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(Opposite)

(Above left, left to right) Plans of the site before the competition; the competition entry; the final plan

(Below left) Sketches and conceptual drawings

(Right) The facade

(This page) Plans and elevations

a wholeness' with the overall urban texture. Surprisingly, however, this coherence is derived from the classical canon rather than the anti-classical modernist rules from which the antecedent design elements of the project are derived. It is achieved. Kollhoff argues, 'through Schinkel's principle of relationship of axes, in spite of the repeated fragmentation'. In particular, Kollhoff sees the curved wall 'together with the Schloss, the Schinkel Pavilion and the bridge [forming] a signet-like constellation', in the spirit of the 19th century.

Kollhoff's general principles of urban design reflected in this project assume a highly contextual, quasi-critical regionalist character, more concerned with the local, longue durée, deep continuities and the site's quality of place than the IBA's appeals to tradition.

Kollhoff considers a building to be more than just an object; to him, it is a structure 'that implies a very different notion of living in a city'. This point of view is realized, in the Luisenplatz project, in 'the way the apartment opens to the sun and to the castle and its garden', in the possibility 'of private expression in the facade in spite of its elegant and reserved' character, in the allocation 'of a continuous, generous porch'. It is in these respects that this project offers specific alternatives beyond the essentially nostalgic approach of most of the IBA buildings.

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(Opposite) Axonometrie drawing of the buildings and site

(Above) View of the building and surroundings

Myrto Vitart (for Jean Nouvel Associés) ONYX CULTURAL CENTRE

(Saint Herblain, France) 1987-88

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