30.9.11
0
COBE . MVRDV
Danmarks Rockmuseum . Roskilde
COBE . MVRDV
The ROCKmagnet consists of three iconic buildings hovering over the existing concrete halls of Musicon, an old concrete factory, juxtaposing old and new. The three new buildings house Denmark’s Rock Museum, Roskilde Festival Højskole (Folk High School) student housing, and Roskildegruppen. The existing halls will be the “communal house” of the ROCKmagnet, containing the three participants' public and common facilities – a village of boxes connecting the elements of the ROCKmagnet.
COBE . MVRDV
The ROCKmagnet consists of three iconic buildings hovering over the existing concrete halls of Musicon, an old concrete factory, juxtaposing old and new. The three new buildings house Denmark’s Rock Museum, Roskilde Festival Højskole (Folk High School) student housing, and Roskildegruppen. The existing halls will be the “communal house” of the ROCKmagnet, containing the three participants' public and common facilities – a village of boxes connecting the elements of the ROCKmagnet.
JDS
BHAC / House of Arts and Culture . Beirut
JDS
The Beirut House of Arts and Culture is a simple 40 meter cube, sited upon a hill in downtown Beirut. The design calls for the excavation of the site to permit desired connections, while avoiding unnecessary adjacencies. Both the South and North sides are accessible from the street, with the North side acting as the main entrance to the building. The required program fits within the building’s envelope and is highlighted by three public excavated spaces formed from the residual space between the programmatic elements. We believe that the cultural habits of Beirut are connected to its urban reality and capacity, which has led our concept to literally violate the pristine cubic volume to stage spaces for the unexpected, the misuse and eventually the most Beirut-like form of cultural survival: a party like there’s no tomorrow!
Part of the overall concept of the building is to allow visitors the experience of an the “outdoor” climate throughout the building. The working and performance rooms are all climatised to meet the required service levels, but there is the option, especially in temperate evenings, to appreciate the true outdoor climate when strolling in and out of these controlled zones.
JDS
The Beirut House of Arts and Culture is a simple 40 meter cube, sited upon a hill in downtown Beirut. The design calls for the excavation of the site to permit desired connections, while avoiding unnecessary adjacencies. Both the South and North sides are accessible from the street, with the North side acting as the main entrance to the building. The required program fits within the building’s envelope and is highlighted by three public excavated spaces formed from the residual space between the programmatic elements. We believe that the cultural habits of Beirut are connected to its urban reality and capacity, which has led our concept to literally violate the pristine cubic volume to stage spaces for the unexpected, the misuse and eventually the most Beirut-like form of cultural survival: a party like there’s no tomorrow!
Part of the overall concept of the building is to allow visitors the experience of an the “outdoor” climate throughout the building. The working and performance rooms are all climatised to meet the required service levels, but there is the option, especially in temperate evenings, to appreciate the true outdoor climate when strolling in and out of these controlled zones.
29.9.11
0
BLAF architecten
PASSIEFHUIS MET HUID VAN TEXTIEL . Asse
BLAF architecten . photos: Stijn Bollaert . wall art: Eva Mouton
Duurzaam bouwen begint bij het bepalen van de bouwplaats. De professionele en sociale netwerken van de opdrachtgever spelen een belangrijke rol in deze zoektocht : nabijheid van werk, scholen en ontspanningsmogelijkheden, goede fietsverbindingen en openbaar vervoer. Het feit dat deze netwerken zich kunnen verplaatsen betekent meteen ook dat de woning op lange termijn andere bewoners met een ander programma moet kunnen huisvesten, hetgeen van belang is bij de planindeling van de woning.
In dit geval was Asse, een gemeente met alle nodige voorzieningen in de Brusselse rand een goede locatie. Door het ontbreken van stedelijkheid kwam de opdrachtgever terecht op een vrij gebleven en met de tijd -op de straatzijde na- volledig ingesloten perceel in een verkaveling uit de jaren ’60. De stedenbouwkundige contouren van deze verkaveling, met vrijstaande en weinig compacte bebouwing en met inefficiënt grondgebruik staan in zekere zin lijnrecht tegenover de duurzame gedachte. Door al deze elementen werd het bouwen van een passiefhuis op deze locatie een bewuste en verantwoorde keuze. De woning negeert de de vastgeroeste logica van de verkaveling door haar inplanting en relatie met de straat. De voortuin die per definitie ontstaat wanneer de voorbouwlijn van de overige bebouwing in de straat wordt aangehouden werd niet geprivatiseerd door middel van hagen, maar ingericht als een interactieve zone tussen de woning en de straat. Het verhard vlak dat aansluiting zoekt met het statuut van de straat en het voetpad kan met eenvoudige middelen zoals krijt en enkele speeltuigen worden ingericht als speelplaats voor de kinderen uit de buurt.
BLAF architecten . photos: Stijn Bollaert . wall art: Eva Mouton
Duurzaam bouwen begint bij het bepalen van de bouwplaats. De professionele en sociale netwerken van de opdrachtgever spelen een belangrijke rol in deze zoektocht : nabijheid van werk, scholen en ontspanningsmogelijkheden, goede fietsverbindingen en openbaar vervoer. Het feit dat deze netwerken zich kunnen verplaatsen betekent meteen ook dat de woning op lange termijn andere bewoners met een ander programma moet kunnen huisvesten, hetgeen van belang is bij de planindeling van de woning.
In dit geval was Asse, een gemeente met alle nodige voorzieningen in de Brusselse rand een goede locatie. Door het ontbreken van stedelijkheid kwam de opdrachtgever terecht op een vrij gebleven en met de tijd -op de straatzijde na- volledig ingesloten perceel in een verkaveling uit de jaren ’60. De stedenbouwkundige contouren van deze verkaveling, met vrijstaande en weinig compacte bebouwing en met inefficiënt grondgebruik staan in zekere zin lijnrecht tegenover de duurzame gedachte. Door al deze elementen werd het bouwen van een passiefhuis op deze locatie een bewuste en verantwoorde keuze. De woning negeert de de vastgeroeste logica van de verkaveling door haar inplanting en relatie met de straat. De voortuin die per definitie ontstaat wanneer de voorbouwlijn van de overige bebouwing in de straat wordt aangehouden werd niet geprivatiseerd door middel van hagen, maar ingericht als een interactieve zone tussen de woning en de straat. Het verhard vlak dat aansluiting zoekt met het statuut van de straat en het voetpad kan met eenvoudige middelen zoals krijt en enkele speeltuigen worden ingericht als speelplaats voor de kinderen uit de buurt.
ETB
Memorial para las Victimas del Franquismo . AIRE
ETB studio
La Memoria es un recuerdo capaz de sobrevivir al paso del tiempo solo en la medida en que la sociedad sea capaz de cuidarla y protegerla de los acontecimientos y los ataques de la historia. En el monumento propuesto para las víctimas del Franquismo, el mensaje principal pretende ser la restitución a la vida de la “Memoria borrada”, un homenaje discreto y de fuerte impacto emocional a los miles de personas olvidadas por la historia, el tiempo y por la sociedad misma. Con el pretexto de escapar de una fácil y estéril “retorica de lo monumental” la solución propuesta concentra su mensaje en el fuerte acto de voluntad de “liberar” de la capa del olvido la identidad, los nombres de las victimas desconocidas, de ofrecer su sacrificio a la sociedad a través de un respetuoso sistema que mezcla arquitectura, arte y naturaleza.
ETB studio
La Memoria es un recuerdo capaz de sobrevivir al paso del tiempo solo en la medida en que la sociedad sea capaz de cuidarla y protegerla de los acontecimientos y los ataques de la historia. En el monumento propuesto para las víctimas del Franquismo, el mensaje principal pretende ser la restitución a la vida de la “Memoria borrada”, un homenaje discreto y de fuerte impacto emocional a los miles de personas olvidadas por la historia, el tiempo y por la sociedad misma. Con el pretexto de escapar de una fácil y estéril “retorica de lo monumental” la solución propuesta concentra su mensaje en el fuerte acto de voluntad de “liberar” de la capa del olvido la identidad, los nombres de las victimas desconocidas, de ofrecer su sacrificio a la sociedad a través de un respetuoso sistema que mezcla arquitectura, arte y naturaleza.
28.9.11
0
SO – IL . Bureau Bouwtechniek
community center . Wulpen
SO – IL . Bureau Bouwtechniek . + architecten web
SO – IL was awarded the first prize in an Open Oproep (Open Call) by the Flemish Government Architect to design an 500 m2 community center for a small village in Flemish-speaking Belgium. Out of 5 designs, SO – IL’s solution was considered the most appropriate. Predestined to be demolished, SO – IL proposes to salvage an existing school, restructure it and expand upon it to form a gathering space for the multi-generational community. SO – IL has partnered with local architect Bureau Bouwtechniek from Antwerp and consultants Util for structure and Igenium for installations. The building is slated for completion in 2013.
SO – IL . Bureau Bouwtechniek . + architecten web
SO – IL was awarded the first prize in an Open Oproep (Open Call) by the Flemish Government Architect to design an 500 m2 community center for a small village in Flemish-speaking Belgium. Out of 5 designs, SO – IL’s solution was considered the most appropriate. Predestined to be demolished, SO – IL proposes to salvage an existing school, restructure it and expand upon it to form a gathering space for the multi-generational community. SO – IL has partnered with local architect Bureau Bouwtechniek from Antwerp and consultants Util for structure and Igenium for installations. The building is slated for completion in 2013.
savioz fabrizzi architectes
Primarschule . Vollèges
+ savioz fabrizzi architectes . photos: thomas jantscher . stavbaweb
le nouveau bâtiment scolaire s’implante à l’ouest de la parcelle constructible, créant avec le bâtiment de la salle polyvalente un nouvel espace de référence : la cour de l’école. de cette place libre de tout véhicule, on accède aux diverses entrées de bâtiments du site : la salle de gymnastique polyvalente, l’école primaire et la cantine du football. un espace couvert le long de la route cantonale relie l’école à la salle de gym. un escalier y mène à la partie supérieure du site en relation avec les transports. le bâtiment principal s’organise sur trois étages. à chaque niveau se trouvent quatre classes ouvertes sur deux façades.
+ savioz fabrizzi architectes . photos: thomas jantscher . stavbaweb
le nouveau bâtiment scolaire s’implante à l’ouest de la parcelle constructible, créant avec le bâtiment de la salle polyvalente un nouvel espace de référence : la cour de l’école. de cette place libre de tout véhicule, on accède aux diverses entrées de bâtiments du site : la salle de gymnastique polyvalente, l’école primaire et la cantine du football. un espace couvert le long de la route cantonale relie l’école à la salle de gym. un escalier y mène à la partie supérieure du site en relation avec les transports. le bâtiment principal s’organise sur trois étages. à chaque niveau se trouvent quatre classes ouvertes sur deux façades.
27.9.11
0
NAVARRO BALDEWEG ASOCIADOS
Concurso de las futuras Bocas del Metro . San Sebastián
NAVARRO BALDEWEG ASOCIADOS . + morph 3d
Pensamos en una solución formal sencilla, en una pieza urbana fácil de percibir, de identificar, de ver y encontrar tanto de día como de noche. Un prisma de vidrio, de apariencia mate y de color blanco, con ligera pendiente para marcar su lado de acceso más alto, cubrirá las bocas al metro de San Sebastián. Es una pieza muy elemental que resplandecerá en la luz natural, activa en reflejos en el trascurso solar y por lo noche se comportará como una bolsa de luz artificial, como una lámpara visible desde lejos y con capacidad para iluminar suficientemente los puntos de contacto de lo calle y el metro.
La solución se construye en vidrio impreso blanco, traslúcido, que durante el día deja pasar la luz -aunque algo velada- en los escaleras de acceso a las estaciones. Por !a noche se percibirá como un cuerpo luminoso entero. La estructura de acero también blanca que sostiene este prisma de vidrio se apoya en dos pies de hormigón visto, prolongaciones de las paredes que abrazan las escaleras del acceso. El nombre que localiza cada boca aparecerá en letras grandes flotando sobre el extremo alto del paralelepípedo de vidrio. Las letras, también luminosas, están cubiertas en su espesor por una lámina de aluminio de color variable según lo localización. Las formas blancas y los nombres de las estaciones serán las señales que identificarán los encuentros de lo infraestructura en los diferentes lugares de San Sebastián.
El volumen de vidrio blanco tiene, en su interior, cartelas de aluminio también blancas que filtran la entrada de la luz diurna. Adheridas a ellas se disponen líneas de iluminación por led transversales que garantizarán la homogeneidad de la luz artificial y evitarán sombras en todo el volumen que así aparecerá con resplandor uniforme.
El encuentro con esa nube de luz en la noche, o la pastilla rutilante blanca de día, deberá ser una señal fácil de identidad local que también es generalizable a la ciudad entera.
NAVARRO BALDEWEG ASOCIADOS . + morph 3d
Pensamos en una solución formal sencilla, en una pieza urbana fácil de percibir, de identificar, de ver y encontrar tanto de día como de noche. Un prisma de vidrio, de apariencia mate y de color blanco, con ligera pendiente para marcar su lado de acceso más alto, cubrirá las bocas al metro de San Sebastián. Es una pieza muy elemental que resplandecerá en la luz natural, activa en reflejos en el trascurso solar y por lo noche se comportará como una bolsa de luz artificial, como una lámpara visible desde lejos y con capacidad para iluminar suficientemente los puntos de contacto de lo calle y el metro.
La solución se construye en vidrio impreso blanco, traslúcido, que durante el día deja pasar la luz -aunque algo velada- en los escaleras de acceso a las estaciones. Por !a noche se percibirá como un cuerpo luminoso entero. La estructura de acero también blanca que sostiene este prisma de vidrio se apoya en dos pies de hormigón visto, prolongaciones de las paredes que abrazan las escaleras del acceso. El nombre que localiza cada boca aparecerá en letras grandes flotando sobre el extremo alto del paralelepípedo de vidrio. Las letras, también luminosas, están cubiertas en su espesor por una lámina de aluminio de color variable según lo localización. Las formas blancas y los nombres de las estaciones serán las señales que identificarán los encuentros de lo infraestructura en los diferentes lugares de San Sebastián.
El volumen de vidrio blanco tiene, en su interior, cartelas de aluminio también blancas que filtran la entrada de la luz diurna. Adheridas a ellas se disponen líneas de iluminación por led transversales que garantizarán la homogeneidad de la luz artificial y evitarán sombras en todo el volumen que así aparecerá con resplandor uniforme.
El encuentro con esa nube de luz en la noche, o la pastilla rutilante blanca de día, deberá ser una señal fácil de identidad local que también es generalizable a la ciudad entera.
Sauerbruch Hutton
building in low-to-no carbon emissions district . Helsinki
Sauerbruch Hutton . Holcim Awards
The new headquarters of SITRA, the Finnish innovation fund, is part of an inner-city building complex that augments the urban redevelopment of the former Jätkäsaari docklands in Helsinki. The aim for the entire building complex is to establish a “sustainable living” and “low-to-no carbon emission” performance through participatory planning and design methods. The SITRA Headquarters at Low2No combines a variety of technical features that enhance user awareness and reduces weighted energy use to 45kWh/sq m per year, less than half the average Finnish requirement for heating and cooling. Civic amenities, including an auditorium, library and café, create a welcoming atmosphere for the public.
Sauerbruch Hutton . Holcim Awards
The new headquarters of SITRA, the Finnish innovation fund, is part of an inner-city building complex that augments the urban redevelopment of the former Jätkäsaari docklands in Helsinki. The aim for the entire building complex is to establish a “sustainable living” and “low-to-no carbon emission” performance through participatory planning and design methods. The SITRA Headquarters at Low2No combines a variety of technical features that enhance user awareness and reduces weighted energy use to 45kWh/sq m per year, less than half the average Finnish requirement for heating and cooling. Civic amenities, including an auditorium, library and café, create a welcoming atmosphere for the public.
Reiulf Ramstad Arkitekter
Summer Retreat . Fuglevik
Reiulf Ramstad Arkitekter . + archdaily
The house is designed around the concept of a mono-view, meaning that the house opens up to the landscape in one direction only. This gives the entire indoor experience a sense of unambiguous orientation and intensifies the sense of bringing the landscape into the house.
Reiulf Ramstad Arkitekter . + archdaily
The house is designed around the concept of a mono-view, meaning that the house opens up to the landscape in one direction only. This gives the entire indoor experience a sense of unambiguous orientation and intensifies the sense of bringing the landscape into the house.
26.9.11
0
Peris+Toral Arquitectes
34 VPO en la Taxonera . Barcelona
gracias a Peris+Toral Arquitectes
El proyecto es fruto de un concurso de vivienda pública convocado por el Ayuntamiento de Barcelona en el barrio de la Taxonera. Se trata de un ámbito antiguamente ocupado por una tejería donde el nuevo planeamiento contempla la construcción de 34 viviendas de protección oficial para realojo.
El edificio agota la ocupación del solar de 25x15m y dispone la edificabilidad de manera que la volumetría se desmaterializa en la esquina noreste para lograr el mayor número de viviendas bien orientadas. La pieza logra así mayor esbeltez y una doble escala que responde a una visión más lejana respecto a la Ronda de Dalt.
El vacío volumétrico genera una terraza comunitaria al que se accede desde la pasarela central, donde aparecen los tendederos protegidos visualmente por un antepecho alto.
gracias a Peris+Toral Arquitectes
El proyecto es fruto de un concurso de vivienda pública convocado por el Ayuntamiento de Barcelona en el barrio de la Taxonera. Se trata de un ámbito antiguamente ocupado por una tejería donde el nuevo planeamiento contempla la construcción de 34 viviendas de protección oficial para realojo.
El edificio agota la ocupación del solar de 25x15m y dispone la edificabilidad de manera que la volumetría se desmaterializa en la esquina noreste para lograr el mayor número de viviendas bien orientadas. La pieza logra así mayor esbeltez y una doble escala que responde a una visión más lejana respecto a la Ronda de Dalt.
El vacío volumétrico genera una terraza comunitaria al que se accede desde la pasarela central, donde aparecen los tendederos protegidos visualmente por un antepecho alto.
51N4E Architects
Vault Room . row house refurbishment . Bruges
51N4E Architects . photos: Ake Lindman . + vectroave
The renovation of this small terraced house, along one of the ‘Reien’ in the historical heart of Bruges, consists of reinterpreting the typical cramped back buildings as a spacious and generously lit winter garden. The doubleheight space, entirely covered in timber planks, starts off as an arch which gradually lifts asymmetrically towards the back, framing the tall tree of a neighboring garden.
The old house is entirely renovated with partly new flooring and new colour schemes for façade, walls and ceilings. The custom made kitchen furniture with integrated fi re place doubles as working area, becoming the new center of the house.
51N4E Architects . photos: Ake Lindman . + vectroave
The renovation of this small terraced house, along one of the ‘Reien’ in the historical heart of Bruges, consists of reinterpreting the typical cramped back buildings as a spacious and generously lit winter garden. The doubleheight space, entirely covered in timber planks, starts off as an arch which gradually lifts asymmetrically towards the back, framing the tall tree of a neighboring garden.
The old house is entirely renovated with partly new flooring and new colour schemes for façade, walls and ceilings. The custom made kitchen furniture with integrated fi re place doubles as working area, becoming the new center of the house.
SAMI-arquitectos
Wallpaper* House
SAMI-arquitectos . Wallpaper*
The design brief for this project was very succinct: it referred only to a holiday home in a rural setting, without a defined plot of land, and with the house having a plan of up to 20 m x 20 m.
In terms of programme, the aim was to have a house that was flexible enough to allow two families to cohabit in it and, if desired, be transformed into a getaway home for just one person.
Our approach was guided from the outset by a search for an element that could be the driving element behind the design. Water naturally emerged as that conceptual element, as it is a fundamental element in the conception of the rural house and because of its importance in the daily life of the dwelling and the importance of the agricultural use of water in the surrounding land.
SAMI-arquitectos . Wallpaper*
The design brief for this project was very succinct: it referred only to a holiday home in a rural setting, without a defined plot of land, and with the house having a plan of up to 20 m x 20 m.
In terms of programme, the aim was to have a house that was flexible enough to allow two families to cohabit in it and, if desired, be transformed into a getaway home for just one person.
Our approach was guided from the outset by a search for an element that could be the driving element behind the design. Water naturally emerged as that conceptual element, as it is a fundamental element in the conception of the rural house and because of its importance in the daily life of the dwelling and the importance of the agricultural use of water in the surrounding land.
Ikimono Architects . Sunao Koase . Maniackers Design
barn . Nakanojo Biennale
courtesy of IKIMONO ARCHITECTS . photos: © Ikimono Architects .Sunao Koase .Maniackers Design
It is a tower that the environment is projected.
Thin tower of 1000mm in width, 0.05mm in depth, and 40000mm in height shakes to air. The curvature of the wall always changes and the reflected figure waves. The swimming appearance in the wind seems a huge living thing. There are people who pray in the grassy place under the tower.
After on March 11, we came to have to draw the future more clearly. It not is neither light of the city nor a strong building. It is the existing one that doesn't change such as season, time, and the weather that movement of the earth invents, or society of living thing that the huge power brings up. We are alive in the environment that cannot be fought. This is construction to give oneself completely to the flow, and to discover feelings of the moment.
courtesy of IKIMONO ARCHITECTS . photos: © Ikimono Architects .Sunao Koase .Maniackers Design
It is a tower that the environment is projected.
Thin tower of 1000mm in width, 0.05mm in depth, and 40000mm in height shakes to air. The curvature of the wall always changes and the reflected figure waves. The swimming appearance in the wind seems a huge living thing. There are people who pray in the grassy place under the tower.
After on March 11, we came to have to draw the future more clearly. It not is neither light of the city nor a strong building. It is the existing one that doesn't change such as season, time, and the weather that movement of the earth invents, or society of living thing that the huge power brings up. We are alive in the environment that cannot be fought. This is construction to give oneself completely to the flow, and to discover feelings of the moment.
Herzog & De Meuron
Elbphilharmonie . Philharmonic Hall extension . Hamburg
Elbphilharmonie . june pictures by Reinhard Schuldt
Elbphilharmonie . june pictures by Reinhard Schuldt
24.9.11
0
LAN Architecture
Centre William Rappard . Genève
LAN Architecture
The challenge of the project of William Rappard center expansion lies in the difficulty to integrate at once an exceptional landscape context, and an existing pronounced architectural style, as well as to be able to answer the functional demands of the competition. We have chosen to locate the new building as far as possible from the old one, thus avoiding the relationship of visual continuity, the new architectural design being independent. The connection between the two buildings will be made light and transparent. A design made by lightness, thanks to glazing surfaces and finely textured steel. Facades define themselves by two glass layers, each one answering to specific needs and at the same time completing the other one. The first fine glass skin is covered with a screen- printing film reflecting the vegetation surrounding the site and creating an effect of visual penetration. The second "thick" facade meets thermal performance needs. Space between the two allows us to insert a second obscuration system for south facades in summer time. A rich, diversified and flexible interior is opposed to the simplicity and compactness of the exterior volume. At first we worked to define the pixel sizing of the first glazed frame to have a landscape maximal legibility since workspaces. Then we set up several devices allowing landscape to penetrate directly into the cone, the terraces, the common spaces facades and the double heights surfaces. Our aim was to design a flexible and compact building, a place based on the pleasure to belong to an elaborated visual world where the quality of sights and lights becomes a work fulfilment. Common spaces are generously sized and different in every floor. Circulation areas are also generous and naturally enlightened. The offices built on the periphery allow a flexibility of organization. In our planning offer we decided to design the big offices (30 & 25 m²) at the corners of the building.
LAN Architecture
The challenge of the project of William Rappard center expansion lies in the difficulty to integrate at once an exceptional landscape context, and an existing pronounced architectural style, as well as to be able to answer the functional demands of the competition. We have chosen to locate the new building as far as possible from the old one, thus avoiding the relationship of visual continuity, the new architectural design being independent. The connection between the two buildings will be made light and transparent. A design made by lightness, thanks to glazing surfaces and finely textured steel. Facades define themselves by two glass layers, each one answering to specific needs and at the same time completing the other one. The first fine glass skin is covered with a screen- printing film reflecting the vegetation surrounding the site and creating an effect of visual penetration. The second "thick" facade meets thermal performance needs. Space between the two allows us to insert a second obscuration system for south facades in summer time. A rich, diversified and flexible interior is opposed to the simplicity and compactness of the exterior volume. At first we worked to define the pixel sizing of the first glazed frame to have a landscape maximal legibility since workspaces. Then we set up several devices allowing landscape to penetrate directly into the cone, the terraces, the common spaces facades and the double heights surfaces. Our aim was to design a flexible and compact building, a place based on the pleasure to belong to an elaborated visual world where the quality of sights and lights becomes a work fulfilment. Common spaces are generously sized and different in every floor. Circulation areas are also generous and naturally enlightened. The offices built on the periphery allow a flexibility of organization. In our planning offer we decided to design the big offices (30 & 25 m²) at the corners of the building.
Ikimono Architects . Sunao Koase . Maniackers Design
Pagoda . Nakanojo Biennale
courtesy of IKIMONO ARCHITECTS . photos: © Ikimono Architects . Sunao Koase . Maniackers Design
It is a tower that the environment is projected.
Thin tower of 1000mm in width, 0.05mm in depth, and 40000mm in height shakes to air. The curvature of the wall always changes and the reflected figure waves. The swimming appearance in the wind seems a huge living thing. There are people who pray in the grassy place under the tower.
After on March 11, we came to have to draw the future more clearly. It not is neither light of the city nor a strong building. It is the existing one that doesn't change such as season, time, and the weather that movement of the earth invents, or society of living thing that the huge power brings up. We are alive in the environment that cannot be fought. This is construction to give oneself completely to the flow, and to discover feelings of the moment.
courtesy of IKIMONO ARCHITECTS . photos: © Ikimono Architects . Sunao Koase . Maniackers Design
It is a tower that the environment is projected.
Thin tower of 1000mm in width, 0.05mm in depth, and 40000mm in height shakes to air. The curvature of the wall always changes and the reflected figure waves. The swimming appearance in the wind seems a huge living thing. There are people who pray in the grassy place under the tower.
After on March 11, we came to have to draw the future more clearly. It not is neither light of the city nor a strong building. It is the existing one that doesn't change such as season, time, and the weather that movement of the earth invents, or society of living thing that the huge power brings up. We are alive in the environment that cannot be fought. This is construction to give oneself completely to the flow, and to discover feelings of the moment.
23.9.11
0
bosch.capdeferro arquitectures
casa collage . Girona
gracias a bosch.capdeferro arquitectures . fotos: José Hevia
Rehabilitar implica siempre establecer una determinada relación con el pasado, con los pasados que se acumulan en el espacio de la intervención.
Y también con el futuro, aquella idea imaginada de lugar hacia el que querríamos tender.
Pero implica, sobre todo, una gran capacidad de trabajo con el presente.
Borrar o dibujar: eliminar, limpiar, reparar, reconstruir, sustituir, incorporar, añadir, ... Descubrimientos sucesivos requieren continuamente respuestas diversas y complementarias. Se van tejiendo, muchas veces en tiempo real, las relaciones entre los espacios antiguos y los nuevos, entre los antiguos y los nuevos materiales, entre las antiguas y las nuevas geometrías, entre los operarios que un día erigieron los muros y los que ahora los rehacen.
Superposición inacabable de tiempo, de deseos, de oficios, de materias, de estrategias, de personas.
gracias a bosch.capdeferro arquitectures . fotos: José Hevia
Rehabilitar implica siempre establecer una determinada relación con el pasado, con los pasados que se acumulan en el espacio de la intervención.
Y también con el futuro, aquella idea imaginada de lugar hacia el que querríamos tender.
Pero implica, sobre todo, una gran capacidad de trabajo con el presente.
Borrar o dibujar: eliminar, limpiar, reparar, reconstruir, sustituir, incorporar, añadir, ... Descubrimientos sucesivos requieren continuamente respuestas diversas y complementarias. Se van tejiendo, muchas veces en tiempo real, las relaciones entre los espacios antiguos y los nuevos, entre los antiguos y los nuevos materiales, entre las antiguas y las nuevas geometrías, entre los operarios que un día erigieron los muros y los que ahora los rehacen.
Superposición inacabable de tiempo, de deseos, de oficios, de materias, de estrategias, de personas.
Rafael Moneo
"Design Conditioned by Circumstance: The Advantages of Obstacles for the Architect" . 03/30/2010 . gsd.harvard lecture
gsd harvard university . más: conferencia UNAV
gsd harvard university . más: conferencia UNAV
Ateliers Jean NOUVEL . Valero Gadan Architectes
fondation Imagine . Necker
Jean Nouvel . Valero Gadan Architectes . fondationimagine
Pour répondre à ses objectifs d’excellence, la Fondation Imagine s’est engagée dans la construction d’un institut sur le campus de l’hôpital Necker-Enfants malades. Il réunit en un même lieu les acteurs de la recherche et des soins sur les maladies génétiques. La maîtrise d’ouvrage en a été confi ée à l’Assistance Publique-Hôpitaux de Paris (AP-HP), dans le cadre d’un marché public de conception-réalisation. Il a été attribué à Urbaine de Travaux, Valero Gadan Architectes, les Ateliers Jean Nouvel et INGEROP. Ils ont imaginé un concept architectural pionnier fondé sur une organisation innovante favorisant les synergies entre les différentes équipes.
Jean Nouvel . Valero Gadan Architectes . fondationimagine
Pour répondre à ses objectifs d’excellence, la Fondation Imagine s’est engagée dans la construction d’un institut sur le campus de l’hôpital Necker-Enfants malades. Il réunit en un même lieu les acteurs de la recherche et des soins sur les maladies génétiques. La maîtrise d’ouvrage en a été confi ée à l’Assistance Publique-Hôpitaux de Paris (AP-HP), dans le cadre d’un marché public de conception-réalisation. Il a été attribué à Urbaine de Travaux, Valero Gadan Architectes, les Ateliers Jean Nouvel et INGEROP. Ils ont imaginé un concept architectural pionnier fondé sur une organisation innovante favorisant les synergies entre les différentes équipes.
Sá . Vergueiro . Henriques
Guindais cinematheque . Oporto
courtesy of Tiago Sá . André Vergueiro . Tiago Henriques
This competition was a 48hours architecture marathon where we were supposed to design a cinematheque in the Douro’s river margin.Regarding the historical character of the interventionThis competition was a 48hours architecture marathon where we were supposed to design a cinematheque in the Douro’s river margin.Regarding the historical character of the intervention area, the first idea that emerged was to absorpt some of the inherent logic of the surrounding environment, in order to ensure cohesion of the project in the provided plot.
courtesy of Tiago Sá . André Vergueiro . Tiago Henriques
This competition was a 48hours architecture marathon where we were supposed to design a cinematheque in the Douro’s river margin.Regarding the historical character of the interventionThis competition was a 48hours architecture marathon where we were supposed to design a cinematheque in the Douro’s river margin.Regarding the historical character of the intervention area, the first idea that emerged was to absorpt some of the inherent logic of the surrounding environment, in order to ensure cohesion of the project in the provided plot.
22.9.11
0
Mateo Arquitectura
nueva sede de la Filmoteca de Catalunya . Barcelona
Mateo Arquitectura . fotos: © Adrià Goula
<< Sobre la Forma… Las ruinas enseñan la estructura de los edificios. El Foro Romano visualiza el plano de cimientos y albañales de la ciudad.
En la ciudad antigua, mi edificio pretende expresarse como pura estructura, sin revestimientos ni acabados.
Los muros-viga de hormigón visto que construyen las fachadas, siendo muy diversos, son de la familia de los desvencijados muros vecinos, que enseñan a través de sus desconchados su masa central originaria.
Sobre el muro se yuxtaponen filtros. Es una metáfora cinematográfica pero no sólo conceptual, sino sobre todo física, sensible. En la ciudad vieja, con relaciones muy próximas entre edificios la interacción debe mediarse, filtrarse. Y esto se produce a través de diversos artilugios, con una vaga referencia cinematográfica.
Sobre el espacio… El espacio se articula sobre dos movimientos:
a) El descenso hacia la oscuridad de los cines, con reflexión de los espectadores ( a su vez reflejados, actores a través de un conjunto de espejos)
b) El ascenso hacia la luz, hacia los lugares de trabajo.
Dos patios conectados pero no continuos acompañan y construyen el movimiento. >>
Josep Lluís Mateo
Mateo Arquitectura . fotos: © Adrià Goula
<< Sobre la Forma… Las ruinas enseñan la estructura de los edificios. El Foro Romano visualiza el plano de cimientos y albañales de la ciudad.
En la ciudad antigua, mi edificio pretende expresarse como pura estructura, sin revestimientos ni acabados.
Los muros-viga de hormigón visto que construyen las fachadas, siendo muy diversos, son de la familia de los desvencijados muros vecinos, que enseñan a través de sus desconchados su masa central originaria.
Sobre el muro se yuxtaponen filtros. Es una metáfora cinematográfica pero no sólo conceptual, sino sobre todo física, sensible. En la ciudad vieja, con relaciones muy próximas entre edificios la interacción debe mediarse, filtrarse. Y esto se produce a través de diversos artilugios, con una vaga referencia cinematográfica.
Sobre el espacio… El espacio se articula sobre dos movimientos:
a) El descenso hacia la oscuridad de los cines, con reflexión de los espectadores ( a su vez reflejados, actores a través de un conjunto de espejos)
b) El ascenso hacia la luz, hacia los lugares de trabajo.
Dos patios conectados pero no continuos acompañan y construyen el movimiento. >>
Josep Lluís Mateo
SeARCH
Wolzak . Farmhouse renovation and extension . Zutphen
SeARCH
How can the historical and spatial qualities of an old farmyard, with all its various outbuildings, be retained when the new function is that of a family residence?
The livestock barn which formed the stem of the traditional T-form farmhouse is demolished and replaced by a new building. This new extension attaches itself precisely to the opening left by the removal of the original barn, thus retaining the T-form. The new volume is skewed in plan giving it a distorting ‘pulled and dragged’ perspective.
The existing farmhouse and outbuildings are divided programmatically from the new extension. Living accommodation is situated in the existing building with the adjoining part of the extension housing a large open kitchen space and the entrance, situated between the new and existing. The workroom, guest accommodation and garden store are all located in the remainder of the new volume separated from the living spaces by a large conservatory. The freestanding barn is retained with an option for a future swimming pool conversion.
The load bearing construction of the extension consists of a series of solid prefabricated wooden plates. They define the building’s internal finishes and influence the quality of the interior space. By cladding the roof and elevations with a continuous skin of horizontal timber laths, the façades simultaneously have the appearance of being open, semi-transparent and closed.
SeARCH
How can the historical and spatial qualities of an old farmyard, with all its various outbuildings, be retained when the new function is that of a family residence?
The livestock barn which formed the stem of the traditional T-form farmhouse is demolished and replaced by a new building. This new extension attaches itself precisely to the opening left by the removal of the original barn, thus retaining the T-form. The new volume is skewed in plan giving it a distorting ‘pulled and dragged’ perspective.
The existing farmhouse and outbuildings are divided programmatically from the new extension. Living accommodation is situated in the existing building with the adjoining part of the extension housing a large open kitchen space and the entrance, situated between the new and existing. The workroom, guest accommodation and garden store are all located in the remainder of the new volume separated from the living spaces by a large conservatory. The freestanding barn is retained with an option for a future swimming pool conversion.
The load bearing construction of the extension consists of a series of solid prefabricated wooden plates. They define the building’s internal finishes and influence the quality of the interior space. By cladding the roof and elevations with a continuous skin of horizontal timber laths, the façades simultaneously have the appearance of being open, semi-transparent and closed.
Cepaitis . Ordoñez . Enrique . Piles
Efficient fabrication system for geometrically complex building elements . London
Holcim Awards . Main author:Povilas Cepaitis, AA School of Architecture . Further authors: Lluis Enrique, Diego Ordoñez and Carlos Piles, AA School of Architecture
Cast on Cast, efficient and sustainable fabrication process is focused upon the development of a smart but simple methodology to design and prefabricate building elements with complex geometries, which is resource efficient and considerably reduces construction waste. Complex geometries are utilized in contemporary architecture for the construction of concrete or mortar building envelopes, partition walls, horizontal and vertical shading elements and pavements. Building elements that are curved through all three dimensions can only be produced under current methods by using sophisticated formwork installations and highly industrialized prefabrication technologies at high cost. The proposed Cast on Cast methodology uses a parameterization system in which mathematical algorithms subdivide three dimensional elements into smaller components that can be stacked in towers. Furthermore the previous element is used to mold the shape of the subsequent element. This CNC controlled fabrication method relies on the consecutive process of casting elements using digital fabrication technology. These towers of elements are then transported to the site where they are detached and assembled into the desired spatial shape.
Holcim Awards . Main author:Povilas Cepaitis, AA School of Architecture . Further authors: Lluis Enrique, Diego Ordoñez and Carlos Piles, AA School of Architecture
Cast on Cast, efficient and sustainable fabrication process is focused upon the development of a smart but simple methodology to design and prefabricate building elements with complex geometries, which is resource efficient and considerably reduces construction waste. Complex geometries are utilized in contemporary architecture for the construction of concrete or mortar building envelopes, partition walls, horizontal and vertical shading elements and pavements. Building elements that are curved through all three dimensions can only be produced under current methods by using sophisticated formwork installations and highly industrialized prefabrication technologies at high cost. The proposed Cast on Cast methodology uses a parameterization system in which mathematical algorithms subdivide three dimensional elements into smaller components that can be stacked in towers. Furthermore the previous element is used to mold the shape of the subsequent element. This CNC controlled fabrication method relies on the consecutive process of casting elements using digital fabrication technology. These towers of elements are then transported to the site where they are detached and assembled into the desired spatial shape.
21.9.11
0
David Garcia Studio
Jøssingfjord Museum
Jøssingfjord Museum
David Garcia Studio has received third prize for the Jossingfjord museum international competition in Norway.†The Jossingfjord museum is a unique opportunity to bring visitors close to art and history while offering interaction between nature, technology and society. Placed on the remnants of an old titanium mine and at the mouth of a fjord, the museum proposal plays with relationships between the vertical and horizontal landscape, skyline and mining typologies as spatial design; while offering a built environment that takes advantage of tradition and the surrounding natural and artificial landscape.
Jøssingfjord Museum
David Garcia Studio has received third prize for the Jossingfjord museum international competition in Norway.†The Jossingfjord museum is a unique opportunity to bring visitors close to art and history while offering interaction between nature, technology and society. Placed on the remnants of an old titanium mine and at the mouth of a fjord, the museum proposal plays with relationships between the vertical and horizontal landscape, skyline and mining typologies as spatial design; while offering a built environment that takes advantage of tradition and the surrounding natural and artificial landscape.
OSO Studio
Palais de Justice . Bruxelles
OSO Studio . + architizer
As a continuation of ancient national machinery, the courthouse should be described as such an institution: Its mission consists in providing true freedom through invisible but inviolable sanction; instead of the form that must be represented by a gigantic volume, today’s national justice should be represented with openness and transparency. PRESERVATION To respect and preserve the old courthouse, the building should be preserved intact without any apparent change; interior re-programming will be made according its spatial potential. SHIFT To accommodate needed programs, all actual judicial functions will be shifted into a new courthouse --- not extension, but totally separated from the old one --- sites at the plaza poelaert, neighbor to old court, the monument of world war will be moved to the south at the same time. Former courthouse will change to a new art and cultural complex. It has been long time that the courthouse building deeply rooted in the city, new city events --- such as exhibitions, conferences, art performance, small concert, open forums, shops --- will be contained tolerantly by it with appended replaceable “event boxes” that can provide functional flexibilities for future use. PROGRAMS The building is lifted from ground, release the plaza poelaert and reform it serves as a grand hall for the courthouse; a gateway into a series of five departments; a plaza for communal activities; and an open “city living room”. What above it are the large rooms and courtrooms of the court of cassation; court of appeal; and court of assize; escalators transport crowds to cantilevered entry hall, the silhouettes of overhangs’ bottom was punched out to a various complex, a decreasing volume in 4X4M modular system from the top down, expose courthouse’s public sector to the city, emphasize its transparency, reduce the repression, provide a multivariate shelter for the “city living room”. All other needed programs of the courthouse, (court of cassation, court of appeal, public prosecutor’s offices, court of assize and lawyers’ bars) are stacked in a regular volume by the principal of giving the priority to the functions, connected in vertical direction, divided by floors. Courthouse’s public and private programs are organized by a vertical sequence, iris in an unobstructed atrium, realize a clarified division and remain the autonomy for each department. The public route and private route are separated; they each have an individual vertical circulation. FACADES The façade is a bearing shear wall system, supporting the building at four sides and presents a rigid facade grid, the determination of sizes of windows are adopted to partial stress change. The windows grid is filled carefully in with glass panels, U shape glass, holes and wall according the plan and functions inside. With a series of irregular descending shrinking, the façade creates a super mixture of Piranesi’s relic chimera, standard office building, and contemporary national machine --- a unique urban interface and iconography of justice, reflect the old courthouse and shows an unique image of national legal sector. The windows operated efficient for views, sunlight and ventilation, the holes of façade on ground and its intricate shape makes the grand hall of courthouse and city can be presented simultaneously; makes the plaza unimpeded; and finally, makes the building become a real modern edition image of that only presented in ancient sketches, that’s the best annotate for courthouse’s sacred duty and tradition of public facilities in contextual way.
OSO Studio . + architizer
As a continuation of ancient national machinery, the courthouse should be described as such an institution: Its mission consists in providing true freedom through invisible but inviolable sanction; instead of the form that must be represented by a gigantic volume, today’s national justice should be represented with openness and transparency. PRESERVATION To respect and preserve the old courthouse, the building should be preserved intact without any apparent change; interior re-programming will be made according its spatial potential. SHIFT To accommodate needed programs, all actual judicial functions will be shifted into a new courthouse --- not extension, but totally separated from the old one --- sites at the plaza poelaert, neighbor to old court, the monument of world war will be moved to the south at the same time. Former courthouse will change to a new art and cultural complex. It has been long time that the courthouse building deeply rooted in the city, new city events --- such as exhibitions, conferences, art performance, small concert, open forums, shops --- will be contained tolerantly by it with appended replaceable “event boxes” that can provide functional flexibilities for future use. PROGRAMS The building is lifted from ground, release the plaza poelaert and reform it serves as a grand hall for the courthouse; a gateway into a series of five departments; a plaza for communal activities; and an open “city living room”. What above it are the large rooms and courtrooms of the court of cassation; court of appeal; and court of assize; escalators transport crowds to cantilevered entry hall, the silhouettes of overhangs’ bottom was punched out to a various complex, a decreasing volume in 4X4M modular system from the top down, expose courthouse’s public sector to the city, emphasize its transparency, reduce the repression, provide a multivariate shelter for the “city living room”. All other needed programs of the courthouse, (court of cassation, court of appeal, public prosecutor’s offices, court of assize and lawyers’ bars) are stacked in a regular volume by the principal of giving the priority to the functions, connected in vertical direction, divided by floors. Courthouse’s public and private programs are organized by a vertical sequence, iris in an unobstructed atrium, realize a clarified division and remain the autonomy for each department. The public route and private route are separated; they each have an individual vertical circulation. FACADES The façade is a bearing shear wall system, supporting the building at four sides and presents a rigid facade grid, the determination of sizes of windows are adopted to partial stress change. The windows grid is filled carefully in with glass panels, U shape glass, holes and wall according the plan and functions inside. With a series of irregular descending shrinking, the façade creates a super mixture of Piranesi’s relic chimera, standard office building, and contemporary national machine --- a unique urban interface and iconography of justice, reflect the old courthouse and shows an unique image of national legal sector. The windows operated efficient for views, sunlight and ventilation, the holes of façade on ground and its intricate shape makes the grand hall of courthouse and city can be presented simultaneously; makes the plaza unimpeded; and finally, makes the building become a real modern edition image of that only presented in ancient sketches, that’s the best annotate for courthouse’s sacred duty and tradition of public facilities in contextual way.
20.9.11
0
Eric Lapierre Architecture
Le Point du Jour Art center . Cherbourg
courtesy of Eric Lapierre Architecture . photos: Paola Salerno . Hélène Binet
Le Point du Jour art center, fully dedicated to photography, is an attempt to build cultural amenities without money. It is a kind of look into the architecture of a future Europe that would have gained a new sobriety and meaning through the loss of the economic leadership. A primitive hut for the 21st century.
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| © Paola Salerno |
courtesy of Eric Lapierre Architecture . photos: Paola Salerno . Hélène Binet
Le Point du Jour art center, fully dedicated to photography, is an attempt to build cultural amenities without money. It is a kind of look into the architecture of a future Europe that would have gained a new sobriety and meaning through the loss of the economic leadership. A primitive hut for the 21st century.
Studiomama
wallpaper Square Log House
Studiomama . wallpaper
The Square Log House is designed for a bank side in a Swedish forest, and is essentially an attempt for a reinterpretation of the traditional log house. Adding a strong environmental element in the design, The Square Log House uses local wood and skipped extra insulation by taking advantage of the logs' inherent insulating quality. Heating and cooling is generated via geothermal systems and the structure's electrical needs are covered by an anaerobic composting system.
Studiomama . wallpaper
The Square Log House is designed for a bank side in a Swedish forest, and is essentially an attempt for a reinterpretation of the traditional log house. Adding a strong environmental element in the design, The Square Log House uses local wood and skipped extra insulation by taking advantage of the logs' inherent insulating quality. Heating and cooling is generated via geothermal systems and the structure's electrical needs are covered by an anaerobic composting system.
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