 |
|
|
 |
|
|
Modern Architecture
|
|
|
In recent years, Basel has acquired the reputation of being a city of special architectural distinction. Time and again, as one strolls through Basel, one comes across exciting examples of contemporary architecture. Little wonder, then, that Switzerlands Architectural Museum is in Basel.
|
|
|
|
|
|
2003: Messeturm at Messeplatz, architectural partnership Morger Degelo Marques
The Messeturm (Exhibition Tower) in Basel is the tallest building in Switzerland at 105 metres, and is visible from afar. The elegant structure with its transparent façade stands for cosmopolitan Basel. In addition to the Messe Schweiz (Swiss Exhibition) Service Center, the Messeturm also hosts a hotel, a restaurant as well as exclusive businesses and representative offices. A bar with spectacular panoramic views welcomes its guests on the 31st floor.
1999: Peter Merian building, Nauenstrasse and Peter Merian Strasse. Architect: Hans Zwimpfer.
This office block, with its gleaming emerald-glass façade by Donald Judd, is a new trademark in the large-scale development at Basels central station. A special feature of this horizontal skyscraper is the interplay of mass and void. Characteristic of its inner life is a melding of art with the architecture.
1999: Messehalle (Exhibition Hall) 1, Riehenring and Isteinerstrasse. Architekt: Theo Hotz.
The new hall, strictly functional in design and without frills, is built of prefabricated elements. The transparent glass elevations of the huge structure 210m long, 90m deep, and about 20m high express a readiness for dialogue. Completed in 228 days, it marks the first stage of a comprehensive project to rebuild and modernize the exhibition centre.
1999: Zentralstellwerk Basel SBB, central-station area behind Münchensteinerbrücke. Architects: Herzog & de Meuron.
This impressive structure rises like a great monolith from the rail tracks. Many consider this matter-of-fact industrial structure an architectural insult. The cubical shape is clad in copper armour that gleams a golden red and alters visually with changes in light and as one moves.
1998: Euregio shops and offices, corner of Viaduktstrasse and Innere Margarethenstrasse. Architect: Richard Meier.
The locals have already dubbed this white corner block near the market hall the Meier Bau. The finely structured building provides great transparency from both inside and out.
1997: Beyeler Foundation, Baselstrasse 101, Riehen. Architect: Renzo Piano.
This building provides a public art gallery for Hildy and Ernst Beyelers collection. The main architectural accent is achieved by the contrast between the heavy verticals formed by the parallel structural walls, faced in red porphyry that seem to step down the site, and the lightness of the horizontal line of its glass roof.
1996: Jean Tinguely Museum, Grenzacherstrasse and Solitude Park. Architect: Mario Botta.
The museums elevation to the motorway is completely closed, that to Solitude Park totally open, intended by the architect to symbolize these opposites. The glazed hall creates a spacious area for the artists kinetic compositions.
1995: Bank building, Aeschenplatz. Architect: Mario Botta.
A striking corner block on the traffic node of the Aeschenplatz. In this imposing building, Botta transferred the range of forms of his early villas in the Ticino to a much larger scale: sculptural shapes with deep, stepped incisions; architraved circular windows, and a striped exterior.
1992: Residential and office block, Steinenvorstadt 62. Architects: Rolf Furrer and François Fasnacht.
The building, with its spectacular glazed projecting structure, closes off the inner city against the dense traffic on the Heuwaage viaduct.
1990: Landing stage, Elsässerrheinweg. Architects: Wilfrid und Katharina Steib.
The site of this new landing stage for international passenger traffic on the Rhine is on the Rheinuferpromenade, about level with St Johanns Park. The halls glazed elevation opens to the river.
1988: Residential and office block, Allschwilerstrasse 90. Architects: Herzog & de Meuron.
A striking, rounded corner building in the west of the city. The elevation with load-bearing slabs and non-structural columns looks like a concrete skeleton with inserted coloured concrete slabs.
1987: Rosshofareal, Petersgraben 49-51. Architects: Joachim Naef, Gottfried and Ernst Studer.
In the 1960s, an eleven-storey car park was to have been built on this site on the former boundary to the medieval town. Instead, this building has successfully solved the problem of linking the various urban scales that come together here. Behind its projecting shield of red sandstone lie the universitys scientific centre and apartments. The inner courtyard that bears the names of famous horses (hence Rosshof = Horses Yard) is also worth a visit.
1987: Artisans and studio block, St Alban-Tal 40A. Architect: Michael Alder.
A two-wing timber-clad studio block with well-lit, generously sized rooms. The studios are available to foreign artists in exchange for their own.
1987: Wiesengarten residential development; Wiesendamm, Altrheinweg, Giessliweg. Architects: Wilfrid and Katharina Steib, Bruno Buser, and Jakob Zäslin.
In forming the citys limits next to meadows and the nearby industrial area and port of Kleinhüningen, this seven-storey peripheral development is a successful continuation of a traditional urban development patterns. All apartments have direct access to the courtyard gardens.
1981: Hammerstrasse residential development, Bläsiring and Efringerstrasse. Architects: Diener & Diener
In the densely inhabited Matthäusquartier (St Matthews district), this development on a former industrial site also made use of the so-called peripheral development around a central courtyard typical of the late 19th century. An avenue cuts right through this urban residential area like an architectural incision.
1980: Museum für Gegenwartskunst (Museum of Contemporary Art), St Alban Rheinweg 60. Architects: Wilfrid und Katharina Steib.
Open to view on all sides, the museum invites the visitor to enter. A successful integration pf new elements into existing buildings in the old town.
1978: Haus zum Sodeck, Freie Strasse 74. Architect: Marcus Diener.
Before construction began, there were heated discussions about whether the earlier historical building on this site should be demolished or preserved. One of Basels earliest examples of post-modern architecture, the new building produced both indignation and applause. A joyfully constructed, yet controlled work of image and illusion.
1974: Stadttheater (City Theatre), Theaterstrasse. Architects: Felix Schwarz and Rolf Gutmann.
This unconventional building must be seen as part of an existing urban-design situation: its site faces a very lively square with an imposing Serra sculpture and a playfully witty Tinguely fountain.
1970: St Jakobshalle, St Jakobs-Strasse. Architect: Giovanni Panozzo.
This vast structure is suitable for a wide variety of indoor sports events (such as the Swiss Indoors tennis championship). Opposite the hall is the new soccer stadium and behind it is the championship swimming pool, extensive sports facilities, and the Brüglingen recreational area and botanical gardens. The entrance area was designed by Owsky Kobalt, who gave it a star-shaped figure decorated with fan-like shapes and made playful use of the pentagram.
1968: University library, Schönbeinstrasse 20. Architect: Otto H. Senn.
The buildings organic architecture gives life to the staircase and interior. The design of the side-lit dome makes the reading room the librarys three-dimensional highlight.
1962: Lonza building, Münchensteinerstrasse 38. Architects: Hans Rudolf Suter and Otto Suter.
This striking tower block near the central station is often compared with the Pirelli building in Milan, except that here the design of the front and rear elevations is identical.
1961: Allgemeine Gewerbeschule (General Trade School), Vogelsangstrasse 15. Architects: Hermann Baur, Hans Peter Baur, Franz Bräuning, Arthur Dürig.
Four strikingly different structures are grouped around a courtyard. The building houses the industrial trade school and the Hochschule für Kunst und Gestaltung (College of Art and Design). Also noteworthy are Hans Arps stele in the courtyard, and the stepped pyramid the steps form seats by Armin Hofmann.
1958: Domus building, Pfluggässlein 3. Architects: Max Rasser and Tibère Vadi.
The elevation of this completely transparent glass-and-metal building sets accents within the existing townscape. This has been the home of Basels Architectural Museum since 1984.
1954: Exhibition Centre, hall 10-21 (circular structure), Messeplatz. Architect: Professor Hans Hofmann.
Completed in under a year, the circular hall around a circular courtyard is contained within a rectangular building around its own rectangular courtyard. It immediately became the Basel Trade Fairs symbol and a trademark of Switzerlands prospering economy of the 1950s. 1989-91: Restoration by P Fierz and S Baader.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
