Professional Documents
Culture Documents
OMA
Karlsruhe, Germany
1989 (competition)
Zentrum für Kunst und Medientechnologie and Bahnhof Situation scale 1/2500
The architectural theme of this design is a response to a series The aims for the new ZKM were:
of relationships between the existing city and the implications - to make sure that the new art and technology is as
of the site and program. The classical city of Karlsruhe in accessible as possible for the public, scientists and artists to
itself contradicts the presence of a futuristic center of art and work on.
technology; while the railway station building is oreinted toward - to provide possibilities between these three fields to create
the city center, the ZKM is oreinted toward the periphery. interdisciplinary projects (Gesamtkunstwerk)
Part of the program accomodates research for the artists, - to teach in the fields of art en media technology (the idea
while the other part is devoted to the public; the museum was to create a Bauhaus-like organization)
for modern art offers a spectrum of exhibition possibilities, - to exhibit the results of the history and future of art and
ranging from traditional to experimental. The formulation of media technology.
these contradictions is the goal of this design. - to create an atmosphere where media technology can mix
Early efforts where directed towards treating the project as with traditional (performance) arts.
independed from the railway station. However each attempt to - to have spaces where special techniques can be developed.
separate the museum from the station left only a small strip of
land wedged between the street and parking garage. Building The programmatic and internal structure of the building should
only on this strip would bind the architects to a pepitiition of be in such a way that people from different disciplines can
the existing railway layout. The design follows the opposite meet, and through those interactions the building creates a
concept; maximal integration of the station and ZKM. As in strong synthesis between art and media technology.
the two dimesioal baroque city layout, a third dimension is
given. The ZKM design is based on the X,Y and Z axes. Axis
represents and oragnizes one or more polarities: Centre-
periphery, classical-futuristic and public private.
Zentrum für Kunst und Medientechnologie (ZKM) 2
OMA
Karlsruhe, Germany
1989 (competition)
level 165 m exhibition, restaurant scale 1/500 third floor school, courtyard scale 1/1000
level 156 m exhibition scale 1/500 second floor school, courtyard scale 1/1000
level 153 m auditorium & library/meditheque scale 1/500 first floor school scale 1/1000
level 144 m exhibition scale 1/500 entrance floor school scale 1/1000
The architect is not specifically concerned with art and teaching. Merely he a kind of ‘surgery’ designed to keep the treatment of the interior and the
issues the aspects of large programs. His idea is carried foreward in his exterior, the façade and the programme, strictly separate.
theories on big buildings and cities. This becomes clear in his theory on At the point where architects were abandoning the traditional moral principle
Bigness: of the ‘honest façade’ – one that reflects what lies behind it – they discovered
a freedom of design such as they had never known. The form of the building
‘Beyond a certain critical mass each structure becomes a monument, or at least became autonomous and self-referential. This strategy also ensured that the
raises that expectation through its size alone, even if the sum or the nature programmes within the building could change without affecting the exterior.
of the individual activities it accommodates does not deserve a monumental Koolhaas used these principles as the starting point for his Paris library (TGB)
expression. This category of monument presents a radical, morally traumatic and Karlsruhe media centre (ZKM) projects, both of which were completed
break with the conventions of symbolism: its physical manifestation does not around 1989. Both were situated on the edge of the city, and incorporated
represent an abstract ideal, an institution of exceptional importance, a three- an immense and varied programme. Both designs consisted of a monolithic
dimensional, readable articulation of a social hierarchy, a memorial; it merely block in its simplest volumetric form: a cube. This is not a reference either
is itself and through sheer volume cannot avoid being a symbol – an empty to existing typologies for public buildings or to the morphology of the urban
one, available for meaning as a billboard is for advertisement. It is a solipsism, environment.
celebrating only the fact of its disproportionate existence, the shamelessness Accordingly, Koolhaas makes no mention whatsoever of the representative
of its own process of creation. This monument of the twentieth century is the capacity of the architecture, much less the representation of collectivity. In
Automonument, and its purest manifestation is the Skyscraper.’ his view, the only way architecture can continue to be manifested in today’s
However, this modern Automonument has a contradictory character: ‘that urban culture is in the large, monolithic buildings themselves – islands in
of being monument – a condition that suggests permanence, solidity and the city, into which all the architecture withdraws and, at the same time,
serenity – and at the same time, that of accommodating, with maximum is concentrated. These monoliths are ‘the last bastion of architecture ...
efficiency , the “change which is life”, which is, by definition, anti-monumental.’ landmarks in a post-architectural landscape’. This ‘archipelago’ conception of
In order to resolve this paradox, the architecture of the American skyscraper the city can be seen in Koolhaas’s 1972 project for The City of the Captive
developed a strategy that Koolhaas metaphorically refers to as ‘lobotomy’: Globe.
City of the captive globe, from Delirious New York
Zentrum für Kunst und Medientechnologie (ZKM) 3
OMA
Karlsruhe, Germany
1989 (competition)
5350 m2
Program 4820 m2
Public private
public private
private = employee
private-collective = research
collective = student
public = visitors
1570 m2
1370 m2
1030 m2
940 m2
730 m2
520 m2
440 m2
280 m2
foyer theatre/ museum/ cafe/ library/ depot offices laboratory/ parking outside / other
auditorium exposition restaurant mediatheque atelier roofterrace
Circulation
level 137 m media museum level 153 m auditorium, mediatheque level 163 m exhibition level 165 m roof terace
to the
school
main entrance
level 137 m foyer, theatre level 144 m exhibition level 156 m exhibition level 165 m restaurant
city entrance
Entrance
vertical circulation
Horizontal circulation
service space
fixed workspace
level 116 m video display level 140 m ateliers & media museum level 153 m auditorium & mediatheque school building ateliers & informal meeting
And then the routing stops to carry on through a programmatic museum contemporary art
part of the building (media museum, auditorium, exhibition Delirious New York
circulation
space). By these means the circulation is not just necessary Rem Koolhaas auditorium / library
seminar
space but becomes a characteristic element of the building. 1978
museum contemporary art
The private and public spaces have their own territory. At
circulation
some points they are connected by the routing or because Bauwwelt 48, 1989 media workshops
circulation
media museum
one space ‘invades’ the others territory. Heinrich Klotz
offices
main programme
To provide big structure-free spaces the construction of the Zentrum fur kunst undmedientechnologie
karlsruhe
offices