Basel Stadtcasino, Zaha Hadid Architects

by Maxime Moreau

Few months ago, one of OFA’s collaborators, Christophe Plattner, wrote me, while visiting his home town in Basel (CH), about this new project of Zaha Hadid Architects, the Stadtcasino, to inform me that the new city casino was rejected at the urn by a clear majority, not only because the citizens found it too large and expensive, but also because they felt not enough informed by the authorities. Tonight, while I was surfing on the Internet (Detail Topics – Digital Architecture), I discovered this video/animation, by Neutral, which investigates the buildings integration into the architectural and cultural fabric of Basel – a new shortcut connecting two major squares determines an architectural landscape to access the old and new parts of a music venue – and demonstrates the increasing convergence between motion graphics and the built environment.


~ by Open Form Architecture on December 18, 2007.

3 Responses to “Basel Stadtcasino, Zaha Hadid Architects”

  1. I was attending final reviews at ETHZ and I had a look at Kunsthaus in Zuerich and the Klee Zentrum in Bern by Renzo Piano. I think Paul Klee was more inspiring than Renzo Piano. I should send you a picture of the current condition of the Casino Site. The first part of the animation is the most intersting one; another lesson in urban planning. But the people here only see the potential cost and realize the project is bigger than the current one – the new profile was built to visualize the differnece. It is not good in Switzerland if you do something bigger, except for Basel if you are Herzog & deMeuron. I guess they will design the Casino now. The Klee Zentrum in Bern also had a difficult developing process.

    Christophe Plattner

  2. plz i wanna know ur idea or your concept in work & the effect of the digital architecture on your work and designs?????

  3. I think I have to explain the relation of Renzo Piano/Paul Klee: The museum was designed to accommodate one of the biggest and most significant collection of paintings by Paul Klee. The building is like a big Hangar, facing with the expressive waved front the freeway passing by there so it is clearly visible as a sort of landmark. I was irritated because Klee’s rather small scale, slender, carefully fragmented paintings are strangely lost in this big open space of a hangar. It’s basically a very industrial architecture, sheet metal, steel framed vaulted exposed trusses and glass, unfortunately wood floors instead of concrete – but I felt this was the point. A consequent breakthrough of this building would have been the concrete floor, but then any Klee artwork would be more or less displaced. It would collide scale wise and ideologically with the architecture, rather the environment of a Serra Sculpture or a large format painting by Schnabel or the like. Klee is more intimate, so therefor the wood floor, which in relation to the architecture appears only as an isolated effect rather than part of a concept. It’s the wrong museum for the wrong artist.

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