Curtain façade
The design of the façade, whose elements are suspended in front of the exterior insulation on the concrete walls and encompass the entire building volume, presented a great challenge. The façade elements are made of acrylic glass with an undulating surface, measuring 1.8 metres in width by 11 metres in height – equal to the height of the building. The outer layer of acrylic is completely transparent, while the inner layer is an opaque white colour. The individual panels were first cast in flat sheets, then heated to 60 degrees Celsius and vacuum moulded to create the wave structure. Since no manufacturer could be found who was capable of moulding such large pieces, an oven had to be specially constructed for the purpose.
One of the architects’ main concerns was to avoid obvious visual repetition. For this reason, three different elements with varying wave patterns of narrower and wider folds were developed. Since the hanging panels – whose mounting hardware is concealed – can be rotated 180 degrees and mounted on either end, this resulted in a series of six distinct types. The aim was to arrange them in a way that avoided a recognizably repetitive pattern and that also conformed perfectly to the openings in the façade (windows, loading bays, doors).
Presenting a homogenous appearance from a distance, with an almost surreal aura due to its luminous white surface, the façade gains vivacity and depth the closer one approaches. Since it is only possible to see just a part of the entire volume, the building appears to be much smaller than it actually is. It gives an impression of lightness and transparency, even though it allows no views into the interior. On the contrary: the building remains an enigma, revealing almost nothing about its function. The almost immaterial character of the factory hall is emphasized by the fact that, from the outside, only the skin of the façade – suggestive of a textile covering – is visible, while the exterior walls, roof and structural framework remain concealed.
Viewed from the outside, one does not recognize – or even suspect – that the geometry of the floor plan deviates from a perfect circle; yet perhaps this unconformity is unconsciously perceptible. Just as SANAA avoids the use of classical symmetry in their architecture, they frequently employ slightly distorted geometric figures. This may recall the aesthetic concept of wabi sabi, the Japanese notion that imperfection and aesthetic consummation are not necessarily contradictory. The subtle shape of the ‘Alessi Tea Set’ (2004) by SANAA points in this direction. In reference to their project for Vitra, Kazuyo Sejima and Ryue Nishizawa also spoke about transferring some of the liveliness inherent in freehand drawing, which always stands at the beginning of their design process, to the reality of computer calculations. Or in their own words: ‘My impression is that the circle, the perfect circle, is a bit too rigid.’
CREDITOS
Architects.- Kazuyo Sejima + Ryue Nishizawa / SANAA, Tokyo, Japan.
Architectural planning.- Kazuyo Sejima & Ryue Nishizawa.
Architectural execution.- Mayer Bährle Freie Architekten BDA, Lörrach, Germany; in partnership with nkbak, Frankfurt, Germany.
Project team.- SANAA team: Takayuki Hasegawa, Marieke Kums (ex-staff); nkbak team: Nicole Kerstin Berganski, Andreas Krawczyk; Mayer Bährle Freie Architekten BDA.
Structural planning.- Bollinger und Grohmann GmbH, Fráncfort, Germany.
SAPS – Sasaki and Partners, Tokio, Japón
Client.- Vitra Verwaltungs GmbH, Weil am Rhein, Germany.
BUILDING DATA
Land area 50.000 m²
Building area 20.455 m²
Building dimensions
Diameter east-west: 156 m
Diameter north-south: 159 m
Building volumeAbove ground: 206,600 m³
Basement: 33,280 m³
Building areaAbove ground: 20,455 m²
Basement: 10,565 m²
Ratio of building volume to building area 7.7 in total
Facade area 5,740 m²
Number of storeys 1 above ground + 1 basement
