AVS. Arkitektúr verktækni skipulag - 01.09.2003, Page 43

AVS. Arkitektúr verktækni skipulag - 01.09.2003, Page 43
 ■ , [ * Schoolhouse and sports hall in Ostfildem near Stuttgart, 1999 / 2002: chimneys of sports hall. / Skóli og iþróttahús í Ostfildern nálægt Stuttgart, 1999 / 2002: skorsteinar á íþróttahúsi. cut holes in the walls and glaze them to emphasise the trans- parency of modern architecture, where a delicate glass membrane tries to wipe out the demarcation line between what is inside and what is outside - we want to show that we have a different attitude. The spaces we design are generally enclosed with a solid stone wall because we want people to be able to sense the physical weight. „How does modernism help us by building external walls of glass when it is not necessary from the design point of view? What do we gain by giving people walking up a staircase the feeling of being outside when they are really inside? Does this trend to trans- parency, of being outside not reduce the possibilities of archi- tecture?" (Arno Lederer). „Inside is different from outside" - with these words we are not advocating a clear separation between inner and outer spaces in buildings but only denouncing the tendency to do away with the difference between inside and outside. We look upon space as a framework, which through physical feeling and light is clearly defined from the undefined outer space. We try to meet the „disap- pearance of inside space“ because of transparency, with architecture that makes us sense the spaces as physical capsules. One can describe this with the same words as the buildings by Emil Steffan: „Nobody will experi- ence this architecture as being cold, distant, unusual, pretentious and fake. On the contrary, it is warm, familiar and almost obvi- ous. The reason for this is its physical manifestation and the forms which are part of our his- toric memory.“ In the design of new spaces, we put emphasis on not making the habitable spaces too tight and oppressive. On the contrary, here the quality of our work is put to the test. With carefully thought out lighting we try to create light, but at the same time clearly defined spaces. As our architecture is true to this original idea, we really create spaces and spatial feelings with reference to architectural history. Scandinavian architecture has been an important source of inspiration in our work. We admired how Lewerentz, Anshelm and Celsing finished joints. Modern buildings, which appear to be a natural part of the man-made environment. This is the goal of our architecture. In times when artificial space increasingly influences how peo- ple experience architecture, we want our buildings to be a clear symbol of the original power that real space has, the touch, the feeling, the ambience of light and colour and the touch. We try to meet the placeless space of imaginary artificial worlds by creating real places. Our buildings are not lost in stan- dardised namelessness and can- not be exchanged or placed according to a whim. Our build- ings create places. These places are not some imaginary „sites" but always designed to fit a cer- tain context. Be it a central area of a city or open landscape, our architecture attempts to address the special context and never appears in isolation. ■ 41

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AVS. Arkitektúr verktækni skipulag

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