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PORTAL 13PORTAL 13INFORMATION FOR ARCHITECTSFROM HÖRMANNFireProjects from thelenarchitekten; architektenprof. klaus sill; Müller Truniger Architektenand Studio Aldo Rossi

PORTAL 13INFORMATION FOR ARCHITECTS FROM HÖRMANNCONTENTS3 EDITORIAL4 / 5 / 6 / 7The Fire-Proof CityHow fire has changed the face of our citiesAuthor: Daniel Leupold8 / 9 / 10 / 11Fire Equipment House in RommerskirchenRAL 3003 as far as the eye can see: for the volunteer fire brigade in Rommerskirchen in theLower Rhine region, thelenarchitekten designed a monolithic new building in fire engine red.Design: thelenarchitekten, Düsseldorf12 / 13 / 14 / 15 / 16 / 17 / 18 / 19Fire and Rescue Station in LöhneMessages behind glass characterise the facade of the station in Löhne, East Westphalia.Although situated directly on the highway, the building‘s interior offers employees a tranquil,high-quality atmosphere.Design: architekten prof. klaus sill, Hamburg20 / 21 / 22 / 23 / 24 / 25Intervention Centre in FrutigenSwiss innovation and versatility: the intervention centre was once used as an assembly hall for theconstruction of the Lötschberg Tunnel. Today it serves as the operating base for both the tunnel‘sown fire brigade and the local fire department.Design: Müller & Truniger Architekten, Zurich26 / 27 / 28 / 29A Hotspot: Theatre La Fenice in VeniceThrice in flames: The famous theatre La Fenice in Venice has a fiery past. The building last burnedin 1996 due to arson. It all started because of a damage claim of 7500 euros.Design (reconstruction): Studio Aldo Rossi, Milan30 / 31Hörmann Corporate News32 / 33Architecture and ArtArne Quinze: Uchronia34 / 35PREVIEW / IMPRINT / HÖRMANN IN DIALOGUECover illustration:Arne Quinze: "Uchronia“Photo: Arne Quinze

The Fire-Proof City:How fire has changed the face of our citiesFire has played a double role in shaping our cities. Large-scale fires have alwaysprovided a foundation for wide-reaching innovations in construction. Efforts aimedat preventing fires from starting or quickly extinguishing them had effects on buildingforms and materials, eaves heights and setbacks.Thanks to strict building regulations and well-equipped fire stations, the idealof a "fire-proof city" has been realised to a large extent.Fires are a phenomenon as old as the construction ofcommunities and towns. Ever since the beginning ofhuman settlements, humans have lived with the fear of fireescaping from the hearth and destroying their entirelivelihood – the same fire that cooks food, bakes bread,drives out the harshest cold and provides the basis forpottery, ironwork and the whole of human civilisation.People often experienced the destructive aspect of fireas God‘s wrath, analogous to the fire in the Old Testamentthat falls from the sky as one of the "plagues of Egypt".In 1913, Gustav Effenberger recorded over 3000 urbanfires in his publication "Die Welt in Flammen"("The World in Flames").Written accounts of devastating urban fires have comedown to us from antiquity. Probably the most famous firein ancient history is the burning of Rome in July of 64 AD,in which three of the Rome‘s 14 districts were completelydestroyed and seven severely damaged. After this fire,which produced much speculation as to its cause, courseand effect, the reconstruction of the city followedaccording to an urban planning design that provided forwide streets, limited building heights and free courtyards,as well as basements constructed of fire-resistant stone,all designed to protect the city from future conflagrations.Just as the expansion of Roman rule was responsible forthe spread of stone cities throughout Europe, stringentlydesigned according to the "Hippodamian plan", this projectwas abandoned with the collapse of the Roman Empirefrom the 4th century. In Central Europe, the typicalmediaeval city consisted of half-timbered houses. Fire-safeconstructions with stone walls and tiled roofs were onlyattainable for the wealthy; in the German language stillreferred to as the "stone-rich". For the large majority of thepopulation, half-timbered homes of wood and wattle-anddaubwith thatched roofs remained the only affordableoption. In mediaeval towns, houses were clustered together,separated only by narrow lanes. Thus, fire hadsufficient fuel to cause entire towns to burn to the ground.Until the 19th century, successful fire-fighting usuallymeant tearing down neighbouring houses quickly enoughto remove potential fuel and allow the fire to die out.Dogs, cats and other fire causesFires mostly started due to carelessness. Today we mightregard it as a rather bizarre fact that in some areas fireplaceshad to be covered to prevent burning cats and dogsfrom starting a town fire. As a deplorable act of warfare,the burning of towns also accounted for a large portion ofconflagrations.From the 13th century, mostly in the wake of town fires, thefirst fire regulations were created containing rules for firesafeconstruction, chimney sweeping, the responsibility ofcitizens to assist in the event of a fire and the maintenanceof fire-fighting equipment. At the same time, the destruc-4

Daniel Leupoldborn 1973 in Cologne1992—1998 Study of History at Cologne University;Degree: Magister Artium1998—2003 Study of Architecture at AachenUniversity of Applied Sciences,M. Eng. (UAS)2003 Dissertation on the institution of firefighting up to 1918, Ph.D.2003/2004 Training in professional technical firefighting service in Munster, Berlin andDüsseldorfseit 2004 Employed since 2004 at the municipalfire brigade in Cologne, preventive firecontrol and resource planning; active invarious working groups on the historyof fire preventiontion caused by fire also provided an opportunity for atown‘s more affluent inhabitants to sponsor a new churchor an ample stock of equipment, and thus secure theirplace in heaven.Apocalypse in London: The Great Fire of 1666One of the most significant urban fires in the early modernera was the Great Fire of London in September, 1666. Over13,000 homes and 87 churches fell victim to the blaze.Ignited by carelessness in a bakery, the flames destroyedapproximately 80% of the city. The fire rapidly grew toolarge to be conquered by man and machine alone, so theonly possibility was to detonate buildings using gunpowderin order to curb the flames. While a city in rubbleswas the cause for terror and panic among inhabitants,it was also a dream come true for urban planners. Theensuing reconstruction provided the opportunity for variousprofessionals to present their models of ideal urbanplanning. Christopher Wren proposed an urban versionof the Gardens of Versailles with many diagonals. In theend, however, the large-scale plans were doomed to failurebecause of limited financial resources. Nevertheless,the proposed "Measures for the Reconstruction of Cityof London" ordered that new houses be built of tiles andstones; overhanging building floors were prohibited; streetswere to be wide enough to serve as "fire barricades" andto provide sufficient access for rescue workers and firebrigades.Although Christopher Wren was not able to implement hisnew plans for London, he was commissioned to participatein the reconstruction of burned-down churches. Moreover,he created the design for the Memorial Column of theGreat Fire, which – erected in 1667 – serves as a memoryof the city‘s past.In Prussia, state treasuries were heavily taxed by aseries of devastating fires at the end of the 17th century.Implementing fire-safe urban construction became themain component of the reconstruction and improvementstrategies in towns levelled by fires. Fire safety correspondedwith the concept of a well defined town structure,which in turn was embraced as an aesthetic ideal.Measures involved in "fire policing" efforts included replacingtraditional half-timbered houses (gables facing thestreet) with solid construction and forward-facing eaves.After the "Great Fire of London" in 1666, Christopher Wren created this(never realised) plan for rebuilding the city centre.In 1842, Hamburg fell victim to a large-scale fire. The ensuingreconstruction also brought fundamental architectural changes.5

The Fire-Proof City:How fire has changed the face of our citiesbut also completely new, clearly structured city layouts.Depending on the power and authority of the citizens,these plans could fail if the citizens objected. The cities‘inhabitants usually did not favour leaving their ancestralland parcels, where they could rebuild their houses on topof their old stone foundations and cellars. In other places,completely new model cities were erected after fire-relatedcatastrophes, such as in Neuruppin from 1788.Fire fighting in the year 1690, shown in a publication of thefire marshal of Amsterdam, Jan van der Heyde.Fire fighting in 1690 - depicted in a publication by Amsterdam fire chiefJan van der HeydeThatched, reed and wooden roofs were replaced by tiles;requirements were specified for fire partitions and side firegables, stone fume outlets and chimneys; fire-resistant,functional spatial organisation and equipment in all buildings,but also revised city layouts. Fire-prone trades wererelocated to the periphery. Well into the 19th century, thesemeasures remained largely an ideal. However, within thevariety of planned revisions, construction authorities madeserious efforts to implement fundamental improvements.For the cities destroyed to a greater or lesser extent byfires, the local lords and the building authorities not onlypreferred maintaining fire-safe construction methods,Awards for fire-proof constructionAs an additional important instrument for the implementationof fire-safe construction in the 17th and 18th centuries,various types of fire insurance were developed by localauthorities. With the aid of insurance payments, taxedaccording to the value of a building, each city was supposedto generate a reserve fund. This reserve was to coverdamages in the event of a fire. Already at that time,payments were scaled according to the constructionmethod; higher tariffs were charged for particularlyfire-prone buildings. State subsidies were available fornew structures built with roofs made of tiles instead ofstraw and wooden shingles. For buildings restored usingfunds from fire insurance, special fire safety conditionswere imposed on the payments of damages. This wasmeant to ensure that "the new building serves to embellishthe locality and protects against future fires to the bestpossible extent with stone walls or other skilful and carefuldesigns." The building codes of the 19th century generatedmany of the construction specifications for preventativefire protection which are still valid today. The buildinginspection regulations of the city of Berlin in 1853 merelystated that the inner courtyards needed tomeasure at least 5.34 x 5.34 m (the turn radius required bylocal fire fighting equipment) and the building height couldnot exceed the width of the street, protecting opposinghouses in the event of the collapse of a street-front facade.In the Prussian uniform building code of 1919, we canalready find requirements for two separate rescue routes,fire brigade access entrances and standards for the fire-6

esistance of specific components.We can also thank urban fires for the emergence of thefire station as a new construction task for cities in the 19thcentury. From the second half of the 19th century, thefunctional building, marked by exits to the street, acourtyard for staging drills and a lookout/hose towerbecame a mainstay in every city, similar to the fireengine houses in the villages. Today, large urban fires area rare occurrence, thanks to fire-proof building materials.Different challenges have taken their place, such as therescue of burn victims from large building complexes.Today, we no longer hear of entire cities being completelydestroyed by fire. The "fire-proof city" has become areality.On the way to a fire-proof citySteel, concrete and glass have become the materialsof choice in our cities, not only because of their fireresistantqualities, but also for reasons of design, static,costs and construction. Even though timber constructionhas received increasing attention since the 2002 Germanbuilding code, the material still has a limited use in urbanconstruction. Broad streets that could serve as protectiveaisles for fire are necessary in any event to handle moderntraffic. With our building codes and special regulations,setbacks, solid roofing, fire walls, stipulated fire-resistancecategories for components, defined rescue routes andextinguishing systems for certain buildings have becomereality for every construction project. Although the numberof building regulations is greater than ever, there are alsonumerous ways to fulfil the technical fire-proofingrequirements other than those specified in the buildingcodes.For large modern buildings, fire-proofing is no longervisible from the outside. Thus, fire safety today is areality, yet it doesn‘t make its presence felt in the shapeof buildings or the layout of cities.When a fire does occur, our fire brigades make sure thatit is quickly extinguished. Professional fire brigades havebecome standard in all cities. We have developed andestablished a tightly coupled, coherent system containingelements of both preventive and defensive fire control.Fire-proof construction materials make large urban fires a rarity today.Other challenges, such as rescuing people entrapped by fire in large buildingcomplexes, have taken their place.7

Fire Equipment House in RommerskirchenThe new fire equipment house in Nettesheim-Butzheim, a district ofRommerskirchen, leaves no doubt as to its purpose: for any other building,this much red would have been a daring choice. thelenarchitekten fromDüsseldorf created the new building‘s eye-catching design, which is tailoredto the needs of a small town‘s fire brigade.Green for the police, yellow for the post office and redfor the fire brigade: in Germany, the idea that publicfunctions needed to be conducted in an orderly manner,even when it came to their strict colour-coding, remainedintact for a long time – until a German designer with anItalian-sounding name came out with blue uniforms for theHamburger police. In Rommerskirchen in the Lower Rhineregion, the colour-coded world of civil servants haspreserved its order: in bright red – more precisely withplastering in RAL 3003 – the new building of the localvolunteer fire brigade salutes the passing traffic on thenational highway B 477. "The compact, nearly cubicallayout was due to the necessity of an especiallyeconomical building", says architect Hans-Jörg Thelen."To emphasise the building‘s monolithic character, wedecided on monochrome plastered surfaces." Previously,the Nettesheim fire brigade had a small station in theresidential area. The traditional construction with a gabledroof did not have good traffic access and could not beexpanded easily.A few years ago, as a discussion concerning the extensionof the brigade‘s fleet arose, it was clear that a new buildingin a different location would be necessary. At the time,thelenarchitekten had just finished an administrativebuilding with an assembly hall in Rommerskirchen. Thebuilding‘s qualities caught the attention of the municipaladministration. The two parties became acquainted andin the end the architects were directly commissioned withthe project of the new building. "The municipality madea conscious decision against a system building providerand decided instead for individualized comprehensiveplanning by an architect for the same price," Hans-JörgThelen explained. The fire brigade station was constructedof prefabricated steel concrete components. It is dividedinto three parts: the vehicle hall, an adjoining lateral wingand the two-storey, retral crossbar with changing rooms,training rooms and common areas. Just a few elementsadd flavour to the building‘s clean cubature: three steelconcrete canopies mark the entrance to the hall, whichis accessed through sectional doors in a chequerboarddesign (alternating fields of glass and metal infill). A verticalslot extending along the full height of the building onthe front side of the crossbar marks the entrance forpedestrians. The corner window directly to the sidebelongs to the brigade‘s office; it gives the director ofoperations an overview of the entrance area and car park.The room layout on the ground floor is oriented to thesocial structure of the brigade: alongside the large men‘schanging area is a smaller area for women. Next to thechanging rooms in the flat wing are a workshop, storagearea and decontamination room.The second storey can be reached from the two-storeyentrance hall, the hub of the building. Together with a smallkitchen, it harbours the large seminar room, in whichtrainings are also held for junior fire fighters.In the building‘s interior, red is only to be seen on thevehicles, on strategically important doors (leading to thevehicle hall and the changing rooms) and the lockers.The rest of the interior is dominated by white, grey andblack. The floors consist of epoxy resin and anthracitecolouredtiles; the interior walls were constructed ofunplastered concrete where possible. Only the partitionwall to the hall was equipped with an insulating panel.8

Fire Equipment House in RommerskirchenNo experiments were made in the facade design: the entire circumferenceof the building is plastered in fire-house red with rigorously alignedwindows. Only the entrance area is marked by a cut-out sectionextending to the top of the building (above).Layouts for the ground floor (below left) and upper storey (below right).10

OWNEREntwicklungsgesellschaftRommerskirchen mbH c/o GemeindeRommerskirchen, GermanyDESIGNthelenarchitekten, Düsseldorf, DLOCATIONOn highway B 477, Rommerskirchen, GermanyA corner window provides a view of the building‘s surroundings frominside the office (above left).Few traces of red in the entrance hall: a steel grating staircase leadsto the second storey; the steel concrete walls are left unfinishedor painted white (above right).The training room in the second storey is also used for the volunteerfire brigade‘s work with local youth (below right).PHOTOSAndreas Wiese, thelenarchitektenHörmann ProductsAluminium sectional doors ALR 4011

Fire and Rescue Station in LöhneEastern Westphalia, between Teutoburg Forest and the Weser river, not only has twobuildings by Frank O. Gehry, but also excellent architecture for day-to-day use.The fire and rescue station in Löhne, for example, is more than a home base for fireand rescue vehicles. It also offers the employees a high-quality working atmosphere.When the town of Löhne announced an architecturecompetition for a new fire and rescue station in 2001,Germany‘s architects were in the midst of some hard times.Contracts were a rarity, which is why over 1200 applicantsexpressed their interests in participating in the competition.Only 35 were permitted to compete; the Hamburg office ofarchitekten prof. klaus sill came out as the winner.The property is located to the north of the town centre,directly on the A30 highway between Osnabrück andHanover. Unlike the former location of the fire brigade nearthe town market in Löhne, the location had sufficient spaceavailable. The architects designed an elongated two-storeybuilding; its shorter side faces the highway to the south.The employee‘s break and office rooms point to the westand east looking out over the field. The graduated heightof the building reflects the different spatial requirementsof the station‘s fleet. The shorter rescue vehicles arehoused in the narrower, southern part of the building; thefire engines are located in the wider northern part. Thissolutioncapitalised on the nearly triangular form of the property.The new building‘s facades were designed in blue, greyand silver. The words "retten. löschen. bergen. schützen"("save. extinguish. rescue. protect", the fire brigade‘smotto) as well as the emergency number for the firestation, 112, shine through the profile glass panes in theupper storey. The glass panes are tinted in three differenttones of blue. On the ground floor and the front side of thebuilding the panes are supplemented by dark grey coatedaluminium panels. The office and break rooms containgenerous ribbon glazing on the windows, with fasciacladding accented by coloured glass.The proposed high-quality interior atmosphere was adecisive factor in determining the Hamburg architects asthe winners of the competition. To take advantage of the22.5 metre depth at the northern part of the building, theupper storey was conceived as a three-winged structurewith meeting rooms on the interior and open patios.Via domelights, the latter also allow natural light to enterinto the underlying vehicle hall. Two special applicationsare found at the ends of the building: to the south a fitnessarea and to the north a large event room with a separateexterior entrance. This enables use by external persons,such as the volunteer fire brigade, without the need tointerrupt the station‘s daily operations. The head of thebuilding takes on an impressive stature, especially by night:its two X-shaped supports are illuminated in blue and arevisible from a distance through the high cast glass facade.The entire budget for the station was limited to 5.2 millioneuros. In order to keep to this, the architects followed whatthey called a "building with simple materials" strategy:Materials retain the original colours, ceilings and supportsare not covered. Most of the floors have been coated witha sturdy epoxy resin. Only the break rooms and event roomhave parquet flooring made of smoked oak. "Fire enginered" only plays a secondary role in the colour scheme forthe station: It is only used on the vehicles and inside thejump shaft around the fire pole between the break roomsand changing rooms. A cool blue dominates in the breakrooms and offices while the halls, stairwells and corridorsare decorated in a fresh yellow-green.12

Fire and Rescue Station in LöhneThe office of the station head juts out from the building like a pulpit(image above). It separates the wing of the rescue station (left) fromthe hall with the fire engines (right).Ground floor layout (below).14

The facades consist of a composition of aluminium panels and differenttypes of glass. The event room with its X-shaped supports was the onlypart of the building to be equipped with a steel support frame, all otherareas are constructed of steel concrete (above).Upper storey layout (below).15

Hard to miss: the emergency number 112 for the fire station shines throughthe profile glass cladding of the station‘s head office. Sectional industrialdoors from Hörmann allow for rapid exits by the fire and rescue vehicles.17

Fire and Rescue Station in LöhneGrey unplastered concrete, anthracite epoxy resin floors and yellow-greenglass parapets complete the colour palette in the stairwell. Doors fromHörmann show what they‘re capable of: some display large letteringreferring to their respective fire protection class.18

OWNERTown of LöhneArchitectsarchitekten prof. klaus sill, HamburgPHOTOSLorenz Tettenborn, HamburgGebler Fotodesign, HamburgHartmuth Klemme,Herford/Hörmann KGBlue lighting in the event room: here the double-X steel frameprovides a landmark visible from afar by night (above).With its full cast glass facade, the upper-storey corridor makesvisual contact with the building‘s surroundings (below).EmployeesLorenz Tettenborn, Karsten Buchner,Vera Dietl, Mirja Gawlista, BirgitGlasmacher, Danko RebecBid invitation and sitemanagementbaubüro.eins, HamburgLOCATIONZur Feuerwache 6, Löhne,GermanyHÖRMANN PRODUCTSSectional industrial doors SPU 40;double-leaf T30 steel hollow profiledsection doors HE 320; single-leafaluminium smoke-tight doorA/RS-150; aluminium fire-resistantglazing A/RS-350; single-leafT30 steel fire-protection doors H3, H3;single-leaf T60 steel fire-protectiondoors H16; single and double-leafsteel doors D4519

Intervention Centre in FrutigenThe long, narrow structure next to the Frutingen train station is a good example ofinnovation and versatility: during the construction of the Lötschberg base tunnel, itserved as a workshop and assembly hall.Today, it houses the fire and rescue vehicles for the tunnel as well as the local firebrigade. The variety of applications are housed by a widely stretched, delicate hallstructure made of a rather usual material for fire stations: timber.Frutigen is neither among the most important trafficjunctions in Switzerland nor is it one of the country‘stourist centres. Yet since April 2005, it is the finaldestination of the third longest railway tunnel in the world:the Lötschberg base tunnel measures 34.6 kilometresbetween Frutigen and Raron. Until the completion of its"big brother" at the Gotthard in 2016, it stands secondonly to the "Chunnel".If a fire should ever break out in the base tunnel, two fireand rescue vehicles are on call in Frutigen and Brig.The fleets each consist of a tank fire engine and twopressure-resistant rescue vehicles equipped with their ownair supply for runs up to four-and-a-half hours. The newhome for the fire and rescue station is located next to thetracks of Frutigen‘s train station. Early on, the operatingcompany BLS recognised that a new building at thislocation could also be used for other applications:together with the neighbouring maintenance centre, whererailway vehicles are serviced, the hall was first put to useas a workshop for tunnel construction for one year.During the subsequent expansion of the building as anintervention centre, a solid construction "house in a house"was inserted, which contains a cafeteria, offices, conferencerooms, a training room and cloak room. The local firebrigade from Frutigen moved into the building in mid 2007.Depending on the lighting, the hall can appear either asa monolithic structure or take on a delicate transparency.By day, the building appears as a solid dull grey or greenbluebar; by night, it becomes a gigantic yellow lantern. Itis then that the unusual frame becomes visible through itspolycarbonate skin. Double-jointed frames, each spanningapproximately 21 metres, lean together in pairs like trestlesand buttress the hall along its entire length. These supportsmade additional windbracings superfluous. Laminatedlongitudinal supports lie on the frame, which are adjoinedby a shear connection with three-layer slabs at the rooflevel. At the base, the hall girders lie above steel joints ona steel concrete bottom section. The horizontal girders ofthe facade are attached to the frame shafts and suspendedin the centre of each field via threaded rods from the roofconstruction.Depending on weather conditions, the hall illumination ismore or less diffuse. This is due to the facade ofpolycarbonate rib plates across the entire height of thefacade. The average daylight quotient for the hall wasmeasured at eight percent. This means that natural lightalone guarantees a minimum illumination of 500 lux forover 90 percent of the annual operating time. The mountainwater continuously accumulating in the base tunnel is usedto heat the intervention centre: the temperature inside thetunnel can reach 35° Celsius. To avoid overheating the hallin summer, the rib plates have a g-value below 0.5.In addition, the hall is cooled using night ventilation: exteriorair flows through flaps at the base of the facade into thebuilding interior and leaves the hall via ventilation slots inthe centre of the hall ceiling. Mechanical ventilation onlyneeds to be used in some interior rooms such as thecafeteria and common rooms. The workshops and offices,on the other hand, are located on the outer facade andreceive external air directly through windows.20

Intervention Centre in FrutigenIn the evening and night hours, the intervention centre emits a golden glow.The delicate construction of the seemingly monolithic building becomesvisible (above). Site plan: on the left the maintenance centre, on the rightthe intervention centre (below).22

In the evening and night hours, the intervention centre emits a goldenglow. The intricate construction of the seemingly monolithic buildingbecomes visible (above).Site plan: on the left the maintenance centre, on the right theintervention centre (below).23

Intervention Centre in FrutigenHouse in a house: the rooms for the rescue team of the tunnel operatorand rooms for the local fire brigade were subsequently inserted into theformer workshop hall (image, left).24

OWNERBLS AG, Infrastruktur Anlagen,Bern, SwitzerlandSite managementAllenbach + Trachsel AG, Frutigen,SwitzerlandIn the case of an emergency, Hörmann sectional doors clear the wayfor the vehicles in a matter of seconds (above left).Like trestles, the double-jointed frames of the hall‘s infrastructurelean together in pairs (above right).Cross section of the intervention centre (below left) and maintenancecentre (below right).ARCHITECTSMüller & Truniger Architekten,Zurich, SwitzerlandGENERAL CONTRACTORARGE Bahntechnik Lötschberg, ThunGeneral planningIngenieurgemeinschaft Frutiglandp.Adr. Kissling + Zbinden AG, Spiez,SwitzerlandSupport structure planningMoor Hauser + Partner, Bern n’H,Neue Holzbau, Lungern, SwitzerlandGROSS FLOOR AREA3.100 m≤PHOTOSWehrli Müller Fotografen, Zurich,Switzerlandbaubild / Stephan Falk / Hörmann KGHÖRMANN PRODUCTSAluminium sectional doors ALR 40,aluminium sectional doors ALR 40with wicket doors with trip-freethreshold25

A Hotspot:Theatre La Fenice in VeniceThree times consumed by flames and restored from the ruins: Venice‘s theatreLa Fenice was and is closely connected to fire. The tradition-laden playhouse inCampo San Fantin last burned completely to the ground in 1996. The cause: a contractpenalty of 7,500 Euro against an electrician involved in the renovation of the theatre.The costs for the reconstruction: approximately 55 million euros.In the beginning there It started in 1773, whenVenice was among the most important theatre centres inItaly; it had seven stages. San Benedetto, the largest andbest attended of the playhouses, caught on fire and burneddown to its foundation. Shortly thereafter, it was rebuilt onthe same site.That might have been the end of the tale and the theatre‘sburning would have gone down as a footnote in Venetianhistory. Yet the theatre owners, Nobile Società di Palchettistiand the merchant family Venier, who owned part of the buildingproperty, had a legal dispute about who owned the newtheatre and who should be permitted to use it. Venier won thecase before the court and forced the Palchettisti to sell thetheatre to the family. The banished party began to search fora location to build a new theatre, which would be unparalleledin its size and magnificence, to be named "La Fenice", thephoenix risen from the ashes. The Società finally found its site:in Campo San Fantin, roughly 300 metres to the west of PiazzaSan Marco. The location is ideal for a theatre: the piazza islarge enough for the nightly promenade before and after theperformances and yet small enough to allow the east facadeof La Fenice to remain a dominating presence. The architectfor the new construction was Gian Antonio Selva, who won acompetition with 29 participants. Construction began in 1790and the inauguration ceremony was already held in 1792.To understand the Venetians‘ love of "their" La Fenice, oneonly needs to catch a glimpse of the development of thetheatre in the 19th century. La Fenice saw a number ofdazzling world premieres of works by Gioacchino Rossini,Vincenzo Bellini and Gaetano Donizetti and becameinternationally renowned. Giuseppe Verdi composed fourof his operas for La Fenice, among them Rigoletto and LaTraviata. After the Second World War, Igor Strawinsky,Benjamin Britten, Sergei Prokofjew and Luigi Nono continuedwith the tradition of the playhouse, staging their ownworld premieres. The story continued until the phoenix wascalled once again to rise from the ashes: in December 1836,the grand hall fell victim to flames. The main facade and theadjoining foyer, however, remained untouched. ArchitectsGiambattista and Tommaso Meduna were commissioned withthe reconstruction, and the interior decoration of the hall wasthe work of Tranquillo Orsi. The trio worked quickly: within thespecified time frame of one year, La Fenice was reopened onBoxing Day in 1837.Arsonist in La FeniceFire came for a third time during a restoration project that wasactually meant to bring La Fenice in line with the latest technicalstandards. Late in the afternoon on January 29, 1996, electricalengineer Enrico Carella set fire to the theatre. Carellafaced a contract penalty of 7,500 euros due to work delays,which he tried to avoid in this manner. And at first he wassuccessful: La Fenice burned down to its foundation. Carellafled from the Italian authorities to Mexico; he was extraditedto Italy in May 2007.26

The space for the audience, constructed with five horseshoe-shapedrows of boxes, was recreated true to the original design (above).In the "Sala Rossi" the facade of Andrea Palladio‘s basilica in Vicenza wasrecreated as a backdrop. The true-to-original "copy" is made of wood andmeasures two-thirds of the original in its size (below left).The facade in Campo Fantin is still based on the design from GianAntonio Selva (below right).27

A Hotspot:Theatre La Fenice in VeniceBecause an electrician was faced with a contract penalty of 7,500 euros,La Fenice fell victim to flames in 1996 (below).Model of Aldo Rossi‘s design in wood (view from the southeast).A new, tower-like stairwell in the angle between the main buildingand south wing connects the levels (right).One week after the fire, the decision was made to rebuildthe theatre, and precisely "dov’era, com’era“ (where andhow it had been). A bid invitation was issued to teams ofarchitects and building companies. On May 30, 1997, thewinner had (apparently) been chosen: The Italian architectGae Aulenti received the contract together with the ImpregiloGroup, finishing ahead of the group Aldo Rossi/Holzmann.Nevertheless, six months after the start of construction, thecontract was revoked after inconsistencies in their offer hadbeen discovered. The design – posthumously – used was thatof Aldo Rossi, who died in an automobile accident in 1997.The design recreates all of the historically significant partsof the theatre true to the original, and also integrates theremaining fragments of the original structure. For the trainedeye, those pieces are still clearly recognisable, marked bysubtle details such as traces of soot. At the same time, thedesign rearranges the auxiliary rooms and brings them up tospeed for the demands of a modern theatre and opera house.The new spatial arrangementFrom Campo Fantin, visitors arrive in the foyer and proceedfrom there to ascend a wide, noble staircase leading to thefive Apollonian halls (Sale Apollinee), which suffered heavydamages in the fire. In the second storey, Rossi created anew room, which can be used for rehearsals during the dayand as a bar for the upper box rows in the evening. Massivetimber girders lend form to the low-ceilinged room. The nextstorey, beneath the theatre‘s gabled roof, was once the locationof the backdrop painters‘ workshops. Today, the space isused for ballet rehearsals and exhibitions. In the large hall, thenumber of seats was increased from 840 to over 1000. Skilledprofessionals worked on the interior decoration in shiftsaround the clock. The materials used were primarily woodand plaster, the same as in 1837. Only on the interior walls ofthe boxes was the original beige replaced by light blue.28

DESIGN (historic building)Gian Antonio SelvaDESIGN (reconstruction)Studio Aldo RossiCOMPLETION (historic building)1790COMPLETION(reconstruction)2003PHOTOSMichele Crosera (p. 27 above/belowleft), Pavel Krok/wikipedia (p. 27below right), Andrea Merola/AFP/gettyimages (p. 28), Studio AldoRossi (p. 29)Schörghuber productsHall doors with high acousticrating up to 50 DbLOCATIONSan Marco 1965, Venice, ItalyIn the basement, new rehearsal rooms were created, fromwhich musicians can access the orchestra pits withouthaving to make a detour through the audience. The theatre‘sdark blue curtains ensconce stage equipment which wasconsidered the most modern worldwide at the time of its inaugurationin 2004. An adjoining side stage to the north offers a"parking space“ for the backdrops.In the theatre‘s south wing on the opposite side, Aldo Rossileft an impressive testament to his creative power: in "SalaRossi“, the acoustics and seating position of the orchestraand choir were adjusted to match those of the main theatre.The room is used for large rehearsals, chamber orchestrasand conferences and has its own entrance accessible fromthe building‘s exterior. Aldo Rossi had the front wall of theroom covered in a wooden backdrop structure, which picksup elements from the facade of Andrea Palladio‘s basilica inVicenza. Palladio‘s Teatro Olimpico in Vicenza, constructed in1580, is regarded as the beginning of modern theatre architectureand thus part of La Fenice‘s heritage. On his theatre‘sstage, Palladio commissioned a backdrop similar to theone that Rossi created for La Fenice.On December 14, 2003, La Fenice celebrated its reopening.Neither the architect (meanwhile deceased) nor his buildingcontractor were in attendance: Philipp Holzmann AG alreadylost its construction contract in 2001 after estimated costs anddeadlines had been significantly exceeded. For thecompletion of one of the most historic Venetian theatres,an Italian consortium finally took over the reigns.29

HörmannCorporate News11. ET 500 collectivegarage doorWith the ET 500, Hörmann offers anew, architecturally sophisticateddoor for collective garages. Itscompletely new, nearly maintenancefreedoor construction features along service life, security as well assmooth and exceptionally quiet doortravel. The collective garage doorlargely eliminates any disturbance forinhabitants living above the structureand for neighbours. With its lowrequired headroom and minimumdoor leaf travel radius, the ET 500collective garage door is especiallysuited for limited spatial situations.With its perforated steel sheet,sectional and on site infills, the doorcan furthermore be customised tosuit individual facade designs.2. Rolling shutterinnovationsThe Decotherm ® rolling shutterlath made of "full hard" steel washonoured with the 2006 Germandesign award for innovation in steel("Stahl-Innovationspreis").In addition to this heavy-dutysteel version, two additional lathsare available: Decotherm ® A andDecotherm ® E, made of aluminiumor stainless steel.The light-weight aluminium lath isespecially quiet and low-friction andis available in either a bright-rolled orcolour coated version. The stainlesssteel lath is particularly advantageousif requirements call for high corrosionresistance or an elegant metallicappearance. The bright-rolled surfacesealed with protective paint will retainits beautiful appearance for yearsto come. The leading photocell VLRfor rolling shutters is another newproduct. With the VLR, obstructionsare quickly and securely recognisedeven before direct contact is made.The system is integrated in theends of the bottom profile and fullyenclosed by the guide rail. This hidesit almost completely from view andprotects it against damage.3. Hörmann visibilitywindowsHörmann has expanded its range ofdoor elements and frames with newvisibility windows. These elements arean important architectural component,particularly for commercial buildings.Moreover, they are necessaryfor monitoring functions in someoperations, for example in hospitals.The new Hörmann glazings with steelsubframes can be used as transomlights, visibility windows or complete,floor-to-ceiling elements and fulfil avariety of functions. HW-D-Isoinsulated glazing is suitable forinteriors that need to be bufferedfrom temperature differences inadjoining rooms – for example officerooms in warehouse, production ordispatch areas. The Ug value (thermalinsulation) is 1.1 W/m 2 K.Protection from noise in neighbouringrooms or halls is also important. Adifference of even three decibelsis easily heard. For this purpose,Hörmann now offers the acousticratedglazing HW-D-SD. The acousticinsulation values for single-sidedglazing are RW.c:38 dB and fordouble-sided glazing RW.c:51 dB.HW-D-PB radiation protectionglazing is suitable primarily formedical applications, in rooms whereprotection from x-rays is necessary.Its lead equivalent value (used todenote the shielding effect of amaterial) is up to 3.5. Fire and smokeprotection are provided by G 30, F 30and F 90, and fire protection glazingsHW 330 G, HW 130 F and HW 190 F.All visibility windows can be optionallyequipped with additional functions.HW-D-Iso insulated glazing, forexample, can also be provided withradiation protection, fire protectionor increased acoustic insulation(see table). Depending on designneeds and planning requirements,the glazings can be equipped withdifferent frame profile solutions.Options include clamping profile,hollow box sections, corner glazingstrip, Z corner glazing strip andglazing without glazing bead.Windows with an integrated screenconstitute an additional new productin the range. They contribute tointerior design and regulate theentrance of light. Moreover, inapplication areas such as hospitals,they also provide discretion and keepout unwanted light.30

4 5Hörmann screens for visibilitywindows are available as rollerblinds for dimming and are operatedusing a 24-volt motor. Blinds can alsobe integrated in the windows andcontrolled using 24-volt motor or byhand.In addition, the visibility windows arealso available with flush-fitting glazingin two different construction versions.With flush-fitting glazing in theframe, the glass pane is suspendedmechanically but not visibly by pointlocking in the rebate, thus meetingdesign needs for high transparency.On the second frame constructionwith an edge recess profile variant,the glass pane is surface-mountedalong the frame depth (Z corner glassstrip). The glass panes on the flushfittingconstructions are deliveredwith all-round frame enamelling,which creates a smooth and attractiveappearance along the sides of thevisibility windows. Both versions areOverview of glazing types for Hörmann visibility windowsThermal Acoustic Radiationinsulation insulation protectionThermalglazingAcoustic-ratedglazingAnti-radiationglazingFire protectionglazing G30Fire protectionglazing F30Fire protectionglazing F90Main functionAdditional function – with corresponding equipment* By agreement in individual casesavailable with integrated screens.Additionally, glazing on both sidesprovides increased acousticinsulation.4. New productionlocation in ChinaIn Tianjin, approximately 100 kmsoutheast of Beijing, the secondHörmann production location iscurrently under construction inChina. The architecture officeWannenmacher and Möller,located in Bielefeld, Germany, arein charge of project planning.In the first construction stage, 100new jobs will be created in theproduction and storage area ofover 15,000 m 2 . The Tianjin plantwill manufacture rolling shutters,high-speed doors and sectionalindustrial doors specifically for theAsian market. Alongside its twoFire protectionScreenproduction locations, Hörmann isalready represented by eight ownsubsidiaries and numerous dealersin China.5. Hörmann steps up itspresence in the USAIn April 2008, Hörmann Flexon LLCand Hörmann Gadco LLC exhibitedtogether for the first time at the IDAExpo 2008 in Las Vegas. The IDAExpo is one of the most importantprofessional trade fairs in the USA.Their booth introduced, among otherproducts, new high-speed doorsas well as a new series of steelgarage doors with a new finger trapprotection, specifically for the USmarket.Last autumn, Hörmann acquired theAmerican company Flexon Inc., oneof the leading manufacturersof high-speed doors in the USA.After acquiring garage doormanufacturer Gadco in the previousyear, Hörmann has thus taken stepsto strengthen its competence inindustrial doors on the US marketand has simultaneously made itsentrance in the US loading technologymarket segment.31

Architecture and ArtArne Quinze: UchroniaUchronia was born in one of the numerous pubs inBrussels – as a sketch on a napkin. With theirinstallation, the project‘s two conceptual founders,designer Arne Quinze and philosopher Jan Kriekel,wanted to communicate a message to the world:Rationality and emotion, the left and right halves ofthe brain, are inextricably linked.In Greek "Uchronia" means "no time" and thus thetemporal counterpart to utopia – "no place". As the ideallocation for their "timeless" installation the two designerschose the annual art festival "Burning Man" in theBlack Rock Desert of Nevada. The festival is held foreight days and reaches its pinnacle on the sixth, whena gigantic statue – the "Burning Man" – is ignited. Everyyear, approximately 47,000 people journey to the saltflats 150 kilometres northeast of Reno.Without a doubt, Uchronia was the highlight of"Burning Man" 2006. Ninety assistants, paid by Quinzeand Kriekel themselves, worked on the construction.Within three weeks they had nailed together 160 kilometresof wooden laths into a large-scale sculpture. It tookon its form spontaneously on site, without the aid of anycomputer programs. Four entrances provided access to"Uchronia", whose delicate roof gave welcome shadein the desert. But the festival visitors were not able toenjoy shady relief for long: shortly after its completion,the installation was ceremoniously ignited. One of thebasic principles of the Burning Man Festival is to leaveno trace."Uchronia“, 2006Timber installationBlack Rock City, Nevada, USA32

Arne Quinzeborn 1971Self-taught graffiti artist anddesignerPieces and exhibitions:1999 seating furniture "Primary Pouf"2004 "Seattle Frame Seat" for the SeattleLibrary (architecture: OMA)2005 Lounge furniture "Matrass" chair"Club01"2006 first children‘s furniture collection:"minus+" light sculpture "Oblivion"for Dark Installation, made oftimber, polyester and lights, design:Post Köln Jaga Experiment Truck2007 Installation: "Cityscape", BrusselsSeating furniture: "Infinity"Piece: "Dreamsaver" for SwarovskiInstallation: "Mutagenesis", Abitare IlTempo, VeronaGallery:GALLERY 113Walle 113aB—8500 KortrijkTel. +32 56 240 590Fax +32 56 240 599info@gallery113.tvwww.arnequinze.tv33

PREVIEW / IMPRINTTopic for the next edition of PORTAL:ShoppingSpaces used to sell and present goods have developeda special status in architecture, a unique identitysomewhere between art and commerce, kitsch andcorporate identity. The displays are constantly beingimproved, yet are becoming increasingly similar.At the same time, countertrends can be observed:stores where the focus lies on the products and nothingelse, sometimes even void of furniture. What are the newtrends in the aftermath of obsessive bargain-hunting?What should – and can – architecture offer when it comesto creating customer loyalty? You can read more aboutthis topic in the next edition of PORTAL.Making a sale means attracting attention: On the street in BerlinPhoto: Jakob Schoof34

HÖRMANN IN DIALOGUEBuilding with Hörmann –Your project in PORTALEvery four months, PORTAL reports on currentarchitecture and the framework conditions in which itevolves. And, if you wish, PORTAL could soon serveas the showcase for one of your own projects! Sendus information on the buildings you have realised usingHörmann products – as a brief documentation with plansand photos, maximum in A3 scale, by post or e-mail:Hörmann KG Verkaufsgesellschaft, attn. Ralf BiegertUpheider Weg 94-98, D-33803 Steinhagenr.biegert.vkg@hoermann.dePUBLISHERHörmann KG VerkaufsgesellschaftPostfach 1261D-33792 SteinhagenUpheider Weg 94-98D-33803 SteinhagenTelefon: (05204) 915-100Telefax: (05204) 915-277Internet: http://www.hoermann.comEDITORSDipl.-Ing. Ralf BiegertDr.-Ing. Dietmar DannerDipl.-Ing. Jakob SchoofDipl.-Ing. Daniel NajockDipl.-Ing. Thomas GeuderPUBLISHERGesellschaft für Knowhow-Transferin Architektur und Bauwesen mbHFasanenweg 18D-70771 Leinfelden-EchterdingenPRINTERSsachsendruck GmbHPaul-Schneider-Straße 12D-08252 PlauenThis journal and all the articles andillustrations contained therein areprotected by copyright. The publisherand editors do not assume anyresponsibility for unsolicitedphotographs and manuscripts.Printed in Germany - Imprimé enAllemagne.Foto: Stehan Falk / baubild / Hörmann KG

Crystal clear: Hörmann industrial doorsand operators make a convincing caseHörmann offers the largest selection of industrial doors and operators inEurope. Our programme contains all important construction styles in avariety of versions and with different glazings.Only from Hörmann: extremely scratch-resistant DURATEC ® plasticglazing for sectional industrial doors.(Issue 06.08) 85 748 E/P - 1.96Print 08.08Practice-oriented and safe:wicket doors with trip-free threshold

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