The Library Architectural Analysis II

Transcription

The Library
Architectural
Analysis II
Dipl.-Ing. H. Apelt
Dipl.-Ing. H.H. Yegenoglu
TU/e | 2011/2012
Introduction
Dipl.-Ing. Haike Apelt, Dipl.-Ing. Hüsnü Yegenoglu
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Public building types: The library
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Architectural Analysis II
The method of the typomorphological analysis, which is used
in the course Architectural Analysis II, combines different
analytic approaches in order to understand and descibe
architecture in the most complete possible way. While the
British approach focuses on the relationship between plot
and object, the Italian approach concentrates on history and
building type, the French approach on space and power. In
combining these very different concerns (form - type - scale
- time - social structures) the typomorphological analysis
used in the course aims to develop an alternative method
in understanding architecture within its spatial, historical
and societal context. During the last years the tool of the
drawing by which to exercise the analysis was perfected
suiting domestic building types. For the first time now, the
course deals with public buildings, which does not only
pose new aspects of the analysis but also makes it necessary
to adapt and further refine the method of drawing the
typomorphological analysis.
In the current edition of the course we study the architecture
of libraries. As one of the oldest public building types the
library is still, or yet again (much to surprise for those who
predicted the end of the printed medium) a very vital and
meaningful building type that seems to adapt to different
spatial and cultural conditions. We selected ten buildings in
different western countries which were constructed within
the past ninety years. In drawing, text and scale-model
the students investigate key questions such as: What are
the leading spatial themes of the building? What are the
general spatial themes that seem to be consistent in the
development of a building type? In what way does the
public character of the building become explicit? What is
the relationship between presentation and representation?
Does the development of the media influence the design
approach and with it the development of the building type?
Parallel to the study of the architectural objects a series of
general architectonic questions are investigated such as: the
role of decor, the meaning of transparancy, the system of
proportions and the experience of sequence. The final essay
explores the relationship between the development of the
printed medium and the architectonic space.
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Introduction
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Essays
008
009
03. Transparency
Dave Al, Daniël Brorens, Guus Gielens, Bob L’Heminez, Ricardo Ploemen
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Essays
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Layers of Transparency
‘Transparency’ is generally circumscribed as the quality
of transmitting light so that bodies lying beyond are seen
clearly. This first level explanation of transparency is
1
often used in architectural practice, e.g. “the glass window
allows the building user to see passersby on the outside
of the building”. Besides this visual dematerialization
– paradoxically glass is called a material, though
dematerializes at the same time – it should be added that
the material barriers of glass do isolate the other senses. As
Richard Sennet puts it: “Fully apprehending the outside
from within, yet feeling neither cold nor wind nor moisture,
is a modern sensation which produces a complete visibility
without exposure of the other senses”.
2
The aforementioned first level explanation does not seem
to satisfyingly cover the complete usage of the term, since
constructs a periodization of architectural history in which
he distinguishes three different conceptions of space.
For the subject of this essay the third conception is most
relevant, since, according to Giedion , this ‘space-time
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conception’ is set in at the beginning of the twentieth
century with the optical revolution. This new way of
perceiving spatial compositions formed a major contrast
to the single viewpoint of perspective, as it was implied in
can be demarcated by a building’s formal structure. For
this purpose they distinguish literal from phenomenal
transparency. The former shows us that glass windows,
which are perceived as being transparent and enable the
action of seeing through, remain tangibly present. In
contrast, the latter refers to the simultaneous suggestion of
different spatial locations within the same space, as a means
of spatial ordering. The word ¬phenomenal in this sense,
refers to the way users perceive these spatial implications in
their own way.
The origin of transparency is sought in the art, and more
specific in the Cubist movement from the beginning of the
twentieth century. Rowe and Slutzky derived this notion
from Swiss historian and architectural critic Sigfried
Giedion’s theory on transparency, who compares Cubism
and architecture in his magnum opus Space, Time and
Architecture (1941). In addition, this book also provides
the fundamentals of transparency, like the notion of
‘Durchdringung’ and the ‘space-time concept’. Giedion
Fig.1 Architectural Analysis, Theo van Doesburg(1923)
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will mainly be answered in the typo-morphological analysis
that will follow in the chapter ‘03. Viipuri Library and
Beinecke Library’.
consciousness of social responsibility, though to a larger
extend to cubist painters, is most interesting. This notion of
modern space is then described by ‘the essence of space’ as
“its many-sided, infinite positionality for relations within it”
. Cubism views objects from several points of view, no one
5
by Picasso. Giedion furthermore explains his concepts with
Slutzky, and provides a broad explanation of how spaces
experienced by the user?”. The second part of this question
not only to the application of new materials and a new
about the concept of transparency forms the main part
of Transparency: Literal and Phenomenal , by Rowe and
do they contribute to the way these libraries are perceived and
Giedion relates this new architectural conception of space
of which has exclusive authority as they are seen from all
3
transparency themes applied in the analyzed libraries and how
the architectural practice until that time. The way in which
deeper meanings can provide additional insights in relation
to architectural design. A first attempt to develop a theory
answering the research question “In what way are the main
Glass architecture: a chronology
visitors with its transparent walls and ceilings that made
The first applications of transparency in the building
artificial interior illumination superfluous.
initially named ‘glass architecture’. The precursors of
New materials additionally provided greater transparency in
and shopping galleries that appeared in the Parisian
of the section in the building is the ‘grand magasin’ of the
Paris was considered to be the capital of modernism of the
between 1862 and 1868. The building consists of five storey’s
passages and galleries. Initially the material was applied for
transparency of materials evolved into a new application of
excellent conditions. The prototype of those passages is the
made the floors of cast iron grid elements, which resulted
structure was a large glass canopy that created a covered
be considered as the first known application of the later
industry date from the nineteenth century and were
glass architecture were the early 19th century passages
interior design. An interesting example for the interpretation
neighborhood of the Grands Boulevards. At that time
National Library (Fig. 6) in Paris, built by Henry Labrouste
world which enabled the development of these luxurious
and is covered with a glass roof, but the interpretation of the
pure functional reasons, to allow the public to commerce in
it. To allow daylight to pass through all floors, Labrouste
Galerie du Palais Royal (Fig. 2) that was built in 1786. This
in an unprecedented spaciousness and transparency. It can
street with stores and opened up to one side. The oldest real
described ‘phenomenal transparency.‘
Caire 1798 (Fig. 3).
In 1914 the German Futurist writer Paul Scheerbart
passage, indoor and shops on both sides, was the Passage du
sides. This notion can be derived from the cubist painting
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published a book titled ‘Glasarchitektur’ that elaborates on
Due to technical progress in the 18 and 19 century,
all sorts of possibilities for glass as an alternative to traditional
became available for building purposes and consequently
innovation in architecture is necessary to evolve culture. As
The first extensive application of large amounts of glass
our architecture. If we want our culture to a higher level,
was purely functional considering the thermal advantages
only then be able, if we deprive the spaces we live in from
vegetation, at the time evidence of great wealth. One of
should bring us a new culture.” Elaborating on this topic,
the Belfast Botanic Gardens (1840) (Fig. 4). More famous
possible. Considering Scheerbart’s mentioned advantages:
(1848) that showed the first large-scale structural use of
a few of many,he believes his utopian world should be
invention of the cast plate glass method in 1848, it became
glass walls, new means of glass and entire cities which are
lower prices. The Crystal Palace in London (1851) (Fig. 5)
glass architecture are forecast, as the closeness of rooms
expression. The wish for interaction between the exterior
previously solid walls. This new environment would then
th
buildings by architects Walter Gropius and Le Corbusier.
Gropius’ Bauhaus building from 1926 is described by
Giedion as the “only large building of its date which was
a complete crystallization of the new space concept” and
consequently shows similar overlapping spatial planes when
compared to the aforementioned cubist painting.
The aforementioned theories that are reflected on the term
‘transparency’ throughout history – literal transparency,
phenomenal transparency and space-time concept – will
be discussed more elaborate in this essay by providing a
chronological development of transparency in relation to
architecture, and consequently provide a strong fundament
for the analysis of two distinct libraries. The Viipuri Library
(1935) and Beinecke Rare Book and Manuscript Library
(1958) were designed and built for different purposes.
In addition, the divergent political situations in both
periods of design and construction have had their strong
influence on libraries in general and more specifically on
the theme of transparency as we find them in the formerly
th
transparency theories, they will be put into practice by
was shown at the ‘Werkbund Exhibition’ in Cologne in
1914. The building consisted largely of glass, and was
crowned with a glass dome. Although the pavilion was
demolished afterwards, it is still notorious and published
in books on modern architecture because it is considered
as the first real architectural application of transparency.
Taut released his book Alpine Architektur in 1919, in which
he publishes drawings that show mountain scenery in the
Alps, embellished with utopian designs for large glass
palaces. At the same time Taut started an exchange of
letters named ‘die Gläserne Kette’ which included German
architect Walter Gropius. Unsurprisingly, the topic was the
future of glass architecture. With this exchange leading into
a discussion Gropius managed to translate Taut’s Avantgarde architecture in pragmatic designs.
Gropius had already gained experience in glass architecture
enabled innovative transparent applications in architecture.
he stated that “our culture is in some sense a product of
Leine, built in 1911, with walls consisting almost entirely of
is seen in greenhouses. Also in this case the application
we are forced to transform our architecture. And so we will
and the possibilities to showcase exotic and outlandish
the closed character. The new environment that we create
the earliest examples of the typology is the Palm Houses in
he envisions a utopian world in which glass is used wherever
is the Palm House in the Royal Botanic Gardens in Kew
non-flammability, increased hygiene and transparence are
wrought iron, with hand-blown panes of glass. With the
composed of glass: glass houses, glass furniture, moveable
possible to produce glass in larger sizes and surfaces but at
to be composed solely of glass. The consequences of this
can be considered as the first application of glass for spatial
will disappear because the admittance of light through the
The successor as the director of Bauhaus of Gropius
and the interior, to showcase the goods, was the reason
evolve or even replace the culture of the time.
van der Rohe’s contribution should be considered more
design and realized building contained the largest amount
Scheerbart’s visions were first realized in the famous glass
Fig.3 Passage du Caire, (1798)
His temporary exhibition pavilion for the Glass Industry
building materials such as brick and wood. He believes
of glass ever seen in a building at that time, it astonished
Fig.2 Cirque du Palais Royale, Paris, (1786)
were friends and ‘Glasarchitektur’ was dedicated to Taut.
materials like cast iron, wrought iron and cast plate glass
for the architect to apply the reasonably new material. The
mentioned institutions. After elaborating the main
garde architect architect Bruno Taut. Scheerbart and Taut
Essays
7
pavilion (Fig. 8), designed by the young German avant-
Fig.4 Palm House Botanic Gardens, Belfast, (1840)
when designing the Fagus Factory (Fig. 7) in Alfeld an der
glass. This factory is one of the first examples in Germany of
the ‘Neue Sachlichkeit’. In 1919 Gropius’s became director
of the Bauhaus in Weimar. When the Bauhaus moved from
Weimar to Dessau in 1926, Gropius designed the new
building that became a new peak in the glass architecture.
In Giedions and Rowes opinion (Transparency: Literary
and phenomenal) this building is considered to be the
ultimate example of ‘literal transparency.’ Gropius was
the first architect to penetrate the corners of the building
and dematerialize these with glass. Another important
innovation is the application of the predecessor of the
modern curtain glass walls in Europe.
was for one year Hannes Meyer, though Ludwig Mies
important (1930-1933). Mies has played a major role
in the development of glass architecture with his design
for a glass tower on Friedrichstrasse in Berlin in 1921
Fig.5 Crystal Palace, Joseph Paxton, (1851)
027
and a glass skyscraper (Fig. 9) in 1922. Because of his
contribution to the subject, it is noteworthy and possibly
odd that he is not mentioned in the book of Rowe &
Slutsky. The fluent and infinite concept of the floor plans
heavily contributed to the topic. The absence of internal
separation and the dematerialization of the façade can be
considered as a predecessor of phenomenal transparency.
Mies was influenced by the ideas of the art movement ‘De
Stijl’, which were introduced to the Bauhaus by Theo van
Doesburg who visited Weimar in 1922.
Van Doesburg, also absent in Rowes writings, made several
axonometric drawings (Fig. 1) which proved to be important
for architecture, due to their open, transparent and spatial
concepts. In 1924, Van Doesburg’s new architecture was
explained in the essay Tot een beeldende architectuur (1924),
which called for a replacement of the traditional closed
volumes by open and transparent architecture. The plea for
8
transparency by Van Doesburg was circumscribed as “The
new architecture breaks through the wall and thus nullified
the separation of inside and outside. ... This creates a new,
open floor plan, totally different from the classic, as the
inside and outside spaces interpenetrate” Again it was an
9
attempt to break classicist rules in architecture and innovate
with culture. Except this time it came from a background of
the expressive arts instead of literature as Paul Scheerbart
did in his ‘Glasarchitektur.’
Taut, van Doesburg and Gropius presented architecture with
new explorative ideas for transparency. New fundamental
discoveries
reached
their
peak
concerning
‘Glass
Architecture.’ The practice of these concepts consequently
led into new theoretical developments. Giedion realized the
theoretical developments were necessary to evolve the topic
to a higher level. Consequently, he published a new vision
of space and time in the 10th paragraph: “Space and time. -
The new architecture does not solely take space into account,
but also focuses on time as the accent of architecture. The
unity of time and space provides a completely new and
completely visual aspect the architectural appearance:
4-dimensional, time-spatial imagery aspects”.
10
Fig.6 National Library, Paris, Hardy La Brouste, (1868)
028
Durchdringung and the Space-Time-concept
in which space and time are no longer seen as independent
‘interpenetration’, originates from Hungarian painter and
concept entails, according to Giedion yet unseen way for
Von Material zu Architektur (1929) had a major influence
evoked by this architecture has a ‘time-spatial’ character:
the concept of Durchdringung. Giedion used Moholy-
space, but by the uninterrupted interplay of simultaneous
qualities of the ‘new architecture’ and did these in different
that, traditionally speaking, could only be perceived one
description of spatial configurations. Some examples would
simultaneity, dynamism, transparency, versatility, a game
smaller ones, the spatial effects caused by partial absence
this new concept was the most typical feature of the ‘new
the use of transparent walls. In Architecture and Modernity
discoveries. “Space-time was a new vision of space that was
the sensation of motion and from the experience of an
(the depiction of an object from different viewpoints at the
are as a result constantly related to each other, to such an
the movement of objects and attempting it in painting.”
The German term ‘Durchdringung’, literally meaning
dimensions, but as interrelated phenomena. The new space
photographer László Moholy-Nagy. His theoretical work
time as the fourth dimension expression. The experience
on new transparent space-concepts, and more precisely on
it is not determined by the static qualities of a fixed
Nagy’s Durchdringung as a key expression to describe the
experiences of varying spatial qualities, experiences
connotations, of which the most important would be the
after the other. Modern architecture is characterized by
be spaces that are created by the penetration of volumes by
of liquefaction and suggestive movement. “
of floor parts, and the fading of interior and exterior by
architecture’. It was the product of technical and artistic
Heynen describes Giedion’s fascination which “arose from
not based on perspective, that emphasized simultaneity
intermingling of spaces. … Exterior and interior spaces
same time), and that also stressed dynamics, focusing on
extent that in the end one cannot make any clear distinction
These features were brought together with a plentiful of
is fundamental in the ‘New Building’ … For Giedion,
used because of its dematerializing qualities and which had
of the new architecture: its capacity to interrelate different
interpenetrate, creating the sense of a movement in space
13
For Giedion
14
between the two. This new kind of spatial experience
glass - a material that according to Giedion was primarily
Durchdringung thus refers to an essential characteristic
the effect of making interior and exterior spaces appear to
aspects of space with one another.”
that seems to be frozen.
11
15
Giedion used the theory of Durchdringung to explain
Durchdringung
interprets
transparency
as
an
see that blocks are positioned close to each other and are
of interior and exterior. The Space-Time-Concept
of the different volumes become obscured. As Giedion puts
of the buildings spatial composition which allows an
but seemed to float above it while their different volumes
These two themes where the motive for Rowe and Slutzky
was used because of its dematerializing property.” 12
concepts and evolved them into the literal and phenomenal
The Space-Time-Concept was the subject of part VI of
follows: “The eye cannot see this building complex in one
considered as the canon of modern architecture. The concept
sides. ... This gives the same impression as the glass staircase
embodiment of a new space-time continuum. A conception
a movement in space that is seized and put down. “
the design of the Bauhaus building (Fig. 10). Here we
interpenetration of volumes and the visual connection
interrelated. Due to their subtle penetration, the boundaries
considers transparency as the continuity of the experience
it, “buildings were no longer visually rooted in the ground
intermingling conception of internal and external spaces.
interpenetrate each other instead of being juxtaposed. Glass
to make an explorative translation. They interpreted the
transparency. The dynamics of the building are described as
his book Space, Time and Architecture (1941), generally
view, it is necessary to go around the building to view all
can be describes as “the idea that modern architecture is the
in the exhibition building by Gropius from 1914: it suggests
16
Fig.7 Fagus Fabrik, Alfeld an der Leine, Walter Gropius, (1911)
Literal and Phenomenal Transparancy
spatial ordering. It occurs at the simultaneous perception
buildings of Le Corbusier and Gropius. Gropius exploits
Transparency in his essay Transparency - Literary and
an optical illusion. Just as in Cubist paintings, the observer
Corbusier’s transparency is about the planar qualities of
Colin Rowe and Robert Slutzky covered the theory of
of different spatial locations within the same space, like in
phenomenal. Rowe was an architectural historian, critic and
defines what is to be seen.
approach to transparency seems to be heavily influenced
In general, architectural critics usually exclusively associate
Bernard Hoesli reacted by writing a more concrete
Slutzky tested new methods for teaching and developing
argues that literal transparency can easily be applied in
twin concept of actual and apparent transparency, which
the common basis of modern art and architecture they
to achieve. According to Rowe the Bauhaus, his example
as a fundamental principle of spatial organization, beyond
lacks a contradiction of spatial dimensions. He derived the
didactical fundament, exemplified and illustrated by Le
transparency doesn’t end here: “He may enjoy the situation of
in Dessau.
the exterior and the interior of the building simultaneously,
Rowe and Slutzky establish a basic distinction in the
sensations which derive from phenomenal transparency.”
inherent quality of substance, as in a glass curtain wall; or it
Therefore Rowe has sought to find the spatial milieu in
one can distinguish between a literal and a phenomenal
define this milieu he makes an analysis of Le Corbusier’s
seems to derive from two sources whereas phenomenal can
of Nations in Geneva in 1927. To experience the layers
and from what is usually designated as the machine
‘promenade architecturale’ through the complex. “These
cubist painting alone; and a cubist canvas of around 1911 or
constructed, substantial, and articulate, are the essence of
or levels, of the transparent.”
characteristic of the central postcubic tradition. They have
theoretician; Slutsky was a painter and art teacher. Their
by Sigfried Giedion’s Space-time concept. Rowe and
transparency with transparency of materials. Rowe
architectural design skills. Through their exploration of
architecture, but that phenomenal transparency is harder
identified and elaborated on the concept of transparency
for literal transparency, contains a succession of spaces but
the curtain wall. Their essay provided the theoretical and
literal transparency from their believes but he is confident
Corbusier’s villa in Garches and Walter Gropius’ Bauhaus
looking through a glass wall and thus perhaps be able to see
but in doing so he will be conscious of few of those equivocal
transparency phenomenon: “Transparency may be an
glass (phenomenal).
commentary in 1968 on the subject. He describes it as a
distinguishes between ‘essence’ and ‘appearance’ and refers to
the relationship between content and form in architecture.
He is able to elaborate on literal and phenomenal
transparency by analyzing and comparing historic designs
like Hadrian’s Villa and buildings by Alberti, Palladio and
Michelangelo, with more contemporary examples by Frank
Lloyd Wright, Le Corbusier, Mies van der Rohe. As Mies is
omitted in Rowe’s essay, Hoesli’s remarks on Mies’ concept of
fluid space are interesting: “The reduction of space-defining
elements on freestanding walls and the dissolving of spatial
borders between interior and exterior space encourage
literal transparency. Transparency in the figurative, also
may be an inherent quality of organization. For this reason,
which phenomenal transparency becomes possible. To
transparency.”
Their feeling is that literal transparency
entry for the competition for the Palace of the League
be designated to one specific source: “from cubist painting
of phenomenal transparency the observer has to make a
aesthetic. Phenomenal transparency probably derives from
stratifications, devices by means of which spaces become
In his final conclusion Hoesli comments on developments
1912 would serve to illustrate the presence of both orders,
that phenomenal transparency which has been noticed as
“Between 1950 and 1965 a threshold was crossed. Since then
17
18
never been noticed as characteristics of the Bauhaus, which
Rowe does not define the two kinds of transparency, but
obviously manifests a completely different conception of
after analyzing several cubist paintings he acknowledges
space.”
transparency tends to be associated with the trompe d’oeil
In general transparency arises wherever there are locations
Phenomenal transparency seems to be found when objects
reference: “In the League of Nations project Le Corbusier
In plain words, literal transparency refers to translucent
in the Bauhaus he is without such points of reference”.
and describes the difference between the two terms: “Literal
21
phenomenal, sense is impossible in the space between the
floor and ceiling slab as it would be in a Moholy Nagy
painting, where partially transparent formal elements hover
in a continuous space, dividing and activating it, but where the
spatial relationships nevertheless remain clearly readable. “ 23
in architecture that happen after Rowe’s text was written:
it seems hardly possible to hold fast to an idea of continuous
linear tradition in the architecture of the 20th century. The
examination of the concept of transparency in architecture
belongs to the numerous symptoms announcing the end of
‘Modern Architecture’.” 24
effect of a translucent object in a deep, naturalistic space.
in space which can be assigned to two or more systems of
The discussion concerning transparency was erected due
are frontally displayed in a shallow, abstracted space.”
provides the observer with series of quite specific locations:
architects like Taut, Gropius and Mies to elaborate on the
19
properties of materials like glass, the condition of nonopaqueness, while phenomenal transparency is the result of
Fig.8 Glaspavillon, Cologne, Bruno Taut, (1914)
20
the translucent properties of glass (literal), where Le
Essays
22
But the conception of this concept can be interpreted in
several manners as Rowe concluded in his analysis of the
to the utopian plans of Paul Scheerbart. He inspired
topic and apply this theme in their buildings. Giedion,
and later Rowe and Slutzky, felt the urge to found the
architects innovative findings in new architectural theory
Fig.9 Glas Hochhaus, Ludwig Mies van der Rohe, (1921) Fig.10 Bauhaus, Dessau, Walter Gropius, (1927)
029
to inspire new architectural developments and realize
that modernity is determined by the opposition between
of the Space-Time-Concept. The large glass surfaces that
devices, and therefore books will be replaced by computer
finally summarizes the development of transparency in
“The discussion of modernity is inseparably bound up with
of Rowe’s literal transparency, while the phenomenal
development induces a radical change in the present
cultural changes. Colin Rowe reacted upon Giedion and
capitalist civilization and its cultural, modernist counterpart.
the 20 century in two basic principles called Literal and
this problem of the relation between capitalist civilization
th
Phenomenal transparency, in his work ‘Transparency.’ In
and modernist culture. … Architecture operates in both
doing so strongly referring to the principal ideas of Sigfried
realms: it is a cultural activity, but it can be realized only
Giedion described in Space, Time and Architecture. Now, 50
within the world of power and money.”
years after these developments, we are still referring to and
The contradiction between capitalism and culture plays a
building upon these same principles.
role in the founding of the two libraries that were subjected
to our analyses. The Viipuri Library was created as a public
Social and Cultural Context of Transparency
institution that was accessible to everyone. Obviously the
According to Heynen, Durchdringung has more meanings
intention was the emancipation of the citizens, which
associated with the word and as a result a relation is created
originated from the socialist ideal of exaltation of the
between the new concept and the social environment:
population. Yale University is a private institution and may
“Durchdringung stands for the weakening of hierarchical
models on all levels – social as well as architectural.
Architecture is no longer concerned with representative
be regarded as the capitalist counterpart. The Beinecke
Library is founded to manage a large collection of rare
books and manuscripts. The building is not open to the
façade; instead, its aim is to design new relationships based
on structural logic.”
28
public, only students and university employees have access
25
to the collection.
Giedion states that there is a gap between thought
The social aspects of transparency in architecture are
and feeling in the present state of culture that can be
explored by Walter Benjamin in the 30s of the 20th century.
overcome: “Giedion sees the possibility of a synthesis in the
development of a new awareness of time and space. A new
and in painting just as much as in science.” 26 He further
argues that the impulse for transparency in architecture was
derived from both new technical progression in materials
and from a consciousness of social responsibility.
transparency is only present at the level where the building
is accessed from the Plaza. It is obvious that the amount
of literal transparency in the storage areas is kept low in
order to protect the precious book collection against the
damaging effects of UV light. Some characteristics of
phenomenal transparency are assignable to the Beinecke
Library. First, the routing from the public space towards the
core of the function lead the visitor by a forced movement
through the various spaces of the building. While entering
1 The New Oxford American Dictionary
the perception of different spatial locations, though these
3 Rowe & Slutzky (1997)
Second, the building is designed as a box in a box in a box,
5 Giedeon (1977), p. 435
at different spatial levels.
7 Scheerbart (1914), 1st paragraph
the building the visitor can simultaneously experience
4 Giedeon (1977), p. 237
creating different transparent layers which can be perceived
6 Giedeon (1977), p. 436
9 Heynen (2009), p. 138
10 Heynen (2009), p. 138
realization of a transparent and classless society.” 29
are used by the latter to define two more or less similar
11 Heynen (1999), pp. 31-34
The notion of transparency is extensively researched by
12 Giedion (1954), p. 362
13 Heynen (2009), p.258
introduced concepts ‘Durchdringung’ and ‘Space-Time’,
14 Heynen (1999) pp. 39-40
15 Heynen (1999) p.40
expressions. Slutsky’s Literal transparency is a kind of an
16 Giedion (1954), p.362
anology of the visual aspects of Giedion’s ‘Durchdringung’,
Hilde Heijnen continues with Giedion’s notion of ‘modern
provides a social and cultural context. The book discusses the
related to Giedion’s notion of Durchdringung, as the
The subject is approached from the perspective of critical
instead of volumes that are simply juxtaposed. Also the fact
critical theory by linking them with architecture. First she
intermingling experience and confuse the visitor about its
the specific quality that makes it different from the past and
durchdringung. To a lesser extent the floating effect of the
17 Rowe (1997), p. 23
and Slutsky’s phenomenal transparency is strongly related
The spatial concept of Aalto’s Viipuri library (Fig. 11) is
relationship between modernity, dwelling and architecture.
design is a composition of interpenetrating volumes
theory (Frankfurt School) and it modifies positions within
that he manages to make individual spaces which are an
provides a definition: “Modernity is what gives the present
position in the system of the building, add to the notion of
points the way towards the future.” 27 She further argues
building not rooted to the ground, one of the characteristics
Fig.11 Viipuri Library, Vyborg, Alvar Aalto (1930)
8 Heynen (2009), p. 138
theoreticians like Giedion and Slutsky. The formerly
1848 Cast
2 Sennett (1992), p. 108.
belong to the same space defined by the main volume.
society, because it is an authentic expression of the ‘poverty’
‘Transparency’ in Aalto’s Viipuri Library and
Bunshaft’s Beinecke Library
architecture’ in her book ‘Architecture and modernity’ and
development of the library topology.
In Bunshaft’s Beinecke Library (Fig. 12) the literal
Conclusion
that is typical of this civilization, thus foreshadowing the
screens in the near future. It is obvious that this compelling
transparency does not occur in Aalto’s design.
“Benjamin was convinced that this architecture of steel
and glass fulfills the promises that are inherent in modern
sense of space and time prevails in contemporary architecture
surround the stairs in the entrance hall are clear examples
18 Rowe (1997), p. 24
to Giedion’s Space-Time-Concept. Both authors used the
19 Rowe (1997), p. 32
same examples to explain their ideas: The cubist paintings,
20 Rowe (1997), p. 43
Gropius’ Bauhaus building and Le Corbusier’s design for
21 Rowe (1997), p. 52
his book 15 years before Slutsky, it’s evident that Giedion is
23 Rowe (1997), p. 71 (Commentary by Hoesli)
the Palace for the League of Nations. As Giedion wrote
22 Rowe (1997), p. 52-53 (Commentary by Hoesli)
the key player in the architectural discourse of transparency.
24 Rowe (1997), p. 83 (Commentary by Hoesli)
25 Heynen (1999), p.35
The typology of libraries has evolved over centuries and
26 Heynen (1999), p.39
thousands of libraries are built all over the world according
27 Heynen (1999), p. 9
to this type. However, due to technical changes, knowledge
28 Heynen (1999), p. 11
is no longer printed on paper but stored on digital memory
Fig.12 The Beinecke Rare Book and Manuscript Library, New Haven, Gordon Bunshaft (1960)
29 Heynen (1999), p. 96
plate glass
1857 Modern
Float glass process
Steel making
1858 Modern
1864 First
Glass Curtainwall
Technology
1928 Bauen in Frankreich, Sigfried Gideon
een beeldende architectuur, Theo van Doesburg
1919 Alpine Architektur, Bruno Taut
1914 Glasarchitektur, Paul Scheerbart
1941 Space-Time and Architecture, Sigfried Gideon
1924 Tot
1964 Transparency,
Literal and Phenomenal, Colin Rowe
ArchitecturalTheory
1851 Crystal
1786 Gallerie
du Palais Royal, Paris
Palace, London
1848 Palm House, Kew
1840 Palm House, Belfast
1921 Glass Tower,
1914 Glass
1868 National
1911 Fagus
Library, Paris
Pavilion, Cologne
Factory, Alfeld an der Leine
1930
1927 Villa
Buildings
1790
030
1927 Palais de Societé de Nation, Geneva
Berlin(unrealised)
1927 Bauhaus, Dessau
1840
1850
1860
1870
1880
1890
1900
1910
1920
Essays
Viipuri Library, Viipuri
1960
Beinecke Library, New Haven
Stein-de Monzie Garges
1930
1940
1950
1960
1970
1980
1990
031
Literature
Books
Figures
Wereldbibliotheek.
Doesburg_Architectuuranalyse.jpg
Giedion, S. (1954). Ruimte, Tijd en Bouwkunst. Amsterdam:
Fig. 1 http://it.wikipedia.org/wiki/File:Theo_van_
Heijnen, H. (1999). Architecture and Modernity. Cambridge,
Fig. 2 http://fr.wikipedia.org/wiki/Fichier:Cirque_palais-
Heijnen, H. , Loeckx, A., De Cauter, L. & Van Hercke,
Fig. 3 http://photos.linternaute.com/photo/1389286/
MA: MIT Press.
K. (2009). Dat is architectuur. Sleutelteksten uit de twintigste
eeuw. Rotterdam: Uitgeverij 010.
Oxford Corpus (2008). The New Oxford American Dictionary,
second edition. Oxford: Oxford University Press.
Rowe, C. & Slutsky, R (1997). Transparency: Literal and
Phenomenal. Basel: Birkhäuser.
Scheerbart, P. (2005) Glasarchitectuur. Rotterdam: Uitgeverij
010.
royal_1788.jpg
1166909743/1936/verriere-du-passage-du-caire/
Fig. 4 http://theartofmemory.blogspot.nl/2008_09_01_
archive.html
Fig. 5 http://fr.wikipedia.org/wiki/Fichier:Crystal_
Palace_Great_Exhibition_tree_1851.png
Fig. 6 http://blog.goo.ne.jp/gooogami/e/36a3f4bc3ec8ab
413b49e7b8e66bb42f
Fig. 7 http://archrecord.construction.com/inthecause/
onTheState/images/gropius1.jpg
Fig. 8 http://www.tumblr.com/tagged/bruno-taut?
before=1329242796
Fig. 9 http://www.deutsches-architektur-forum.de/
forum/showthread.php?t=2021
Fig. 10 https://picasaweb.google.com/lh/photo/AxHm949p2qQkf7qJediy9MTjNZETYmyPJy0liipFm0
Fig. 11 http://2.bp.blogspot.com/_AdSgFmn7lu0/
StueMAAEmvI/AAAAAAAAAB0/Qf4WXTa2Eg8/
s400/viipuri6.jpg
Fig. 12 http://ad009cdnb.archdaily.net/wp-content/
uploads/2010/06/1277331967-beinecke-7.jpg
032
Essays
033
03.
Viipuri Library - Alvar Aalto
Beinecke Library - Gordon Bunshaft
Dave Al, Daniel Brorens, Guus Gielens, Bob L’Heminez, Ricardo Ploemen
424
Content
Viipuri Library,
Alvar Aalto
Typo-morphological analysis
1. Project description430
2.01 Situation 479
2.02 Plot structure480
2.03 Morphology481
2.04 Relation482
2.05 Access483
1.01 General information 430
1.02 Axonometric projection431
1.03 Plans432
1.04 Sections and elevations
433
3. Exterior484
2. Context434
3.01 Volume485
3.02 Access486
3.03.1 Distant threshold 488
3.03.2 Close threshold489
3.04.1 Façade composition | Depth
490
3.04.2 Façade composition | Transparency
491
3.04.3 Façade composition | Repetition
492
3.04.4 Façade composition | Symmetry
493
3.04.5 Façade composition | Variation
494
3.05 Façade materials495
3.06 Ornaments496
3.07 Architectonic details497
2.01 Situation 434
2.02 Plot structure435
2.03 Morphology436
2.04 Relation437
2.05 Access438
3. Exterior439
3.01 Volume439
3.02 Access440
3.03 Threshold441
442
443
444
3.05 Façade materials445
3.06 Ornaments446
4. Interior498
4.01 Logistics498
4.02.2 Routing500
4.02.3 Public / Private
502
4.03 Construction504
4.04 Use of spaces506
4.05 Types of spaces508
4.06 Sequences of spaces | 2d
510
512
4.07 Threshold between spaces
516
4.08 Order of spaces518
4.09 Spatial hierarchy520
4.10.1 Daylight access522
4.10.2 Reverbaration time524
4.11 Interior elements526
4. Interior447
4.01.1 Routing axes447
4.01.2 Routing448
449
4.02 Logistics450
4.03 Construction451
4.04 Use of spaces452
4.05 Types of spaces453
454
456
458
460
4.08 Order of spaces461
4.09 Spatial hierarchy462
4.10.1 Daylight access463
4.10.1 Reverbaration time464
4.11 Interior elements465
5. Conclusive drawings468
5. Conclusive drawings530
5.1 Sequences530
5.1 Sequences532
5.1 Book typology535
Literature
Literature537
5.2 Organized along axes
468
5.3 Volumes and entrance hierarchy
469
5.4 ‘Gesamtkunstwerk’470
Beinecke Library,
Gordon Bunshaft
Typo-morphological analysis
426
1. Project description474
1.01 General information 474
1.02 Axonometric projection475
1.03 Plans476
478
2. Context479
427
Viipuri Library, Alvar Aalto Typo-morphological analysis
428
03. Viipuri Library & Beinecke Library
429
1. Project description
1.01 General information
1.02 Axonometric projection
The Finish architect Alvar Aalto won the competition
into a overall neglect and abandonment of the building.
As can be seen clearly in the axonometric drawing, the
classical proposal. A delay in the design and building
original elegance and charm. Nowadays it is undergoing a
different architectural expressions and functions within the
for the Viipuri Library design in 1927 with a strongly
process was caused by an economic recession. During
his design he had several different approaches due to
It got stripped and reapolstried, in doing so losing it’s
library consists of two rectangular volumes, that gain
renovational process to reestablish this character.
total composition. The higher volume contains the reading
rooms and book storage, and has a strong introverted
the changing architectural context. It was. at the time, a
character.
transitional moment in architecture in establishing a new
architectural style, International Modernism. Eventually,
Aalto turned the building into a represention of this new
style International Modernism in 1933.
The library has undergone a varied history in which its
ownership and way of use drastically changed. The changes
of ownership were caused by the 2nd World War which
redevided the land and made Viipuri part of the Sovjet
Union instead of the former Finland. A differing political
system and adjoining public morals and values translated
Fig. 1 Lecture room
Fig. 2 Main entrance
430
Fig. 3 Main library hall
431
1.03 Plans
Plan roof level | S 1:500
Section A-A’ | S 1:500
Section C-C’ | S 1:500
Section B-B’ | S 1:500
Plan level 0 | S 1:500
432
Northwest elevation | S 1:500
Southwest elevation | S 1:500
Southeast elevation | S 1:500
Northeast elevation | S 1:500
433
2. Context
2. Context
2.01 Situation
2.02 Plot structure
The Viipuri Library building is located in Vyborg, originally
located in eastern Finland, though as a result of World
War II the city was ceded to the Sovjet Union in 1944.
The library forms the main part of the park that makes a
swing in the grid structure. of the city. This park follows the
strong city grid and connects north and south. After WWII
the building was abandoned for a decade and nowadays the
building is being renovated gradually.
Baltic Sea
Viipuri Library
City plan | S 1:5000
434
Site plan | S 1:500
435
2. Context
2. Context
2.03 Morphology
2.04 Relation
The structure of the different components that are added
The realtion map clearly shows the way Aalto decided to
page. For this purpose, a subdivision is made into ‘street
placed in the existing park. The chosen position for the
to each other to create the urban pattern, is shown on this
follow the present plot and street grid. The building was
pattern’, ‘site pattern’, and ‘building pattern’, of which the
library building can be seen as an important one in the
street and site pattern both show clear orthogonal grid.
urban context.
Aalto designed his building, as all other buildings, on these
city axes and in this way embeded it into the park and city
For the building volume, it is assumable that Aalto directly
pattern.
related the library to the neighbor church. The centrelines
and different radiuses intersect the library and church at
fixed positions; the entrance at the north façade refers to
center point of the church, whereas the main staircase and
elevator shaft - the heart of the library - refer to the main
church entrance.
Currently this relation vanished, since the curch has been
demolished in the period after WWII by the new Russian
‘owners’.
Site pattern
Street pattern | S 1:10000
Site pattern | S 1:10000
436
Building pattern | S 1:10000
Site plan | S 1:2000
437
2. Context
3. Exterior
2.05 Access
3.01 Volume
The building plot contains different directions of
approaching, due to organically organized routes through
the park. Consequently, different entrances were created by
Aalto.
Primary access
Secondary access
Site plan | S 1:500
438
439
3. Exterior
3. Exterior
3.02 Access
3.03 Threshold
Aalto designed four entrances, placed on every side of the
Aalto clearly distinguishes between primary and secondary
the library, which are the entrance hall with wardrobe and
They form the point of entering the building at which a
building. The main entrance connects to the main spaces of
entrances; not only programmatic but also architecturally.
toilets, the lecture room on ground floor, and the reading and
psychological effect begins to be produced; visitors are
lending rooms on higher floors. Two other public entrances
guided through an entrance zone, instead of merely entering
connect to the children’s library and a book shop, which is
another space trough a door.
placed alongside the street. A fourth entrance is considered
as a private entrance that connects to the administration
While the children’s and main public entrance are both
rooms on the first floor, and is also used as a fire exit.
aligned on the horizontal axis, they do not connect. Also
primary and secondary spaces and routing are clearly
For all entrances Aalto designed an in-between space
seperated.
between outside and inside, to provide a smooth transition.
This will be explained in depth furtheron.
Hard threshold
Third threshold
Second threshold
First threshold
Public entrance
Private entrance
Cross section | S 1:500
'CC
'CC
440
441
3. Exterior
3. Exterior
The symmetrical elements of the facade seem to originate
Due to the use of different volumes, Aalto created different
First we can see that the lower rectilinear volume
different when approached and viewed from different
from the strong axes on which the building was designed.
layers of surfaces. Consequently, the building looks very
programmatically and architecturally ends at the horizontal
directions.
axis. From the outside the remaining space which
contains the staircase is seperated by making it completely
The resulting depth of the building is clearly read by people
elevation on the right is subtly arranged along with the
entrances that are formed by the smallest volumes, though
transparent. In this way the facade as we see in the upper
that approach the building and enhances the different
different transparant surfaces.
the nearest surface.
For the main volume of the library the boxes that are shifted
introduces a symmetry in the facade that is amplified by
Closest plane
attaching a ‘box-like’ entrance. Also in other direction there
seems to be a hidden symmetry
The aforementiones symmetries have an equal ‘weight’ on
both sides of the centrally placed axis.
Symmetry axis
Symmetry plane
Exception
Furthest plane
442
443
3. Exterior
3. Exterior
3.05 Façade materials
The drawings below show the transparent elements in the
The main material that is used in the facade is white plaster.
in the façade of the main library hall, the lecture room
the approachers awareness of different materials. For
façade of the library. whereas Aalto designed no windows
Covering almost all of the building surfaces, it strengthens
and children’s library were made extremely transparent to
instance, the main entrance is cladded with natural stone
the outside. With a long glass wall in the lecture room, he
and in this way gets more attention and a special character.
attemted to emphasize the link with the park. The windows
The windows of the building are metal-framed and designed
in the children’s library are placed on such a height that
as refined as possible.
both children and adults are not able to see the horizon
when looking through; they only show the surrounding sky.
As explained in subtopic 3.04.3, one of the walls of the
stairwell of the library was made almost entirely out of glass,
allowing transparency - in a literal way and concerning the
Plaster (white)
Glass
Steel
Natural stone
understanding of the design.
Secondary transparent plane
Primary transparent plane
444
445
3. Exterior
4. Interior
3.06 Ornaments
4.01.1 Routing axes
If we consider ornament as a decoration that is added
Aalto organized the library clearly along two orthogonal
considered to be an ornament. It is cladded with natural
divided by changes in level and curtains into a lending and
to embellish something, the main entrance should be
and perpendicular axes. The library hall program, which is
stone and in this way gets more attention and a special
reading room, is organized around the intersection point of
character, though has no structural meaning.
the axes, the pivot. The vertical service core links the spaces
internally and penetrates every level.
Another clear example of an ornament would be the
ventilation shafts that Aalto embeded in the composition
Rotated around the pivot on those levels, Aalto designed
of the façade, placed alongside the main street.
different routing areas that physically connect spaces. The
most obvious axis would be the space between the main
entrance and children’s labrary entrance.
Main routing space
Pivot
Ornament
446
447
4. Interior
4. Interior
4.01.2 Routing
Aalto clearly distincts between primary and secondary
Aalto made a clear disitinction between public and private
While the children’s and main public entrance are both
this seperation would be the central cylindrical axis, which
entrances; not only programmatic but also architecturally.
characterized spaces. An important element that enables
aligned on the north-south axis, they do not connect. Instead,
is connected to both the book storage at basement level and
the main circulation path turns sharply west underneath the
the main reading hall.
main book room and rises through a sunken reading well
into the skylit space. Also primary and secondary spaces
The private rooms are only accessible for employees,
and routing are clearly seperated.
whereas the public rooms are intended to be used only by
visitors. From the drawings below it becomes clear that he
used strong thresholds between both types of rooms.
Routing visitors
Routing emloyees
448
Public area
Private area
449
4. Interior
4. Interior
4.02 Logistics
4.03 Construction
The axonometric drawing shows the three entrances
The roof of the auditorium, with its span of 17.6 metres, is
Internally, the aforementioned pivot with its stairs and
A total of 57 roof windows of a diameter of 1.8 metres
through which books pass when being delivered or lended.
of reinforced concrete and is supported by steel columns.
elevator enebles the connection between book storage
illuminate the labrary space. Each of these windows is a
and lending or reading room. The children’s library too is
hollowed out concrete cone, on which a piece of unframed
connected to the storage room through a door that can only
glass rests.
be used by employees.
The walls of the higher library wing are traditional 75-cm
solid brick wall. All floors are concrete slabs. Thanks to
massive carrying walls free spans are possible in the public
functions.
Distribution of books
Structural elements
Longitudinal section | S 1:500
450
451
4. Interior
4. Interior
4.04 Use of spaces
4.05 Types of spaces
The main hall of the library should be mentioned as the most
The main hall of the library is clearly the most crucial part
spaces are attached. This upper level of the main volume
attached and interpenetrated. This upper level of the main
crucial part of the building, to which different additional
of the building, to which different additional spaces are
supports spaces for searching, reading and studying. The
volume supports spaces for searching, reading and studying.
lower level is more dived into smaller areas with additional
The lower level is more divided into smaller areas with
functions, such as storing and meeting.
additional functions, such as storing and meeting.
The rectilinear volume that is attached to the main one,
gives room to administration at first level and listening,
Studying
Meeting
Listening
Reading
Storing
Administrating
Searching
Refreshing
meeting, storing, refreshing on the ground floor.
452
Hall
Room
Corridor
Hallway
Closet
453
4. Interior
Nine, decision to go either to the Lending and Reading
The strong interpenetration of the volumes and spaces has
The urban approach is through a residential area along to a
Reading room,
rooms or the lecture hall. (while remaining outward views)
of the building is already dividing the different streams of
The second fase is still through a high residential area,
Lending library
Lecture Hall
a strong influence on the perception of it. The approach
visitors. To make a more abstracted way of the conception
of the surrounding space the following drawing was made.
It consists of the sequence of the sightlines in sections while
approaching the final destination(a room or function in the
building). Several different characteristics can be analysed
in this graph such as: the space in relation to a person, the
time of every section, the time to reach the destination,
public parc.
Nine, the lending library, which offers outward views.
Ten, passing a normal internally focussed corridor.
the atmosphere of the building.
Shop:
views remain possible.
the building. Either one goes towards the childrens library,
Six, A sluice to enter the building
Lending and Reading rooms(a closed circuit)
outward views.
Eleven, corridor offers either lending or reading room
The third is through a large public parc. The tranquility of
this space suits the final destination and is an addition to
Fourth, the first decisive moment in the routing to approach
the adult library or the shop.
the sequence of scales of spaces etc. All these aspects are
Childrens Library
in a single drawing. But when combined they give a quick
Six the physical entry, means total enclosure.
important characteristics in buildings but hard to combine
overview of the atmosphere of approach.
Nine, the reading room, which offers outward views
Five, one passes a public and open parc
Seven, The function has been reached and also delivers
Eleven, The lecture hall has been reached and outward
floor.
Fourteen, in between floor which offers views over entire
space.
Fifteen upward stairs allow to connection with the lending
library.
entrance.
the conclusional chapter the Viipuri and Beinecke library
Seven, one passes through a somewhat larger space.
up slightly one remains views over the building and starts
Twelce, the reading room opens up and shows a large scale
Eight, the pathway narrows down and allows the penetration
Thirteen, upward stairs offer possibility to go to Lending
room.
Thirteen, upward narrow steairs connects with inbetween
Overall it is hard to define individual volumes in the
Adult library
moment to go either to the lending library or the reading
Twelve, narrow corridor withour outward views.
Ten, small and narrow stairs going upward.
Five, through a public and open parc
Eight, Full overview of the end function and decision
Lending library
Five, six, and seven, by passing through a parc and moving
Reading room
approaching.
space.
of the façade.
library
continuous space. For additional conclusional remarks, in
are compared.
Sections | S 1:1000
454
455
4. Interior
4. Interior
456
457
4. Interior
4. Interior
458
459
4. Interior
4. Interior
4.08 Order of spaces
Aalto designed the building entrances in such a way that
The section through the main library space shows that
The library has a repetition grid structure (A), on the second
merely entering another space trough a door. In this way the
and form a smooth transition between spaces.
from this grid, a rhythm arises. On the first floor the big
visitors are guided through an entrance zone, instead of
choreography of different rooms should be considered as a
floor is this different. The walls of the smaller rooms diverge
different levels with different purposes float into each other
volume is divided in two exactly the same surfaces, with the
main staircases as center point.
continuous journey. Furthermore, since he interpenetrated
different volumes instead of creating an excessive
agglomeration, smooth transition zone are created in a
natural way. The clearest example would be the transition
between entrance hall, wardrobe and lecture room.
Although the staircase to the administartion offices
should be considered as a hard transition zone, it is made
transparent both when approaching form the outside as
when entering the entrance hall. When standing in the
A
D
C
E
Smooth transition zone
Hard transition zone
Hard threshold
entrance hall, visitor will instinctively proceed to enter the
main library hall by going up the stairs, due to its strong
inviting character.
Longitudinal section | S 1:500
AA'
A
C
A
D
A
C
A
D
A
C
A
D
A
C
A
D
A
E
A
A
A
A
A
A
A
A
A
A
A
B
460
461
4. Interior
4. Interior
4.09 Spatial hierarchy
4.10.1 Daylight access
Aalto made a clear distinction between served rooms and
Natural lightning is an important concern when desiging
are also recognizable in the way of served rooms and serving
the library books are not damaged and visitors are not
serving rooms. The axes mentioned in the routing analysis
libraries. Allowing only indirect illumination ensures that
rooms. The hybrid space on the second level functions more
and bright spaces; e.g. the transition between the entrance
area and the lecture room.
disturbed when reading and studying. The lightning of the
or less as an inbetween and in this way gets an ambiguous
library space seem to be awkward in the finnish climate.
character. In this room books are stored, but there are also
Consequently, the daylight access in the main library space
tables where people can read a book.
was designed in such a way, by using conal penetrations, that
disperse the light, that shadowless and diffused illuminiaton
was provided for the readers. A total of 57 roof windows of
a diameter of 1.8 metres illuminate the labrary space.
The large windows in the upper parts of the childrens
library’s walls let in daylight, but provide no direct view
Served rooms
Hybrid space
Serving rooms
to the exterior surroundings. In this way it has only an
illumination purpose.
The flow through the building is also led by contrasting dark
Direct daylight access
Indirect daylight access
No daylight access
Section A-A’ | S 1:500
462
Plan roof level | S 1:500
463
4. Interior
4. Interior
4.10.1 Reverbaration time and cladding
4.11 Interior elements
To determine the reverb time in the different rooms of the
discussions, established by a curved acoustic ceiling that was
Interesting and characteristic for Aalto’s architecture is that
Clement Sabine: T60 = V / 6A. When taking into account
a reverb time in the room of half a second to one second.
the furniture in a detailed way. The used wood was not only
library, we used the formula that was introduced by Wallace
the reverb time within the most essential spaces of the
library, it can be said that spaces for presentation purposes
were made less reverbarent compared to spaces for reading
and studying.
made out of narrow strips of pine wood. This ceiling enables
he not only designed the building, though also designed
From the floor behind the speaker, the pine wood strips
suitable for production in big numbers, though at the same
sweep upward and continue to curve in an irrational way
time pleasing to touch.
along the glass wall.
In his design for the lecture room, Aalto placed armchairs
(1) in the front of the room and tree-legged stools (3) to
Since the reading room is in general a quit room, Aalto
the rear. This encouraged people to sit as near the front as
did not directly consider the accoustics of this room. Own
possible.
calculations showed us that the reverberation time is about
two to three seconds.
Opposed to this room, the lecture room is an excellent
0.5 - 1.0 sec.
1.0 - 2.0 sec.
2.0 - 3.0 sec.
example of how to deal with acoustics within a space
that refers to its use. In the long, rectangular lecture room
Aalto created an acoustically perfect space for lectures and
Temporary furniture
Permanent furniture
Longitudinal section| S 1:500
1
2
3
4
464
465
4. Interior
4. Interior
4.12 Architectonic details
The different rooms of library know are characterized by
a variety of their detailed finish. Examples for this are
the frame-like structure to open the entrance doors, the
moulded wooden handrail along the stairs, the acoustic
wooden ceiling in the lecture room, and the circular roof
windows in the reading room. In the drawing below the
moulded handrail and its precisely detailed section are
shown.
3
1
2
4
2
3
1
466
467
5. Conclusive drawings
5.1 Organized along axes
5.2 Volumes and entrance hierarchy
Aalto organized the library clearly along two orthogonal
An interesting way of designing is how Aalto not just
the major mass to the south, yet both are linked by a shared
divided by changes in level and curtains into a lending and
agglomeration’, though uses volumes which are penetrated
While the children’s entrance and the main public entrance
and perpendicular axes. The library hall program, which is
reading room, is organized around the intersection point of
the axes, the pivot. The vertical service core links the spaces
internally and penetrates every level.
combined different rooms into one building, ‘excessive
in such a way that different spaces are created, ‘informed
simplicity’. In this way, Aalto created a fluidity of the
building’s spaces. The different parts penetrate one another
as volumes of different sizes and heights, and the internal
spaces open both vertically and horizontally in a clear way.
The massing distinguishes two functions. One is the
main reading room and circulating book rooms which are
elevated in a stepped windowless block above the children’s
axis of circulation.
are both aligned on this north-south axis, they do not
connect. Instead, the main circulation path turns sharply
west underneath the main book room and rises through a
5
sunken reading well into the skylit space. The vertical axis
of the service core links the spaces internally; wrapping
around a book elevator, it penetrates every level. At the top
of this core is the control desk for the main reading space;
1
the base of the core serves the basement stack area.
2
library; the second is the rectilinear block of lecture room
and administrative offices. The latter surmounts a besement
stack area that feeds the adjacent library rooms.
12
7
8
9
10
11
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This low, northern block is distinctly offset to the west from
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Excessive agglomeration
12 elements required to create 12 spaces
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1
2
12
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9
10
11
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3
Durchdringung (interpenetration)
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Entrance hierarchy
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Informed simplicity
4 elements combined to create 12 spaces
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5.3 ‘Gesamtkunstwerk’
A strong characteristic of this particular design by Aalto is
the way he designed it. Since he considered all present scale
levels to be important in his design; he basically oversaw the
building’s totality and made a ‘Gesamtkunstwerk’ out of it.
As shown on the left, four different levels were used: urban
structure, building mass, interior elements, and furnishing.
In this way Aalto additionally shows his ability to fit the
building in its context and his craftmanship skills.
Landscape
Building mass
Interior elements
Furnishing
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Beinecke Library, Gordon Bunshaft Typo-morphological analysis
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1.01 General information
1.02 Axonometric projection
In the centre of the Yale university campus(New Haven,
produce good buildings. “you’re given a two- or three-page
his ideas and doubled the total initial investment of four
The axonometric shows the visible parts of the building in
located called The Beinecke Rare Book and Manuscript
talking to any of the people who are going to use it, you produce
his hunt for the ideal material. A process that took about
architectonic expressive elements.
Connecticut) a rare book and manuscript library is
Library(1963). The building was designed by Gordon
Bunshaft who at the time was partner at Skidmore,
Owings and Merrill. With a total of 11.637m2 it is the
largest University rare book library in Northern America
and attracts annually more than 50,000 visitors.
The design and built process was capricious to say the least.
The intention of the client, advised by the Dean of the
Yale School of Architecture Paul Rudolph, was to host a
invited design competition. Four firms were selected and
approached, Eero Saarinen, Ed Stone, an unknown office
and the office of Gordon Bunshaft. But Gordon Bunshaft
refused to participate, as can be read in an interview by Betty
J. Blum in 1989. He strongly believed it was not the way to
program of what the building is to be, and from that, without
a solution” (Blum, B.J. 1989, Gordon Bunshaft interviewed.
p2.) He was highly unfavorable over this in contextual
approach for the neglect of the users. The buildings winning
preliminary design would then be altered after interviewing
the users. Simply because the architect would realize it
wouldn’t work. These alterations make the ultimate design
a compromise and this, he believes, is not the ideal way of
producing architecture. This extensive argumentation upset
Paul Rudolph. Consequently Gordon Bunshaft consulted
the Provost of the university who after asking the Beinecke
brothers reassigned the project to Bushaft.
million dollars. His attention to detail is clearly shown in
two years in total, a tedious process with countless setbacks.
the urban context. Its volume, the patio, and the Plaza as its
In the end thin marble was the chosen material. He wasn’t
completely satisfied with the eventual result because of the
cold and severe atmosphere it radiates. But he also finds
this an intriguing aspect due to the contrasting interior
and exterior. The realized great space is dramatic and evoke
emotion and that is one of his greatest accomplishments.
“it’s going to be there a long time. I don’t know if that means
it’s great, but in the long haul a building becomes important by
the judgment of future generations.” (Blum, B.J. 1989, Gordon
Bunshaft interviewed. p2.)
In the design the love for books is expressed by realizing a
exposition type of library, a treasure house. The client loved
Fig. 4 Lecture room
Fig. 5 Lecture room
Fig. 6 Exterior view
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Fig. 7 Library interior, book tower
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1.03 Plans
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Plan level -1 | S 1:500
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2. Context
2.01 Situation
The Beinecke Rare Book and Manuscript Library(1963)
is incorporated in the University campus of the Yale
University. Yale University(1701) is located in New Haven
Connecticut where it was moved to in 1716. In the map
shown, the total impact of the campus to the city is clearly
visible. The city centre consist mainly of Yale campus
buildings.
The library is located in the part ‘Cross Campus’ ans is
surrounded with solely university campus buildings to
the Woolsey Hall, Memorial Hall, the university Dinning
Hall(Commons), and Woodbridge Hall all erected between
1901 and 1902. Across the street we find the Sprague Hall,
Harkness Hall, Berkeley College North, Sterling Memorial
Library and Law school.
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Nortwest elevation | S 1:500
S 1:5000
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2. Context
2. Context
2.02 Plot structure
2.03 Morphology
The form and scale of the building differ but relate to the
The morphological composition is composed out of three
are visible.
shapes present in the surroundings. Due to varity of the
pattern. All these layers have a strong correlation and are
The library is placed in an openness on the inside of a
context. There is a strong diversity in scales, heights and
layers: the street pattern, the site pattern, and the building
surrounding the building cannot be considered an exception
stongly dependent.
nor strongly related.
The street pattern surrounding the library is on a pivot point
The relationship concerning the specific site is more
building block(composed of three sites). The building is
placed on a square surrounded by high buildings.
in the fabric of the city. A rotation in the city Grid structure
precisely implemented. There is a strong relation between
is found near the building.
the scale of the square, the building and it’s surrounding. The
shape of the building is strongly rectinlinear and therefore
The site pattern is closely related to the street pattern.
buildings follow the same rule but with minor exceptions
structure can, in this case, be considered as the inverse of
referring to the urban Grid structure. The surrounding
Both can be considered each others consequence. The site
or ornamental additions.
the street pattern.
On the other hand the building pattern is executed in
different ways in the city. Some are building blocks, some
are placed individually and lots of open public spaces(parcs)
Street pattern | S 1:10000
Site pattern | S 1:10000
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Morphology plan | S 1:5000
Building pattern | S 1:10000
481
2. Context
2. Context
2.04 Relation
2.05 Access
When zoomed in on the surrounding site the relation
The purpose of the building is to serve as a center of research
stop here, the spatial layout of the building is based on
clearer. The basic shape of the building looks derived from
of not). Therefore the building is semi-private and has
of urban proportion and therefore more entrances can be
between the morphology and the plotstructure becomes
for students, faculty, and other scholars(Yale-affiliated
the urban Grid structure. The visible and physical position
a consequent routing. The primary access of the building
of the building is placed on a plaza surrounded by large
can be considered to be the only public entrance. There are
structures.
layering, the architect added borders inside the building
assigned.
several more doors present but these all serve a different
purpose, emergency exits. There is a second entrance present
The façade of the building is setback from typical alignment
but that is an underground connection with the Sterling
of the city. This allows for a subtle approach and an
Library which is accross the street. This entrance can not be
additional layer. This additional layer is the border of the
considered public.
plaza which divides the space into two public spaces, the
street with a boardwalk and the plaza.
But this building has a gradual approach and therefore a
broader conception of the concept entrance. Therefore we
believe you enter the building in the urban space instead
of the revolting door. First one walks the street, second one
enters the plaza, third one passes inbetween the border and
the patio and fourth is the acctual entrance. But it doesn’t
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Primary access
Emergency exits
Site plan | S 1:500
483
3. Exterior
3.01 Volume
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3. Exterior
3. Exterior
3.02 Access
As mentioned before the conception of the entrance is
broader than a specific door. This drawing shows the internal
entrancesof the building and possibility to penetrate all
layers. The first border is marginal, three stairs, the second
border is a tighting of space. The third border is passing
underneath a massive volume. The fourth border is a solid
revolting door which penetrates a transparant layer and
then we arrive ‘inside.’ From here on one penetrates either
the floor, the transparant tower, or the floating volume.
Access other floors
Access booktower
Access Glass structure/building
Access volume
Access plot area
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3. Exterior
3. Exterior
3.03.1 Distant threshold
3.03.2 Close threshold
The building knows two clearly different threshold. Both
When one has approached the building, the massive floating
observed at. From a distance the floating volume can be
makes it more inviting. Therefore the hard urban threshold
depend strongly on the distant of which the building is
volume seems to cultivate the precious books inside and it
considered as a very strong border, it is not inviting to
evolves in a smooth one. Now the revolting door becomes
say the least. Also the other borders applied are marginal
the new hard threshold because of its closed character. The
considering as an urban context.
massive appearance is a strong sluice to filter the passing
visitors.
Smooth thershold
Hard threshold
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Smooth threshold
Hard threshold
489
3. Exterior
3. Exterior
At first glance the marble and granite volume are the only
The literal transparency of the façade is composed out of two
and contain a subtle relief. Carrying this hard border are two
layer is used to float the massive volume floating above the
layers, a transparant and a translucent one. The transparant
visible elements of the façade. These are closest to the viewer
plaza and still keep trespassers away and climatic conditions
consequtive columns. Behind this hard layer the transparant
optimal. The setback of this layer preserves the rare books
layer is to be found. Held up with small collumns and a
because direct sunlight is unable to penetrate.
revolting door in its center. Then the furthest layer is the
plaza surrounding border.
The translucent layer is more ambiguous in its function.
Both the massive appearance as the lighting properties are
utilized. As commonly known the lighting properties for
libraries have to meet high standards. Therefore Bunshaft
manages to filter out the damaging UV-light by the
Closest plane
translucency of the material. This contrasting interior and
exterior appearance makes for an interesting and emotion
evoking journey.
Furthest plane
Secondary transparent plane
Primary translucent plane
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491
3. Exterior
3. Exterior
3.04.3 Façade composition | Repetition
The façade is highly repetitive on all sides. It is interesting
to see how the repetition can be percieved in different ways.
Considering the entire façade it is obvious how the architect
to recognise the individual element. The granite spatial
As already explained the four sides of the building are
and allows the infills.
to the repetitiveness of the façade it is also completely
framed all translucent sheets. The massive block is than
The composition of the façade can also be read as the
this volume. On the corners large columns are found to
constructed out of four individual granite elements.
capped with and resting on a massive slab which finishes
support the previous layer. Then setback, the transparant
identical(except the amount of horizontal repetition). Due
shape which, when put together, forms the entire façade
symmetrical over a vertical axes. But in the urban situation it
is even symmetrical over two axis, both vertical as horizontal
considering the transparant layer will not be percieved.
collection of a four legged star. Which in itselves is also
façade with a repetitive column structure is found. This
typical composition is found identical on all four sides of
the building.
If we zoom in on the individual elements which define the
composition of the massive volumes we believe different
approaches are possibl. First the individual square element
will be recognised, a thin translucent marble sheet with
granite borders. But when taking a closer look it is possible
Quartairy repetitive element
Primary repetitive element
Secundary repetitive element
Tertiairy repetitive element
Symmetry axis
Exception
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3. Exterior
3. Exterior
3.04.5 Façade composition | Variation
3.05 Façade materials
Variation in the buildings façade is kept to a minimum.
The façade materials can be devided into two groups: the
massive volume and the transparant layer.
There is only one concrete example of this fenomenon and
that is the spacing of the column and the transparant layer.
The massive volume is, as mentioned, composed of a granite
This offset indicates the importance of one specific side.
structural truss and translucent marble plates. Also the
carrying corner collumns are constituted out of pyramide
shaped granite.
The transparant layer is obviously comprised of glass panes.
These glass panes are held up by bronze windowframes.
The vertical balusters are kept to a minimum to maximize
transparency. Of course collumns are needed to support
this layer and these are, for the reason of transparency,
Bronze
Glass
Marble
Granite
placed behind the façade.
Variation
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3. Exterior
3. Exterior
3.06 Ornaments
The composition of the façade seems to be ornamental due
As explained the architectonic details have a strong
The basic shape has been transformed to form a structural
which, when combined, forms the entire composition..
to the exactness of the spatial properties of the material.
relationship with the whole. The individual element
truss. Therefore the material has been shaped into the ideal
The precisness of the shape is related back to the structural
composition. In the joints of structures the most mass is
properties of the complete truss. The infill of translucent
needed and therefore the architect apllied this theory in
marble, thanks to its natural properties, has a very varying
his composition. Also for the benifits of light they have
appearance. The ever changing properties during the
been altered. The supporting collumns also fulfill the same
originating of the material lead to individual distinctive
purpose. Again, iin the joints the most mass is needed so
plates. Thanks to this individualistic character the entire
thats what the architect designed the individual elements
composition doens’t look dull, but remains interesting.
for.
The translucent capacity and the natural properties make the
The drawing underneath explains the buildings ornamental
experience and journey through the building an emotional
properties at first sight.
entreprise.
Ornament
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497
4. Interior
4. Interior
4.01 Logistics
The main storage of the books is found in the glass book
tower(160,000) and the storage rooms in the underground
part(700,000) of the Library. Due to the private character
visitors and horizontal circulation underground to actually
utilise the rare books in reading rooms and offices.
of these spaces it is obligatory for the employees to assist the
visitors in collecting the books. The logistical distribution is
performed by elevators and stairs in a private core of the
building. These facilities connect all layers necessary for the
functioning of the building
The private underground tunnel connects the Sterling
Memorial Library to the Beinecke Library. This allows
for internal and external transportation of the books. In
addition to this it’s forbidden for visitors to take the rare
books outside the Beinecke Library.
Concluding, in the building two circulations are possible.
Vertical circulation is to retrieve and collect books for
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Book distribution
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4. Interior
4. Interior
4.02.2 Routing
The internal routing begins on the plaza as explained before.
After completing the first part of to the ‘route architecturale’
one accesses by a revolting door. After consulting the
reception desk it is possible to either go upstairs and enter
the massive volume, the formal part of the building, or go
down into the functional part of the building.
Upon arrival in the cellar a second distinction was made
which devides public and private. Reading rooms, or offices
and storage. Visitors are allowed to enter several reading
and studying rooms. But the employees have an additional
routing, a circular routing situated around offices which are
all adjeacent to a central courtyard. A third layer of privacy
is the service core behind the second reception desk which
gives employees the possibility to have an easy connection
between the different floors.
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Routing visitors
Routing emloyees
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4. Interior
4. Interior
The division and gradual incline of privacy is due to the
implementation of several urban scaled layers which are all
to be considered as façades. This gradual approach allows for
a natural routing and feeling whilst entering the functions
of the building. There are several nuances to be made in this
approach which allow the gradual approach. Consequently:
The city, the plaza, the glass core, the booktower and the
cellar and finally the storage rooms.
Public area
Semi public area
Private area
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4. Interior
4. Interior
4.03 Construction
A buildings construction begins with its foundation. This
building is constructed from a concrete underground box.
The floors are supported by a concrete grid of columns
and the stability is performed due to the principal of being
underground and a structural core that contains routing.
Above ground the windows have their own supporting
steel collumns so does the glass booktowe. The massive
floating box is supported by large pyramide columns and
the structural core that penetrates the ground. The façade
of the building functions as one big truss to achieve the
total span.
Structural elements
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505
4. Interior
4. Interior
4.04 Use of spaces
The use of a space is stronlgy related with the type it is
intended. In this case the use is more relevant over the
type. In analyzing the plans a clear distinction became
apparent between above and under ground. Above ground
can be considered to be the formal part of the building.
Underground the more operational and informal activities
take place, the system part of the building.
Studying
Meeting
Listening
Reading
Storing
Administrating
Searching
Refreshing
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4. Interior
4. Interior
4.05 Types of spaces
As explained above the types of spaces support the findings
of the distinction between formal and informal/supporting
spaces.
Hall
Room
Corridor
Hallway
Closet
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4. Interior
4. Interior
The strong layering of the building and the introduction
The urban approach is grand, the visual barriers are the
Formal:
of space. A lengthy introduction and approach makes for
structure is already visible to the passerby.
The full scale in comprehensible and adds to the formality
of several façades has a strong influence on the perception
an incline in formality of the building. To make a more
abstracted way of the conception of the surrounding space
the following drawing was made. It consists of the sequence
of the sightlines in sections while approaching the final
destination(a room or function in the building). Several
different characteristics can be analysed in this graph
such as: the space in relation to a person, the time of every
section, the time to reach the destination, the sequence
of scales of spaces etc. All these aspects are important
characteristics in buildings but hard to combine in a single
drawing. But when combined they give a quick overview of
the atmosphere of approach.
appearance of buildings in the surroundings. The massive
The second fase is when entering the plaza, a fairly enclosed
character.
The third fase gives a first glance of the offices in the
underground floor.
Fourth, one encounters the building in first person. The
massive volume allows a peak underneath and the function
is revealed.
Nine, when arriving upstairs the entire volume is still visible.
Functional, Public
Eleven, passing the narrow bridge which connects the
Eleven, entering the plaza(not public)
Ten, passing by the booktower, the endgoal.
formal space with the book tower.
Twelve, the scale of the space is drastically reduced and one
is completly surrounded in the books.
Functional:
Six the physical entry, means total enclosure.
and has a scale derived from this phenomenon. Again one
Seven, still under the volume but opens up.
Eight a full glance of grand scale. This is a transitional and
decisive moment. One can decide for the formal part or the
functional part.
direct outward views and has an outward focus.
of the space.
Five, the entering of the massive volume, total enclosure but
remains resonably large scaled.
Eleven, the individual office, the first function which allows
Ten, the reading rooms can be reached
For conclusional remarks, in the conclusional chapter the
Viipuri and Beinecke library are compared.
Nine, the visitor arrives in the functional part of the building
has to choose his direction (private or public)
Functional, Private
Ten, a large corridor to connect the offices
Sections | S 1:1000
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4. Interior
4. Interior
To be more concrete and make the drawings even more
understandable, these perspective drawings are added to
show the sequence fo the spaces. Theses perspectives follow
the same route as before but are now less abstract.
The clear application of the ‘route architectural’e and the
introduction of the several façades can be considered as a
type of phenomenal transparency.
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513
4. Interior
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4. Interior
515
4. Interior
4. Interior
In this analysis the physical boundaries have been portraited
to show the thresholds when entering the building. In this
case the stairs have been shown as hard thresholds. Also the
boundaries which are set up because of the different façades
are present. In the end the building has fairly smooth
thresholds in the formal part of the building. But to enter
the functional parts and the book tower the thresholds
are much stronger to prevent unauthorized people from
entering.
Smooth transition zone
Smooth threshold
Hard transition zone
Hard threshold
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517
4. Interior
4. Interior
4.08 Order of spaces
All the spaces in the building are strongly related to each
other due to the comprehensive application of the Grid
system. Every room and space is related to the bigger
conception of the building thanks to this fact.
The more formal spaces are larger in outlay in comparison
to the functional parts of the building. Noteworthy is that
every visitor has to pass the gigantic formal scale before
reaching the destination.
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4. Interior
4. Interior
4.09 Spatial hierarchy
Again this analysis proves the hypothesis that above ground
the formal functions are allocated whereas the under ground
parts are more destined to serve the function. The book
storage can be considered the serving rooms, these rooms
actually allow the functionality in the building, served
rooms.
Served rooms
Hybrid
Serving rooms
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521
4. Interior
4. Interior
4.10.1 Daylight access
The daylight is very intricatly handled because of the
preservation of the rare books. The massive volume allows
indirect daylight to reach the books, thanks to the choice
of material. The ground floor is the only floor that allows
all sides to be penetrated by direct daylight. In the cellar
the patio allows light to penetrate all the supporting central
functions.
Direct daylight access
Indirect daylight access
No daylight access
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523
4. Interior
4. Interior
4.10.2 Reverbaration time
The reverbaration time of rooms indicates the ability to
conversate. Indirect this is also an indication of formality
of space. Look at churches for example, the echo(long
reverbartion time) makes people whisper because of respect
for the place. This analysis indicates the ability to hold
normal conversations and is based on the material and the
volume of the space.
Again the separation between functional underground
and formal above ground is easy to distinguish. The
workability of the spaces underground demand respectable
reverbaration times.
1.0 - 2.0 sec.
2.0 - 3.0 sec.
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525
4. Interior
4. Interior
4.11 Interior elements
The furniture elements in the building are partially designed
by the architect. This permanent furniture is solely devoted
to house books: bookcases and display cases. The temporary
furniture on the other hand allows the reading and studying
of the books i.e. it allows the building to function.
Temporary furniture
Permanent furniture
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4. Interior
The detailling of the building culminates in the floating
The translucent capacity and the natural properties make
have a strong relationship with the whole. The inside
emotional entreprise.
volume. As mentioned before the architectonic details
and outside are detailled almost identical. With the
the experience and journey through the building an
sameindividual element which, when combined, forms the
entire composition. The precisness of the shape is related
back to the structural properties of the complete truss. The
infill of translucent marble, thanks to its natural properties,
has a very varying appearance. The ever changing properties
during the originating of the material lead to individual
distinctive plates. Thanks to this individualistic character
the entire composition doens’t look dull, but remains
interesting.
The contrasting appearance internal and external is made
possible due to the translucency of the element. Where the
outside look cold and dull the inside is warm and exciting.
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529
5.1 Sequences
To make a more abstracted way of the conception of the
The approach of the urban context shows strong differences
than in Aalto’s library. Bunshaft strongly emphasizes this
consists of the sequence of the sightlines in sections while
is clearly part of a large city whereas Aalto is placed in the
interpenetration of spaces.
surrounding space the following drawings were made. It
concerning the scale and urbanity of the location. Bunshaft
approaching the final destination (a room or function
middle of a public parc. Also the number of entrances is
in the building). Several different characteristics can be
very different. Where Aalto introduces three entrances,
analysed in this graph such as: the space in relation to a
Bunshaft includes just one to have full control.
person, the time of every section, the time to reach the
destination, the sequence of scales of spaces etc. All these
Very similar is the way they condens space before physically
to combine in a single drawing. But when combined they
large areas which slowly condens into a very small entrance.
aspects are important characteristics in buildings but hard
entering the building. The approach is always a sequence of
give a strong overview of the atmosphere of approach. With
The routing inside the buildings are very different from
these combined drawings a lot of principal differences and
each other. Aalto has 3 different routings of which one is a
similarities can be explained.
closed circle whereas Bunshaft is more like a tree structure,
also this enables the user to have control over its visitors.
The borders put up by Bunshaft are much more present
aspect whereas Aalto’s space is much more fluent due to the
Where the orientation in Bunshaft´s library is always
internal and focussing on the ´exhibited´ books, Aalto
decides to make external views possible in his routing.
It is striking to see the time it takes to reach the destination
if compared to Aalto’s library, this has a strong relation
with the formality of the space of Bunshaft. The size of the
spaces is very different. Aalto is much more modest in the
scale of his building because it is public. Bunshaft on the
other hand emphasizes the importance by enhancing every
public aspect.
Sequential experience Aalto
Sequential experience Bunshaft
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5.1 Sequences
In the Beinecke library we believe there are three striking
over the plaza which eventually maximizes the floatation
context the best.
by placing strong pillars in the corners of the building. The
Firstly we found that Gordon Bunshaft has introduced not
one traditional but at least 5 present façades in his building.
First he introduces a plaza which is partly submerged
and walled, the first visisble urban façade of the building.
Secondly, the most prominent both inside and outside, the
massive floating volume which contains the formal part of
the building. At first glance one would conclude this layer
as being the dominant and primary separation between
inside and out. Interestingly he makes no difference in
of the massive volume. This floatation again is enhanced
fourth layer is the booktower, which in itselves also knows
two layers. Namely the glass, climatisation layer, and the
actual bookcases for rare books. Inside this volume there
is also a structural core which allows routing inside the
TRANSPARANCY
REPETITION OF ELEMENTS
itself in total only from the cellar of the building. This
priniciple can be summarized as a box-in-box-in-box-inbox-in-box.
In the drawings to the right every single façade has been
the glass ‘façade’ which gives zones to the plaza. Because of
the previous comparison.
analysed for its primary characteristics to be able to make
BOOK TOWER
GLASS FACADE/ENTRANCE
MASSIVE FLOATING VOLUME
the tranparancy of this layer he allows an unobstructed view
MATERIALS
- Granite plates on
the ground and walls
façade is also partially visible from public space but reveals
material inside or out which makes his architecture more
elementary. The third façade a visitor would encounter is
FACADE
volume. The last visually present façade is the patio. This
PLAZA WALL
analysis which would describe the spatial and relational
- Granite facade
elements and
columns
- Marble plates
- Bronze on top of
columns
- Bronze construction
and windowframes
- Glass
- Bronze construction
and windowframes
- Glass
PATIO
- Granite plates
- Bronze
windowframes
- Glass
Sequential experience
532
Façade analysis
533
5.1 Book typology
This analysis shows the individual element of which its
Yale’s book collection stored in the library is a mixture of
solely devoted to rare books and manuscripts. The booktower
of the building is, in this case, related to the whole and
specific collection was previously housed in the Sterling
bookcases it contains about 600,000. Also display cases
repetition allows a certain visible transparancy. Every aspect
German, American and Western Americana literature. This
therefore makes the complexity much more understandable.
Memorial Library Rare Book Room which overtime ran
out of space. A part of the entire collection was donated
by the financiers of the building, the Beinecke brothers
and their families(Edwin J. Beinecke(Yale 1907), Frederick
contains about 180,000 volumes and in its underground
are placed to house extreme rare books. Annualy four
expositions are organised. The continuous exposition is
placed in the display cases and the oval bookcases.
W. Beinecke(Yale 1909) and Walter Beinecke(Yale 1910)
(Pinnell, P. 2004, The building). Not only where they the
primary investors of the building they also donated a large
amount of their personal collection. Medieval manuscripts
and materials related to Robert Louis Stevenson(Turner,
F. 2008, Meditations on the Beinecke Rare Book and
Manuscript Library), Western Americana literature and
subsequent generations of Beineckes contributed to the
donations. The total amount of volumes is 780,000 and
therefore makes it one of the largest buildings in the world
Element repetition
534
Book typology
535
Literature
Books
Bush-Brown, A. (1983). Skidmore, Owings and
Merrill: architektur und staedtebau. S.I.: Hatje.
Cuito, A. (2002). Alvar Aalto. Barcelona: LOFT
Publications.
Quantrill, M. (2002). Alvar Aalto: a critical study.
New Amsterdam Books.
Trencher, M. (2002). The Alvar Aalto guide. New
York: Princeton Architectural Press.
536
Magazines
Architectural Design. Feb 1961. pp. 84.
1 Cuito (2002), Viipuri City Library
Architectural Record. June 1967. pp. 50-55.
2 Cuito (2002), Viipuri City Library
Architectural Record. Nov 1963. pp. 12-13.
3 http://picasaweb.google.com/lh/photo/
6RoG5jpPPCUD0Fj2e07GWg
Architectural Review. Jan. 1993. pp. 74-79.
Architecture and Urbanism. June 2003. pp. 162-164.
Casabella. Dec 2008. pp. 30-43.
Weston, R. (1995). Alvar Aalto. London: Phaidon.
Casabella. Feb 1998 pp. 93.
Woodward, C. (1970). Skidmore, Owings and Merrill.
London: Thames and Hudson.
Casabella. June 1997. pp. 80-81.
Literature
Figures
4 http://clippings.com/images/1277331978-yale-
beinecke-e5jpg-60978
5 http://clippings.com/images/1277331969-
beinecke-148y5jpg-60977
6 http://clippings.com/images/1277331982-yalebeinecke-ezrastoller-esto-es148y33jpg-60976
7 http://thensinny.blogspot.nl/2010/08/yaleuniversity-library.html
537

The Library Architectural Analysis II

Transcription

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