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(cummon, everybody) "Nobody Owns Katonah"
Dr. Strangelove Finds Home In Cold War Relic
Burrowed 50 feet into a mountain near Washington, D.C., a once secret, nuclear-blast-proof bunker has been transformed into the Library of Congress’s new National Audio-Visual Conservation Center. The facility, seen here during construction, opened today (top). A team of designers and engineers from BAR Architects and SmithGroup added a three-story window all along the bunker’s main elevation to help infuse interior spaces with daylight (middle). Public spaces, including the building’s lobby, are located closest to the window wall (above). Openings cut into the former bunker’s concrete, blast-proof walls allow daylight to penetrate deeper into the building (right).
The nonprofit Packard Humanities Institute purchased the decommissioned bank bunker at Mount Pony in Culpeper, Va., for $5.6 million in 1998 and then funded its $155 million transformation, donating the facility to Congress last week—the largest gift ever made to the legislative branch. The 415,000-square-foot complex now provides space for preserving 6 million items from the library’s Motion Picture, Broadcasting and Recorded Sound Division. These items were previously scattered throughout seven locations nationwide.
BAR’s Earl Wilson says that one of the key design challenges was ensuring that librarians and conservationists have access to daylight. Although 80 percent of the structure is below grade, the designers located “people spaces” near a curving, three-story-tall window along the building’s rear elevation, opposite the main entry. Openings punched into the 16- to 18-inch-thick concrete, blast-proof interior walls help channel natural light into the inner rooms.
drinking ditch water
Niemeyer emerged, from obscurity and a lazy education, as one of the most original and talented of all Modern movement architects, with a highly informed and almost intuitive understanding of the possibilities of reinforced concrete construction. In his native Brazil, steel was far too rare and expensive for use in the majority of buildings, while concrete was not only cheap, but it could be stretched to unimagined limits while being poured and moulded by relatively unskilled labour. In concrete construction, Niemeyer could see a way of shaping an architecture that would not only be modern, but would also echo the Brazilian landscape he loved, and which he drew, increasingly, in the guise of curved female forms.
His chance to shine came in 1936 when Gustavo Capanema, the idealistic Brazilian minister for education, commissioned Lucio Costa to design the country's first Modern building, a headquarters for the health and education ministries in central Rio. Costa and Capanema decided to seek the advice of Le Corbusier, the greatest of all Modern architects. The famous Swiss-French visionary and architect flew to Rio. "In the Graf Zeppelin," says Niemeyer, referring to the magnificent 237-metre German airship that, between 1928 and 1937, made 143 impeccable transatlantic flights. "I went to meet him," he adds.
Le Corbusier descended from the air, "a mighty god visiting his pygmy worshippers," says Niemeyer. Or so it seemed. The result of Corbu's trip proved to be unexpected. He made two designs for Capanema's ministry: one idealistic, for an unobtainable site by the ocean, the other a low-rise building that somehow failed to capture the idea of the new Brazil and the new Brazilian. "We wanted to do something very special," says Niemeyer, "perhaps to show that we were something more than primitive Indians dancing colourfully for visiting Europeans and Northern Americans."
Working for nothing, and reliant on his family - his father was a graphic artist, his grandfather a Supreme Court judge - Niemeyer transformed the Corbusier scheme into the serene high-rise building that adorns central Rio today. A National Monument, it has since been renamed Capanema Palace. Le Corbusier had been deeply impressed by Niemeyer's burgeoning talent. Although rigid by Niemeyer's later standards, the palace abounds with curves inside; its exteriors are decorated with romantic wall tiles, depicting scallops and sea horses, and shaded by deep sun-louvres. Immensely photogenic and a superb fusion of art, engineering, landscaping and architecture, this confident new building was ecstatically received in 1943.