Castle of Kolding Restoration (1972-1991) PDF

EXAMPLE OF INTEVENTIONS FROM 1972 TO 2009 CASTLE OF KOLDING (1972-1992)- JOHANNES AND INGER EXNER The restoration of Koldinghus Castle, overseen by architects Inger and Johannes Exner from 1972 to 1991, represents a paradigm of contemporary restoration philosophy that values both historical continu...

EXAMPLE OF INTEVENTIONS FROM 1972 TO 2009 CASTLE OF KOLDING (1972-1992)- JOHANNES AND INGER EXNER The restoration of Koldinghus Castle, overseen by architects Inger and Johannes Exner from 1972 to 1991, represents a paradigm of contemporary restoration philosophy that values both historical continuity and innovative intervention. The castle, originally constructed in the 13th century and serving roles as a royal residence, military stronghold, and administrative hub, faced extensive damage over centuries, culminating in a fire in 1808 that left it in ruins. The Exners approached the restoration not as a process of recreating a bygone era but as a method to preserve the ruin's narrative while enabling modern utility. The architects rejected their initial proposal to rebuild the castle's 1808 appearance using steel and glass, as it failed to garner support. Instead, they implemented a strategy emphasizing minimal interference with the ruins, preserving their historical integrity and patina of decay. “Whether the castle should remain as a ruin or be rebuilt was the subject of great debate. To many people the romantic hilltop ruins had become part of the identity of themselves, the town or the area; while others regarded them as a public eyesore, something somehow degrading since they were a constant reminder of a lack of respect, will and ability to rebuild the old royal castle of North Schleswig. But for our part, as a result of our preliminary investigations, we came to believe that the question in the report about whether to recommend ‘either ruins or rebuilding’ should be resolved as ‘both ruins and rebuilding’.” - Inger & Johannes Exner Key elements of the intervention include: 1. Preservation of the Ruins: The ruins themselves were deemed central to the restoration's conceptual framework. Rather than fully reconstructing or artificially enhancing the original structure, the Exners maintained much of the existing walls and their weathered state, emphasizing the castle's layered history and the marks of time. “We evolved a basic principle that the main periods of the castle’s history were to be respected in such a way that its long and eventful life was clearly illustrated. As it was to be a museum, it was obvious that the most important exhibit was Koldinghus itself, and the different historical periods and events would have to be emphasized architecturally in the various parts of the building.” 2. Introduction of Modern Structures: To adapt the ruins for contemporary use, the architects incorporated new, identifiable structures. Laminated wooden pillars, inspired by Gothic forms, were introduced in the south and east wings. These pillars rise from the foundations to support a new roof, creating a dramatic interplay of light and space that respects the original architecture while clearly differentiating new additions.  3. Use of Distinctive Materials: Modern materials, such as recycled oak wood for new walls and steel for walkways and staircases, were chosen for their clear distinction from the historic fabric. This approach adheres to principles of reversibility and legibility, ensuring that future generations can distinguish original elements from restoration additions. 4. Spatial Reconfiguration: New steel walkways and suspended staircases were strategically placed to guide visitors through the ruins. These elements not only enhance accessibility but also offer vantage points that highlight the contrast between the castle's preserved remnants and modern interventions. This allows the visitor to witness the physical scars of the 1808 fire and the subsequent natural and manmade degradations. 5. Integration of Functionality: The restoration transformed Koldinghus into a functional cultural venue. The southern wing, for instance, now accommodates large open spaces suitable for exhibitions and gatherings, merging the past's atmosphere with the present's needs. The overarching philosophy of the Exners' work at Koldinghus aligns with the principles of critical restoration, where the aim is not to erase history or impose an imagined past but to celebrate the architectural evolution of the structure. Their work garnered widespread acclaim, culminating in the Europa Nostra Award in 1994, and remains a touchstone for modern conservation practices. It exemplifies a nuanced understanding of the past, an appreciation for the present, and a thoughtful anticipation of the future in heritage preservation. ORATORY OF SAN FILIPPO NERI, BOLOGNA (1998 -1999) – PIER LUIGI CERVELLATI The restoration of the Oratorio di San Filippo Neri in Bologna, completed in 1999 under the direction of architect Pier Luigi Cervellati, built upon and extended the earlier efforts initiated by Alfredo Barbacci in the post-World War II era. Barbacci, serving as the Superintendent of Monuments, began the initial consolidation and reconstruction of the Oratory in 1953, focusing on stabilizing the war-damaged structure. His work included reconstructing columns using reinforced concrete and brick infill, as well as installing a new roof supported by wooden trusses. However, due to limited resources, Barbacci's intervention remained incomplete, leaving the Oratory without a finished interior and vulnerable to further deterioration. Decades later, Cervellati's restoration aimed to "storicizzare la ferita bellica" (historicize the war wound), acknowledging the building's traumatic past while restoring its architectural integrity. This approach involved preserving and integrating Barbacci's earlier work, thereby maintaining the historical continuity of the restoration efforts. One of the defining elements of Cervellati’s project was the introduction of a contemporary volume that replaced the collapsed part of the structure. This addition was designed not to replicate the original forms but to dialogue with them, creating a harmonious yet distinct integration. The materiality and geometry of the new intervention deliberately contrast with the existing building, adhering to the principle of distinguishability. This approach avoids creating a "false historicism" while respecting the memory of the place. ST. MARTA BARRACKS, VERONA (2005 -2014) – MASSIMO CARMASSI The restoration of the St. Marta Barracks aimed to transform a 19th-century military complex into a university campus. The intervention preserved the historical authenticity by maintaining the original brickwork and architectural proportions. The approach emphasized adaptive reuse, aligning with the principles of sustainable restoration. Structural integrity was reinforced subtly, and new functions were integrated without compromising the building's historical identity. The intervention demonstrated a balance between conservation and modern utilization. OBLATE CONVENT, FLORENCE (2002-2007) – MARCO BALDINI AND DANIELE GUALANDI This project involved the conversion of a historic convent into a public library and cultural center. The restoration strategy was rooted in minimalism, focusing on preserving the existing structure's character while introducing contemporary elements. New installations, such as staircases and lighting systems, were intentionally designed to contrast with the historical fabric, maintaining a dialogue between old and new. The intervention respected the building's history while adapting it to modern civic use. FIRMIANO CASTLE, BOLZANO (2001 -2006) – WERNER TSCHOLL The restoration of Firmiano Castle sought to highlight its medieval heritage while adapting it for use as a museum. Tscholl employed a lightweight steel and glass framework to provide functional spaces within the historical shell, emphasizing transparency and reversibility. This intervention ensured that the new additions were distinguishable from the original structure, adhering to contemporary restoration principles. The project was an exemplary model of integrating modern architecture within a historical context. REICHENBERG TOWER, TUBRE (2000) – WERNER TSCHOLL The restoration of this medieval defensive tower focused on conserving its exterior while adapting its interior for contemporary use. Minimal interventions were made to preserve the structure's original defensive character. Modern materials, such as steel and glass, were introduced to create internal pathways and observation points, ensuring that the additions were both functional and visually distinct from the historical fabric. COMPLEX OF SAN MICHELE IN BORGO, PISA (1979 -2000) – MASSIMO CARMASSI The intervention in the San Michele complex involved restoring the church and its adjacent structures for mixed cultural uses. Carmassi prioritized maintaining the site's historical layers, carefully repairing damaged elements, and avoiding over-restoration. New materials were used in a complementary fashion, ensuring that the modern insertions were legible and did not overshadow the historical narrative. The project is celebrated for its meticulous attention to detail and respect for the site's historical integrity. MANICA LUNGA OF RIVOLI CASTLE, TURIN (1979 -1999) – ANDREA BRUNO The Manica Lunga, a wing of the Rivoli Castle, was restored as a museum space. Bruno's intervention juxtaposed modern elements, such as sleek glass panels and metallic structures, with the baroque architecture of the castle. This contrast highlighted the historical building's grandeur while providing contemporary functionality. The project exemplified an innovative approach to restoration, emphasizing dialogue between old and new. LE MURATE, FLORENCE (2002-2004) – MARIO PITTALIS This restoration project transformed a former prison into a residential and cultural complex. The intervention preserved significant architectural features, such as the original masonry and cell structures, while introducing modern residential units and public spaces. New additions were designed to be reversible and clearly distinguishable from the historical fabric. The project was a successful example of adaptive reuse, maintaining the site's historical significance while giving it a new social function. Each of these interventions showcases a thoughtful balance between preserving historical authenticity and adapting buildings for contemporary needs. The approaches align with modern restoration principles, emphasizing reversibility, distinguishability, and minimal intervention. NEUES MUSEUM, BERLIN (1993-2009) – DAVID CHIPPERFIELD The Neues Museum in Berlin, originally designed by Friedrich August Stüler and completed between 1841 and 1859, suffered extensive damage during World War II, leaving it in ruins for over six decades. In 1997, David Chipperfield Architects, in collaboration with Julian Harrap, won an international competition to restore the museum. Their approach emphasized conservation over reconstruction, aiming to preserve the building's historical essence while integrating contemporary elements. A interesting thing of this intervention was the fact that what is normally recognized as a degradation, such as the carbon stains linked to the bombing of the second world war, in this case have been preserved. The restoration strategy involved stabilizing and repairing the surviving structures, carefully filling gaps without overshadowing the original fabric. New materials were chosen to harmonize with the existing ones, ensuring a seamless blend between old and new. For instance, new exhibition rooms were constructed using large-format prefabricated concrete elements made of white cement mixed with Saxonian marble chips, reflecting the lost structures without direct imitation. A notable feature is the reconstructed main staircase, which replicates the form of the original in a simplified architectural language. This staircase, made from the same white concrete, stands within a majestic hall preserved as a brick volume, devoid of its original ornamentation, highlighting the building's historical layers. The restoration also addressed missing sections, such as the Northwest wing and the South Dome, which were rebuilt using recycled handmade bricks to subtly distinguish them from the historic fabric. Two courtyards received new glazed roofs and were excavated to basement level, enhancing the museum's spatial experience. This meticulous restoration has been described as a "creative restoration," involving designers, curators, historians, restorers, and specialists to ensure each decision respected the building's historical significance. The result is a harmonious blend of preservation and modern intervention, allowing the Neues Museum to narrate its complex history through its architecture. ST. KOLUMBA CHIRCH, COLOGNE (1997-2007) – PETER ZUMTHOR The restoration and transformation of St. Kolumba Church in Cologne, undertaken by Swiss architect Peter Zumthor between 1997 and 2007, resulted in the creation of the Kolumba Museum. This project is a notable example of integrating contemporary architecture with historical remnants, reflecting Zumthor's minimalist and sensitive design philosophy. HISTORICAL CONTEXT: - St. Kolumba Church: Dating back to 980, St. Kolumba was one of Cologne's oldest parish churches. The original Romanesque structure was later replaced by a Gothic hall church. During World War II, the church suffered extensive damage, leaving only parts of the exterior walls and a Gothic statue of Mary intact. In 1950, architect Gottfried Böhm constructed a chapel, known as the "Madonna in the Ruins," within the church's remains. KOLUMBA MUSEUM PROJECT: - Commissioning: In 1997, following an architectural competition, Peter Zumthor was selected to design a new building for the Archdiocese of Cologne's art museum, aiming to integrate the existing ruins, the 1950s chapel, and a new exhibition space. - Design Approach: Zumthor's design incorporates the archaeological remains of the Gothic church and Böhm's chapel into a cohesive structure. The museum's façade, constructed with handmade grey bricks, envelops the historical elements, creating a dialogue between past and present. - Materiality and Light: The use of perforated brickwork allows natural light to permeate the interior, casting dynamic patterns that enhance the contemplative atmosphere. The interior spaces are characterized by minimalist materials, including brick, mortar, plaster, and terrazzo, providing a serene backdrop for the artworks. - Spatial Experience: The museum features sixteen exhibition rooms, each with unique qualities concerning size, proportion, and lighting. A tranquil courtyard replaces the former medieval cemetery, offering a reflective space within the urban environment. Significance: The Kolumba Museum exemplifies a harmonious integration of contemporary architecture with historical context, preserving the site's spiritual and cultural heritage while providing a modern space for art and reflection. Zumthor's sensitive approach has been acclaimed for creating a "shadow museum" that evolves with the changing light and seasons, offering visitors a unique and contemplative experience.