Countersigning the topography | Marcelo Gardinetti

“Paul Klee does not deserve a museum, but a landscape”. Renzo Piano’s reflection with regard to the Paul KleeCenter ensues energy from the operation realized in the design of the museum, instituted as honoring to the artist Suizo. An exercise where the architect operates on the architecture with the same subtlety that the painter it was doing on the painting. Because Piano on having constructed the building, parodies the abstraction like Paul Klee.

Photography ©Michel Denancé

It establishes a subtle, spontaneous and consistent monument, which reinterprets the local topography, exploring the vivid shades of the nature to incorporate them into the interior of the museum in an explosion of light and color exempts of poetry. Of this form, the design claims consumar a topographic natural operation. Enormous sinusoidal girders established rhythmically in parallel construct three small hills of steel that change color with the wavy surfaces of the site.

For this stratagem, no girder is equal to other one. An exercise of manipulation arranges the girders with different angles of inclination, establishing always a height different from the center of the top arch. In a synchronous maneuver, the soterramiento of the low wavinesses allows to reduce the height to cover great part of the cover with the nature, founding a composition where the cover turns into a terrace of wheat and poppies that proposes in the same management the vegetation as building. This game reduces the impact of the architecture on the nature without stopping demonstrating the human task.

Photography ©Michel Denancé

The formal proposed exercise generates three diminishing bodies in size that they are linked by a pedestrian street that makes way for itself between the metallic wavinesses. In his tour, the street is annexing successively spaces of being, vertical traffics, small shops, a bookshop and a coffee shop.

Every waviness answers to a different function. The first one is that of major surface and the point of access to the building. A foyer articulates the internal street with the activities foreseen for this body: an audience for 400 persons and the workshops of art for children.

The central volume lodges in his interior Paul Klee’s permanent collection, the major attraction of the complex. His walls are designed by mobile panels, characteristic that allows to locate them in different ways, establishing a wide variety of explanatory spaces. A series of attached rooms of minor size allow to realize temporary exhibitions. The minor of three volumes was recorded to administrative functions and a center of investigation.

Photography ©Michel Denancé

The design makes visible inside the building the structure of steel, ended by ceilings of birch natural or identical with white. Parasols in the front control the revenue of natural light, which spreads inside the rooms reflected on translucent screens to avoid the harmful effect of the light on the paintings. Grooves in the solado allow the air traffic and favor the correct ventilation.

Sketch ©RPBW

Piano tries esculpir the nature confirming the topography. This pretension monopolizes a restricted complexity that exceeds the will to raise a museum to establish a sign that evokes the subtle compositions of the honoured artist.

Marcelo Gardinetti . architect
La Plata. august 2013

Marcelo Gardinetti

No voy a hablar de la penumbra, mejor voy a ver si puedo despertar.

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