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Vocational School
Bruggerstrasse 75, Baden
2002 - 2006
Designed by Burkhard Meyer, the
new building for a vocational school at the Bruggerstrasse is a
slender, elongated building with glazed longitudinal façades and closed
end faces.
On the longer side, the construction is separated from the ground by a gap, but at the same time it is firmly anchored to its site by a pedestal-like ramp structure,
which is put in front. The far out of town position of this building strengthens its role as head of the area and at the same time allows views to the structures of the ABB
copany and the Martinsberg in the background. The ramp generates the direct connection to the school, made by a way up to the mountain. The slender profiling of the curtain
walls is striking, with a slight emphasis on the vertical it brings the horizontality of the building to a rest. But at least as extraordinary and noticeable is the "masonry"
of precast concrete grid elements with a textile appearance. The latter reminds open-work walls as they are commonly used in the south of Europe. This ambivalence
makes it possible to use the same element to form the base, to shape the structure plastically and to affiliat to the bronze profiles of the glass façades, as if it were a textile covering.
The real surprise of the building lies in its internal structure. In the middle there is a number of broad pillars, positioned in relatively close distances. On both sides of
these pillars are located layers of the utility rooms, containing classrooms of all kinds. Access is made by the outer corridors, which in turn are defined by rows of pillars.
The acoustic and climatic separation of the rooms is made by glazings. The uniform, linear emphasis of this structure is interrupted by transverse zones where
are integrated the elevators, the service spaces, the open stairwells and common areas. This new typology, manifestation of the tendency to save energy by
artificial ventilation, has found its own architectural expression. The technical infrastructur is provided entirely from the center, where are located the ducts between
individual pillars. From here, the air is supplied into the utility rooms, which is then passed into the corridors, which in this case also work as exhaust ducts.
The outermost row of pillars serves as an internal brise soleil and the density of pillars is adequately adjusted depending on the difference in exposure to the sun.
The building can be opened at its end faces for the night-time cooling, the concrete grid blocks provide the necessary protection. The exposed mass guarantees
the necessary inertia of the system, which can be additionally influenced by a building component conditioning.
In relation to the usage, the typology allows to combine several units lying within one spatial group in the central backbone. This creates a high degree of flexibility,
which in the case of a school allows different pedagogical models. The glazings provide a high level of transparency in the transverse direction, the density of
the pillars protects the spaces against direct insight, and additional intimacy can be generated with fine venetian blinds. Most fascinating is the type on
the spatial and structural level. The horizontal circulation of the building resembles a colonnade, which invites to stroll around. The large glazings, with its
profiles hidden outwardly behind the pillars, make the corridors appear as part of the façade. This prevents the interior spaces appearing trapped or even evoking
claustro-phobic feelings. Only a skirting-board marks the outermost limit, so that the space visually appears almost as an exterior space. Of course only visually,
because the indoor air and the acoustic separation ensure that the physical barrier is never in question.
Except for the stiffening cores the building is completely prefabricated, a tectonic structure made up of columns and plates. The latter allow a certain independence of
the supports positions, which are made by different ratios. The building is strictly rational and repetitive - and yet it allows for a startling variety of rooms. In the entrance
floor the visitors are welcomed into a spacious, two-storey hall, which forms a representative area together with the adjoining café and a wardrobe. But even in the standard floors,
there are special places: the head areas, marked by the play of light generated by the grid walls, and in the vertical circulations where there are wood-lined niches working as
recreation zones. Not to forget the stairs which are of a surprising plasticity.
The sides of the pillars are structured by fine grooves, their front sides are smooth. The relief unfolds a powerful effect in sidelight. It activates the space between
the pillars and makes it into something special, at the same time the pillars gain in autonomy. They come close to the essence of classic columns. Although they
make not a three-dimensional and plastic impression, they are far from appearing as wall fragments. And of course the grooves immediately remember classical fluting.
Thanks to them the pillars are never considered as a purely technical elements, neither as part of the structure, nor as brise soleis nor even as ventilation ducts,
although they clearly comply also with the relevant tasks. But apart from fulfilling these serving functions, they assert itself as an autonomous entity. The grooves are
introducing a fine scale, which relativizes the large dimensions of the building. They result in a tactile aspect, which is especially intense in the central zone of the building,
where the lowerings of the grooves are painted red, without affecting the relief. Here the concrete appears suddenly soft and extraordinarily noble.
On the longer side, the construction is separated from the ground by a gap, but at the same time it is firmly anchored to its site by a pedestal-like ramp structure,
which is put in front. The far out of town position of this building strengthens its role as head of the area and at the same time allows views to the structures of the ABB
copany and the Martinsberg in the background. The ramp generates the direct connection to the school, made by a way up to the mountain. The slender profiling of the curtain
walls is striking, with a slight emphasis on the vertical it brings the horizontality of the building to a rest. But at least as extraordinary and noticeable is the "masonry"
of precast concrete grid elements with a textile appearance. The latter reminds open-work walls as they are commonly used in the south of Europe. This ambivalence
makes it possible to use the same element to form the base, to shape the structure plastically and to affiliat to the bronze profiles of the glass façades, as if it were a textile covering.
The real surprise of the building lies in its internal structure. In the middle there is a number of broad pillars, positioned in relatively close distances. On both sides of
these pillars are located layers of the utility rooms, containing classrooms of all kinds. Access is made by the outer corridors, which in turn are defined by rows of pillars.
The acoustic and climatic separation of the rooms is made by glazings. The uniform, linear emphasis of this structure is interrupted by transverse zones where
are integrated the elevators, the service spaces, the open stairwells and common areas. This new typology, manifestation of the tendency to save energy by
artificial ventilation, has found its own architectural expression. The technical infrastructur is provided entirely from the center, where are located the ducts between
individual pillars. From here, the air is supplied into the utility rooms, which is then passed into the corridors, which in this case also work as exhaust ducts.
The outermost row of pillars serves as an internal brise soleil and the density of pillars is adequately adjusted depending on the difference in exposure to the sun.
The building can be opened at its end faces for the night-time cooling, the concrete grid blocks provide the necessary protection. The exposed mass guarantees
the necessary inertia of the system, which can be additionally influenced by a building component conditioning.
In relation to the usage, the typology allows to combine several units lying within one spatial group in the central backbone. This creates a high degree of flexibility,
which in the case of a school allows different pedagogical models. The glazings provide a high level of transparency in the transverse direction, the density of
the pillars protects the spaces against direct insight, and additional intimacy can be generated with fine venetian blinds. Most fascinating is the type on
the spatial and structural level. The horizontal circulation of the building resembles a colonnade, which invites to stroll around. The large glazings, with its
profiles hidden outwardly behind the pillars, make the corridors appear as part of the façade. This prevents the interior spaces appearing trapped or even evoking
claustro-phobic feelings. Only a skirting-board marks the outermost limit, so that the space visually appears almost as an exterior space. Of course only visually,
because the indoor air and the acoustic separation ensure that the physical barrier is never in question.
Except for the stiffening cores the building is completely prefabricated, a tectonic structure made up of columns and plates. The latter allow a certain independence of
the supports positions, which are made by different ratios. The building is strictly rational and repetitive - and yet it allows for a startling variety of rooms. In the entrance
floor the visitors are welcomed into a spacious, two-storey hall, which forms a representative area together with the adjoining café and a wardrobe. But even in the standard floors,
there are special places: the head areas, marked by the play of light generated by the grid walls, and in the vertical circulations where there are wood-lined niches working as
recreation zones. Not to forget the stairs which are of a surprising plasticity.
The sides of the pillars are structured by fine grooves, their front sides are smooth. The relief unfolds a powerful effect in sidelight. It activates the space between
the pillars and makes it into something special, at the same time the pillars gain in autonomy. They come close to the essence of classic columns. Although they
make not a three-dimensional and plastic impression, they are far from appearing as wall fragments. And of course the grooves immediately remember classical fluting.
Thanks to them the pillars are never considered as a purely technical elements, neither as part of the structure, nor as brise soleis nor even as ventilation ducts,
although they clearly comply also with the relevant tasks. But apart from fulfilling these serving functions, they assert itself as an autonomous entity. The grooves are
introducing a fine scale, which relativizes the large dimensions of the building. They result in a tactile aspect, which is especially intense in the central zone of the building,
where the lowerings of the grooves are painted red, without affecting the relief. Here the concrete appears suddenly soft and extraordinarily noble.