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APP - 1232
Universidad de Navarra / es Spain
1 members
Beatriz Aragón González

Project type:

In the city center of Amsterdam, buildings grow searching the sky like trees in a lush forest. Their slenderness leads us through different horizontal layers that emerge from underground to the panoramic roof landscape. Among all this canal houses, a uniquely preserved seventeenth-century house from the Dutch Golden Age appears. And it contains a treasure in its attic: a secrecy Catholic Church dated from 1663. Our lord in the Attic. Nowadays Amstelkring Museum.

It is needed to increase the museum area, emphasizing its best qualities. The church section shows us three different parts, which are counterpart to the division in frames of the city: canals, public space and roofscape. These three levels will be the source and the solution of the project.

The new underground access that connects the vertical communications core with the old building, houses part of the package of new services that require a XX century museum: administration, toilets, reception, lockers, etc. This new entrance preserves the secrecy inherent to the church in the attic.

One of the main decisions in the beginning was to empty the solar. This operation allowed the opening of the internal space of the block to the street, discovering a small brewery remained hidden. Making a small nod to the PLAYGROUNDS of Aldo van Eyck, this action also allows showing the side facade of the museum and shortens the length of the alley.

At the upper level we find a fantastic ‘land’, which is as beautiful as complex: the ROOFS’ LANDSCAPE. It is needed to draw out a detailed topographic survey, to study roofs’ uses and dimensions to proceed to intervene. When the environment permits, glass cubes delve into the landscape filling gaps. The vertical communication cores are hidden between the dividing walls of the alley’s houses.

A large underground access introduces visitors to the secrecy. Several glass volumes float over the Red Light District. Nothing in the ground floor apart from the illuminated access. The contrast between the buried underground access and volatile performance on roofs, is the main feature of the travel experience. The result of all this, is an intervention to see and be seen. By day it is camouflaged while the city landscape is shown through the volumes. At night the cubes become lanterns that illuminate the city while the church is still hidden.

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