aber die ezb hat coop die vorgabe gemacht, dass man die reinen baukosten (ohne grundstück und kosten für sicherheitsmassnahmen) auf 500 mio drücken müsse.
Das verheisst dann nichts gutes, dann wird es eine reine Glasfassade ( wahrscheinlich auch noch grün, gibts ja im Sonderangebot seit ein paar Jahren 
).
ich hatte 500 Mio. im Kopf - aber bitte fragt mich nicht woher. Ich bin mir aber fast sicher diese Zahl in den letzten Tagen nochmal gelesen zu haben.
Wäre eine Schande wenn so ein wichtiges Projekt wie die EZB mit Standard-Fassade gebaut wird...
Zitat von 3rdwaveDas verheisst dann nichts gutes, dann wird es eine reine Glasfassade ( wahrscheinlich auch noch grün, gibts ja im Sonderangebot seit ein paar Jahren
soweit ich es auf den fotos sehen kann, wird es sowieso eine reine glassfassade oder?
ich glaube nicht, dass die fassade viel verändert werden kann. die niedrigeren baukosten werden vermutlich zum teil auf den verkleinerten groundscraper und weniger "himmelsbrücken" zurückzuführen sein. im inneren des gebäudes gibt es genug möglichkeiten, den bau kostengünstiger zu gestalten, ohne die fassade verändern zu müssen.
Der Entwurf gefällt mir immer noch sehr. Und außerdem ist das Frankfurt´s einziges "reales" Projekt >150m. Westendduo allein macht auch nicht glücklich.
hier ist ein artikel aus der ny times mit interessanten details zum projekt:
The European Union is not a particularly sexy institution: think dull, overworked bureaucrats rather than international glamour. But the selection last week of Coop Himmelb(l)au's dynamic design for the institution's central bank in Frankfurt shows that it is finally willing to take a chance on striking architecture.
Dominated by two asymmetrical towers that frame a 600-foot-tall atrium, the design radiates magnetic energy. The taut silhouettes of its two towers, bound together by the tense embrace of steel bridges and beams, should become an instantly recognizable element of the Frankfurt skyline - and help to revitalize the city's grim eastern suburbs.
But what makes the design more than a superficial attempt to spice up the European Union's image is its subtle relationship to 20th-century architectural history. Its bold forms nod to the idealism that was once embodied in International style Modernism but also critique it, expressing a more nuanced view of Europe's role in the emerging global culture.
The site for such an experiment could not have been better. The project will rise along the Main River less than two miles east of a cluster of towers that make up Frankfurt's business district. The 30-acre site, now occupied by a cavernous 1920's-era market hall, is surrounded by a mix of low-rise industrial and residential buildings. A row of hulking 1990's apartment blocks across the river to the south are a reminder that late capitalism can produce buildings that are as mind-numbingly dull as those of postwar Communism.
The beauty of Coop Himmelb(l)au's design springs from its surprises. Seen from certain points across the river, the towering glass facade could be that of a conventional office building, the shimmering exterior twisting slightly as it rises. But as you circle the building, the forms begin to break apart to create the atrium. Coop Himmelb(l)au dubs this interstitial space "the vertical city," and it will be packed with activity: greenhouses, public lounges, meeting rooms and a restaurant and boardroom.
Coop Himmelb(l)au, based in Vienna, is not the first firm to realize that the space between two towers can be as evocative as the forms of the towers themselves. In 2002, for example, the Iraqi-born British architect Zaha Hadid proposed a set of towers whose undulating forms gently touched one another at various points, creating a series of sensuous, eye-shaped openings. Around the same time, Norman Foster of Britain took a similar approach in his rejected design in a competition to rebuild at ground zero.
Coop Himmelb(l)au's contorted glass towers are a sly play on landmark European Modernist designs like Hannes Meyer's and Le Corbusier's competition entries for a League of Nations headquarters in 1927 or those for Soviet government buildings in Moscow in the early 1930's - a period when the prophets of Modernism were groping for an international aesthetic language.
The violent torque of the bank's glass towers suggests an effort to wriggle free of such old Modernist formulas. The entire composition conveys a quirky instability, as if the old order has been set slightly off balance.
That sense - that architecture can express dynamic social forces - is echoed in the central bank's relationship to its urban surroundings. Most visitors will approach the complex from the north, across a gated plaza that resembles a suburban office park. The market hall, a landmark known as the Grossmarkthalle, will be transformed into the main public entrance lobby. The office towers will rise out of an eight-story structure that Coop Himmelb(l)au has called the "ground-scraper."
The layout vividly reflects the elaborate security precautions that have become standard in an age of global terrorism. The few spaces that will be open to the public - main lobby, press rooms, auditorium, library, security offices - will be in the former market hall. The towers are reserved for private bank offices, with the board of directors perched at the very top. As such, the entire building can be read as an elaborate screening or cloaking device - not exactly, one assumes, what the European Central Bank might be aiming for.
Yet the design is also a more subtle exploration of urban tensions. Unlike the other architectural teams, for example, Coop Himmelb(l)au sought to preserve the suburban character of the existing plaza and Grossmarkthalle. Inside the hall, the architects created a series of spiraling ramps and walkways that will connect the auditorium at one end and the library at the other - but the sense of vast space is untouched.
It is only as you exit the building and enter the tower atrium, where rows of glass-enclosed elevators shoot up to the various office floors, that a more compressed urban experience emerges. Set on either side of the atrium, the offices will have the slick look of a conventional high-tech corporate office: floor-to-ceiling windows, classical modern furniture - the kind of cool abstraction that has become shorthand for corporate power.
The atrium itself, by comparison, is packed with energy. Along one side, a series of vertical gardens seem to float in air. A chapel between the 24th and 29th floors is pierced by an elliptical stair with a vertiginous view of the ground floor below. In a dash of 1970's hotel glamour, a restaurant lounge at the top of the atrium is topped by a cantilevered helipad - an escape pod for dark-suited ministers and bank officials.
The atrium offers a striking view of the downtown skyline: in effect, the overall design becomes a precarious bridge from suburban tranquillity to urban vitality. That ability to celebrate ambiguity and tension is what promises to make this one of the most original new buildings in Europe. As the European Union seeks to shake off its bureaucratic image, Coop Himmelb(l)au has obliged with a shimmering architectural icon - the kind of building that should give the central bank a much-needed air of élan.
Copyright 2005 The New York Times Company
Danke für die interessanten Artikel.
...A row of hulking 1990's apartment blocks across the river to the south are a reminder that late capitalism can produce buildings that are as mind-numbingly dull as those of postwar Communism.
Meinen die damit die Solitäre am Deutschherrn-Ufer?!
ja (wenn man ehrlich ist, ist der vergleich teilweise zutreffend)
sie werden so nicht bezeichnet. sie seien nur so "langweillig" wie kommunistische nachkriegsbauten. ein kleiner, aber feiner unterschied.
ich stimme allerdings zu, was die bauformen angeht. mussten die solitäre alle 10 stockwerke haben? ein bisschen höhenvariation wäre interessanter gewesen.
Hat schon jemand neue Renderings gefunden? Wann ist noch einmal der Baustart?
