloon 1969 Revisited - Feedback Space at L Arse- nale and Brain City Lab at Padiglione Italia. The two installations were also shown in 2009, at the COOP HIMMELB(L)AU: Future Revisited exhibition at NTT In- terCommunication Center [ICC] in Tokyo, Japan. COOP HIMMELB(L)AU has also designed several exhi- bitions. Among their best known works are Paradise Cage: Kiki Smith and Coop Himmelb(l)au, shown in 1996 at the Museum of Contemporary Art in Los Ange- les, and in 2000 Rudi Gernreich: Fashion will go out of fashion, for the Steirischer Herbst festival in Graz, Austria, which also traveled to Philadelphia, USA. 71 Wolf D. Prix / Co-Founder of Coop Himmelb(l)au 1968 Design Principal / CEO 72 Wolf D. Prix, born in Vienna in 1942, is a co-founder of COOP HIMMELB(L)AU. He studied architecture at the Vien- na University of Technology, the Architectural Association of London, and the Southern California Institute of Archi- tecture (SCI-Arc) in Los Angeles. In 1993, Wolf D. Prix was named Professor for Architecture at the University of Applied Arts in Vienna, Austria. Since 2003, he has been head of the Institute for Architecture, the head of Studio Prix, and serves as vice-rector of the university. He taught as a visiting professor at the Architectural As- sociation in London in 1984, and at Harvard University in Cambridge, Massachusetts in 1990. From 1985 to 1995, Wolf D. Prix was active as Adjunct Professor at the SCI-Arc in Los Angeles. Since 1998, he has been a faculty member of Columbia University in New York. In 1999, Wolf D. Prix was awarded the Harvey S. Perlof Professorship at the University of California Los Angeles (UCLA). In 2001, he was made an adjunct professor at UCLA. Since 2001 he has been a Doctor Honoris Causa de la Universidad de Palermo, Buenos Aires, Argentina. In 2004, Wolf D. Prix received the Annie Spink Award for Excellence in Archi- tectural Education for his commitment to teaching and training. In 2008, Wolf D. Prix was awarded with the Jencks Award: Visions Built prize for his major contribution to the theory and practice of architecture. In May 2009, Federal President Dr. Heinz Fischer bestowed the Austrian Decora- tion of Honor for Science and Art on Wolf D. Prix for his outstanding creative achievements. From 1995 to 1997, Wolf D. Prix was a member of the ar- chitectural committee in the Austrian Federal Ministry of Science, Research, and the Arts. He is a member of the Austrian Art Senate, of the European Academy of Sciences and Arts, as well as of the Advisory Committee for Building Culture. Furthermore, Wolf D. Prix is a member of the Architectural Association Austria, Union of German Architects (BDA) in Germany, the Archi- tectural Union Santa Clara in Cuba, the Royal Institute of British Architects (RIBA), the American Institute of Archi- tects (AIA) and the Architectural Association Italy. In 2006, he was the commissioner for the Austrian contribution for the 10th International Exhibition of the Venice Biennale. 73 Karolin Schmidbaur, born 1967 in Wrzburg, Germany, was raised and educated in Munich. She studied archi- tecture at the Technical University of Munich and received her diploma in 1992. Since 1992 she has been practicing Architecture internationally with COOP HIMMELB(L)AU in their ofces in Vienna, Austria; Guadalajara, Mxico; and Los Angeles, California. Since 1993 she has been based in Los Angeles, California. She is a Licensed Architect in Germany since 1995. In 1996, she was made a Partner of COOP HIMMELB(L)AU. Currently Karolin Schmidbaur is design and managing partner of COOP HIMMELB(L)AU Vienna and also the direc- tor of COOP HIMMELB(L)AUs Los Angeles, California ofce. Projects at COOP HIMMELB(L)AU include the Groningen Museum East Pavilion, the Netherlands, completed in 1994; the JVC Urban Entertainment Center in Guadalajara, Mxico; and most recently the Central Los Angeles Area High School #9 for visual and performing arts in downtown Los Angeles, California, completed in 2008. Among stud- ies and competitions are mixed use projects all over the world, a master plan for an Urban Development downtown Los Angeles, California, and contributions to the formula- tion of new museum concepts such as the Broad Art Mu- seum in Lansing, Michigan, and the Randers Art Museum in Randers, Denmark. Karolin Schmidbaur has taught design studio at the Uni- versity of Southern California (1997-1998) and the South- ern California Institute of Architecture (SCI-Arc) from 1998 to 1999. Karolin Schmidbaur Design Partner 74 Wolfdieter Dreibholz, born in Vienna in 1941, was trained at the Technical University of Vienna, graduating in 1966 as a Dipl. Ing. with an engineering degree in architecture. From 1968 to 1974 he worked as an assistant at the Faculty of Architecture of the Graz University of Technol- ogy where he graduated in 1977 as Doctor of Technical Sciences. Working with the planning department of the federal state of Styria from 1978 to 1998, Wolfdieter Dreibholz was appointed director in 1990. In this capacity he was responsible for all public building projects, includ- ing universities, ofce buildings, municipal buildings, and housing. In 2000, Wolfdieter Dreibholz joined COOP HIMMELB(L)AU as CEO of COOP HIMMELB(L)AU Mex S. A. de C. V. and was nominated partner of COOP HIMMELB(L)AU Wolf D. Prix / W. Dreibholz & Partner ZT GmbH, becoming their CEO in 2004. Wolfdieter Dreibholz is a member of the chambers of architects of Germany, France, Austria and Italy, and the author of numerous articles and research papers in the felds of architecture and urban planning. Wolfdieter Dreibholz CEO Harald Krieger, born 1956 in Graz, studied law and business administration at the Karl-Franzens-Universitt Graz from where he received his graduate degree in Laws in 1987. From 1987 to 2000 he worked in the Austrian Inland Revenue Ofce and as tax and company auditor for major companies in Styria. In 2000 he moved into the private sector as managing partner of a tax consulting, auditing, and business consulting frm. In 2003, Harald Krieger was designated as partner of COOP HIMMELB(L)AU Wolf D. Prix / W. Dreibholz & Part- ner ZT GmbH. He is authorized signatory of the architec- tural ofce and managing director of COOP HIMMEL- B(L)AU Europe GmbH, Frankfurt am Main, Germany since 2006. Harald Krieger CFO 75 Wallpaper* Design Award 2011 (Category: Best Building Sites) London, UK, 2011 Project: Dalian International Conference Center MIPIM Architectural Review Future Projects Award (Category: Sustainability) Cannes, France 2010 Project: Town Town Erdberg, Vienna, Austria Downtowners of Distinction Award Los Angeles, California, USA 2010 Project: Central Los Angeles Area High School #9 for the visual and performing arts Metal Construction Association's Presidents Award for Overall Excellence Glenview, Illinois, USA 2010 Project: Central Los Angeles Area High School #9 for the visual and performing arts Best of 2009 Award Los Angeles, California, USA 2009 Project: Central Los Angeles Area High School #9 for the visual and performing arts Austrian Decoration of Honor for Science and Art for Wolf D. Prix/ COOP HIMMELB(L)AU Vienna, Austria 2009 Detail Prize 2009 - Innovation Steel Munich, Germany 2009 Project: BMW Welt
Wallpaper Design Award 2009: Best New Public Building London, UK 2009 Project: BMW Welt World Architecture Festival Award: Production Barcelona, Spain 2008 Project: BMW Welt World Architecture Festival Preis: Production Barcelona, Spain 2008 Project: BMW Welt Jencks Award: Visions Built 2008 for Wolf D. Prix / COOP HIMMELB(L)AU London, UK, 2008 Preis des Deutschen Stahlbaues 2008 Mainz, Germany 2008 Project: BMW Welt RIBA European Award 2008 London, UK 2008 Project: BMW Welt RIBA International Award 2008 London, UK 2008 Project: Akron Art Museum International Architecture Award 2007 The Chicago Athenaeum, Illinois, USA 2007 4 Projects: Busan Cinema Complex, Busan, South Korea; Academy of Fine Arts, Munich, Germany; Space of Contem- porary Artistic Creation, Cordoba, Spain; The Great Egyptian Museum, Cairo, Egypt Honorary Fellowship of the American Institut of Architects AIA, New York, USA, 2006 International Fellowship of the Royal Institute of British Architects RIBA, London, UK, 2006 American Architecture Award 2005 The Chicago Athenaeum, Illinois, USA 2005 Project: Akron Art Museum Annie Spink Award for Excellence in Architectural Education RIBA, London, UK 2004 Goldenes Ehrenzeichen fr Verdienste um das Land Wien (Gold Medal for merits to the federal state of Vienna) Vienna, Austria 2002 Ofcier de lordre des arts et des lettres Vienna, Austria 2002 Anerkennungspreis fr Architektur des Landes Niedersterreich (Recognition Prize for Architecture in lower Austria) St. Plten, Austria 2002 Project: Water Tower, Donau-Auen National Park Hainburg Architekturpreis der sterreichischen Zementindustrie (Architectural Prize of the Austrian Cement Industry 2001) Vienna, Austria 2001 Project: SEG Remise Europischer Stahlbaupreis 2001 (European Steel Design Award 2001) Venice, Italy 2001 Project: UFA Cinema Center Dresden Groer sterreichischer Staatspreis (Great Austrian State Award) Bauherrenpreis der Zentralvereinigung der Architekten sterreichs (Prize of the Austrian Architectural Association) Vienna, Austria 1999 Project: SEG Apartment Tower Awards and Honors 76 Architekturpreis 1999 Beton (Architectural Prize 1999 Concrete) Baden-Baden, Germany 1999 Project: UFA Cinema Center, Dresden Deutscher Architekturpreis 1999 (Award to the German Architecture Prize 1999) Berlin, Germany 1999 Project: UFA Cinema Center, Dresden Neuer Schsischer Kunstverein e.V., Architekturpreis 1996 (Architectural Prize of the Neuer Schsischer Kunst-verein) Germany 1996 Project: UFA Cinema Center, Dresden Bauherrenpreis der Zentralvereinigung der Architekten sterreichs (Prize of the Austrian Architectural Association) Vienna, Austria 1996 Project: Ofce and Research Center Seibersdorf Tau Sigma Delta Award Tau Sigma Delta Honor Society in Architecture and the Allied Arts Washington D.C., USA 1993 Dutch National Steel Prize The Netherlands, 1992 Project: Groninger Museum Erich-Schelling-Architekturpreis (Erich-Schelling-Architecture Prize) Staatliche Hochschule fr Gestaltung, Karlsruhe, Germany 1992 Constructa Preis. Europischer Preis fr Industriearchitektur (Constructa Prize. Award for European Industrial Architecture) Hannover, Germany 1992 P.A. Award (Progressive Architecture) New York, USA 1991 P.A. Award (Progressive Architecture) New York, USA 1990 Project: Open House Bauherrenpreis der Zentralvereinigung der Architekten sterreich (Award of the Austrian Architectural Association) Vienna, Austria 1990 Project: Funder Factory 3 P.A. Award (Progressive Architecture) New York, USA 1989 (COOP HIMMELB(L)AU MORPHOSIS) Project: L.A. Art Park Krntner Landespreis fr Gutes Bauen (Award of the State of Carinthia for Superior Architecture) Austria 1989 Project: Funder Factory 3 Ehrenmitglied beim Bund Deutscher Architekten (Honorary Membership in the League of German Architects) Bonn, Germany 1989 Preis der Stadt Wien fr Architektur (Award of the City of Vienna for Architecture) Austria 1988 Project: Rooftop Remodelling Falkestrae Bauherrenpreis der Zentralvereinigung der Architekten sterreichs (Award of the Austrian Architectural Association) Vienna, Austria 1985 Project: Studio Baumann Berliner Frderungspreis fr Baukunst (Berlin Prize for Building Art) Germany 1982 77 Peter Gssel (Ed.) COOP HIMMELB(L)AU Complete Works 19682010 Taschen GmbH, Kln 2010. Thomas Kramer (Ed.): Himmelblau no es ningn color wolf d. prix, coop himmelb(l)au. Editorial Gustavo Gili, Barcelona 2010. COOP HIMMELB(L)AU (Ed.) : Pavillon 21 MINI Opera Space. HIMMELPRINT, Vienna 2010. COOP HIMMELB(L)AU (Ed.) : HS#9, Central Los Angeles Area High School #9 for the Visual and Performing Arts. Prestel Publishing, Munich 2010. Menges, Axel (Ed.): Coop Himmelb(l)au, BMW Welt, Mnchen. Edition Axel Menges, Stuttgart, London 2009. Noever, Peter (Ed.): COOP HIMMELB(L)AU. Beyond the Blue. Prestel Verlag, Munich, Berlin, London, New York 2007. Feireiss, Kristin (Ed.): Dynamic Forces. COOP HIMMELB(L)AU. BMW Welt Munich. Prestel Verlag, Munich, Berlin, London, New York 2007. Kandeler-Fritsch, Martina; Kramer, Thomas (Ed.): Get Of of My Cloud. Wolf D. Prix. COOP HIMMELB(L)AU. Texts 1968-2005. Hatje Cantz Verlag, Ostfldern-Ruit 2005. Dar, Mattia; Zamponi, Beatrice (Ed.): COOP HIMMELB(L)AU. Edil Stampa, Roma 2004. Noever, Peter (Ed.): Gerald Zugmann - Blue Universe. Transforming Models into Pictures. Architectural Projects by COOP HIMMELB(L)AU. Hatje Cantz Verlag, Ostfldern-Ruit 2002. Werner, Frank (Ed.): Covering + Exposing. The Architecture of COOP HIMMELB(L)AU. Birkhuser, Berlin 2000. Feireiss, Kristin; Commerell, Jrgen (Ed.): COOP HIMMELB(L)AU. The Vienna Trilogy + One Cinema. Three Residential Buildings in Vienna and a Cinema in Dresden. Berlin 1998. De Sessa, Cesare (Ed.): Spazi atonali e ibridazionelinguistica. Testo & Immagine, Torino 1998. Hausegger, Gudrun; Kandeler-Fritsch, Martina (Ed.): Wolf D. Prix Helmut Swiczinsky. COOP HIMMELB(L)AU Austria. Biennale die Venezia 1996, Sixth International Exhibition of Architecture. Verlag Ritter, Klagenfurt 1996. Museum of Contemporary Art (Ed.): Paradise Cage Kiki Smith and COOP HIMMELB(L)AU. Los Angeles 1996. Centre Georges Pompidou (Ed.): COOP HIMMELBLAU. Construire le ciel. Paris 1992. Gruenberg, Oliver; Hahn, Robert; Knecht, Doris (Ed.): COOP HIMMELBLAU. The Power of the City. 2. Edition, Jrgen Husser, Darmstadt 1992. Aedes Galerie and Architekturforum (Ed.): Hans Hollein - COOP HIMMELBLAU. Profle Expo '95 Vienna. Berlin 1990. COOP HIMMELBLAU. 6 Projects for 4 Cities. Verlag Jrgen Husser, Darmstadt 1990. Architectural Association London (Ed.): COOP HIMMELBLAU. Blaubox. Folio XXIII, London 1988. Gruenberg, Oliver; Hahn, Robert; Knecht, Doris (Ed.): COOP HIMMELBLAU. The Power of the City. Georg Bchner, Darmstadt 1988. Johnson, Philip; Wigley, Mark (Ed.): Deconstructivist Architecture. The Museum of Modern Art, New York 1988. Architekturgalerie Mnchen (Ed.): COOP HIMMELBLAU. Ofene Architektur. Wohnanlage Wien 2. Munich 1986. Gallery Aedes (Ed.): COOP HIMMELBLAU. Skyline. Projekt fr das Hamburger Bauforum 1985. Berlin 1985. Gallery Aedes (Ed.): COOP HIMMELB(L)AU. Ofene Architektur Ent-Wrfe 1980-1984. Berlin 1984. COOP HIMMELBLAU. Architecture is now. Hatje Cantz, Stuttgart; Rizzoli, New York; Thames & Hudson, London 1993. Technische Universitt Graz; Gallery H (Ed.): COOP HIMMELBLAU. Architektur muss brennen. Graz 1980. Weiermair, Peter; Galerie im Taxispalais (Ed.): COOP HIMMELBLAU. Sie leben in Wien. Vienna 1975. Monographs 78 Key Data English/Deutsch 2010. 36 pp., 26,6 x 19,6 cm softcover pub. date: July 2010 10,00 ISBN 978-3200019010 Publisher: HIMMELPRINT (2010) http://www.amazon.de Key Data Editor: Sylvia Lavin Publisher: Prestel (2010) Languages: English 192 pages, softcover, Size: 234 x 206 mm. ISBN 978-3791344331 (English Version) EURO 39.95, US $ 49.95, GB 25.00 http://www.prestel.com
Key Data Author: Michael Mnninger Editor: Peter Gssel Hardcover, 30.8 x 39 cm 500 pages 99.99 ISBN: 978-3-8365-1788-1 Multilingual Edition: English, French, German http://www.taschen.com Coop Himmelb(l)au Pavillon 21 Mini Opera Space Munich, Germany 20082010 Coop Himmelb(l)au HS#9 Central Los Angeles Area High School #9 Coop Himmelb(l)au Complete Works 1968-2010 by taschen 79 COOP HIMMELB(L)AU Wolf D. Prix / W. Dreibholz & Partner ZT GmbH Spengergasse 37 A 1050 Vienna Austria T: +43 - 1- 546 60 F: +43 - 1- 546 60- 600 ofce@coop-himmelblau.at www.coop-himmelblau.at COOP HIMMELB(L)AU L.A. ClOuD InC. l.A. 2404 Wilshire Blvd., Suite No. 4K, 4th foor USA, CA-90057 Los Angeles T: +1- 213- 251 95 40 F: +1- 213- 251 95 94 ofce@himmelblau_la.com www.coop-himmelblau.at COOP HIMMELB(L)AU FRANCE, S.A. de R.l. COOP HIMMELB(L)AU EUROPE GmbH COOP HIMMELB(L)AU HONG KONG lTD. ofce@coop-himmelblau.at www.coop-himmelblau.at Contact 82 83 www.coop-himmelblau.at