31.10.11
0
29.10.11
0
Fredrik Sjölander
House on Gotland - Visualization of a bookshelf
courtesy of Fredrik Sjölander
The project is totally hypothetical. There was a competition to visualise a bookshelf of the swiss manufacturer Aandres and I needed a setting.I started to think about how the bookshelf would be the heart of a building and create a space around it that would not compromise the bookshelf. At the time I was on the island Gotland, east of Sweden and it was very bad weather all day long so it got me thinking of a hideout situated in the varied landscape. The hideout would use the bookshelf for all its needs of storage so you would not need anything else. Its only the bookshelf and the amazing landscapes of Gotland.
courtesy of Fredrik Sjölander
The project is totally hypothetical. There was a competition to visualise a bookshelf of the swiss manufacturer Aandres and I needed a setting.I started to think about how the bookshelf would be the heart of a building and create a space around it that would not compromise the bookshelf. At the time I was on the island Gotland, east of Sweden and it was very bad weather all day long so it got me thinking of a hideout situated in the varied landscape. The hideout would use the bookshelf for all its needs of storage so you would not need anything else. Its only the bookshelf and the amazing landscapes of Gotland.
Adamczyk . Kwietowicz
FIU FIU STORE . Warsaw
courtesy of Mateusz Adamczyk -BudCud- . Marcin Kwietowicz . photos: Jan Smaga
Young architects dream about designing and building big houses.
However, the reality is quite the opposite - they work on small scale commissions.
FiuFiu boutique is one of those petite spaces and its concept is based on yearning for making homes even of paper-mache.
Bright forms on frigid blue background recall enchanted atmosphere of Scanidinavian landscape (or its imaginary archetype), because all the shop items originate from there.
Extra long gable house, looking like being freehand drawn by a child, is cut in three with red steel blades and slightly shifted to create complementary space for a cash desk, a fitting room and storage space.
Each of acquired spaces is furnished with same simple items such as rails, ledges and lamps.
Steel coulisses optically shorten long, enlighten only from one side room and encourage a passer-by to enter the shop and indulge in scandinavian atmsphere.
When looking at the small houses from the outside, it is finally possible to see their genuine nature- solid and beautiful wooden structure. Raw carpentry is emphasized by the use of snowwhite interiors of the volumes.
This nordic fairy tale cottage was put 'ad hoc' in an existing space, where the only inference was painting the walls and ceiling in one colour. The light reflected from these plains enters the houses, making the shop interior even lighter and more spacious. Nordic bonbon.
Mateusz Adamczyk, Marcin Kwietowicz
courtesy of Mateusz Adamczyk -BudCud- . Marcin Kwietowicz . photos: Jan Smaga
Young architects dream about designing and building big houses.
However, the reality is quite the opposite - they work on small scale commissions.
FiuFiu boutique is one of those petite spaces and its concept is based on yearning for making homes even of paper-mache.
Bright forms on frigid blue background recall enchanted atmosphere of Scanidinavian landscape (or its imaginary archetype), because all the shop items originate from there.
Extra long gable house, looking like being freehand drawn by a child, is cut in three with red steel blades and slightly shifted to create complementary space for a cash desk, a fitting room and storage space.
Each of acquired spaces is furnished with same simple items such as rails, ledges and lamps.
Steel coulisses optically shorten long, enlighten only from one side room and encourage a passer-by to enter the shop and indulge in scandinavian atmsphere.
When looking at the small houses from the outside, it is finally possible to see their genuine nature- solid and beautiful wooden structure. Raw carpentry is emphasized by the use of snowwhite interiors of the volumes.
This nordic fairy tale cottage was put 'ad hoc' in an existing space, where the only inference was painting the walls and ceiling in one colour. The light reflected from these plains enters the houses, making the shop interior even lighter and more spacious. Nordic bonbon.
Mateusz Adamczyk, Marcin Kwietowicz
Aranguren & Gallegos Arquitectos
New Drawing and Illustration Centre of ABC . MADRID
Aranguren & Gallegos Arquitectos . photos courtesy of João Pereira de Sousa . + archello
“Architecture is a mixture of NOSTALGIA and ANTICIPATION, the co-existence of history and vanguard”.
(JEAN BAUDRILLARD)
The new Drawing and Illustration Centre of ABC appears with the will to become an artistic reference at an international level and also a symbol of the cultural offer in Madrid.
Its installation in the building of the old factory in Calle Amaniel, must respond to an intervention that is appropriate for a historical building, without renouncing to express its contemporanean centre nature with a wide cultural and artistic offer linked to the most avant-garde institutions within our context.
The current building provides access from two streets, connecting these with an internal patio.
One of these accesses is currently offered under a one-floor high, longitudinal building body closing the internal patio towards the street.
The main doors for access to the new ABC Centre are considered on this front. The aforementioned longitudinal body is restructured for this, as a large translucent glass “beam” that works as the lintel of a gap for passage to the internal patio. The cafeteria will be housed inside this, with the basement floor of the new centre receiving light through a glass floor for access to the patio.
Aranguren & Gallegos Arquitectos . photos courtesy of João Pereira de Sousa . + archello
“Architecture is a mixture of NOSTALGIA and ANTICIPATION, the co-existence of history and vanguard”.
(JEAN BAUDRILLARD)
The new Drawing and Illustration Centre of ABC appears with the will to become an artistic reference at an international level and also a symbol of the cultural offer in Madrid.
Its installation in the building of the old factory in Calle Amaniel, must respond to an intervention that is appropriate for a historical building, without renouncing to express its contemporanean centre nature with a wide cultural and artistic offer linked to the most avant-garde institutions within our context.
The current building provides access from two streets, connecting these with an internal patio.
One of these accesses is currently offered under a one-floor high, longitudinal building body closing the internal patio towards the street.
The main doors for access to the new ABC Centre are considered on this front. The aforementioned longitudinal body is restructured for this, as a large translucent glass “beam” that works as the lintel of a gap for passage to the internal patio. The cafeteria will be housed inside this, with the basement floor of the new centre receiving light through a glass floor for access to the patio.
28.10.11
0
dmvA
House W . Holsbeek
dmvA + archdaily . photos: Frederik Vercruysse
Building in a marvelous location on the woods, in a hily country as Vlaams Brabant, requires an upretentious architecture. Architecture blending with landscape.
No typical Flemish house, but an oblong living-object, transversely placed on the contour of the hill, taking over the form of the slope.
No bricks, but a camouflaging green skin of plans and sedum.
House and nature becoming one.
dmvA + archdaily . photos: Frederik Vercruysse
Building in a marvelous location on the woods, in a hily country as Vlaams Brabant, requires an upretentious architecture. Architecture blending with landscape.
No typical Flemish house, but an oblong living-object, transversely placed on the contour of the hill, taking over the form of the slope.
No bricks, but a camouflaging green skin of plans and sedum.
House and nature becoming one.
Bernard Khoury
The Suspended Gardens of Manama . Manama
Bernard Khoury
The Project is located on 1800 square meter site in the developing sea-front sector of Manama Center, Bahrain. The program consists of a hotel and its amenities/services with a net total built up area of 12,000m².
The base of the building is a 30-meter high podium that consists of a drop-off level, six and a half levels of vehicular parking and one and a half levels of services.
The visitors are elevated to a new reference level where the sky lobby of the hotel is located. On this level, an open air garden holds pavilions that house the hotel reception, all-day dining area, a spa and a business center.
19 landscaped planes stacked 8 meters apart become platforms on which independent free standing pavilions are dispersed. Unlike the typical hotel typologies where rooms and circulation are confined within the concealed and controlled envelope of buildings, every pavilion enjoys a private outdoor garden with optional private outdoor pools or Jacuzzis. The height difference between the pavilions and the under-face of the subsequent suspended landscaped slabs allows for ample natural light and ventilation throughout.
Bernard Khoury
The Project is located on 1800 square meter site in the developing sea-front sector of Manama Center, Bahrain. The program consists of a hotel and its amenities/services with a net total built up area of 12,000m².
The base of the building is a 30-meter high podium that consists of a drop-off level, six and a half levels of vehicular parking and one and a half levels of services.
The visitors are elevated to a new reference level where the sky lobby of the hotel is located. On this level, an open air garden holds pavilions that house the hotel reception, all-day dining area, a spa and a business center.
19 landscaped planes stacked 8 meters apart become platforms on which independent free standing pavilions are dispersed. Unlike the typical hotel typologies where rooms and circulation are confined within the concealed and controlled envelope of buildings, every pavilion enjoys a private outdoor garden with optional private outdoor pools or Jacuzzis. The height difference between the pavilions and the under-face of the subsequent suspended landscaped slabs allows for ample natural light and ventilation throughout.
Miralles - Tagliabue | EMBT
Can Ricart . Casa de les LLengues . Barcelona
Miralles - Tagliabue | EMBT . Linguamón
The factory complex of Can ricart, in the technological district of 22@ of Barcelona, will host the future headquarters of the house of the languages, that seeks to promote and protect humanity's linguistic heritage, as well as to give visibility to the Catalan language in the world.
The basic starting point for this rehabilitation project is the conservation and revitalization of a valuable architectural heritage site.
We are aware of the fact that we will be working in an environment that has already been inhabited. It has been a workplace for over 150 years and it has a history that wants to be passed on... Here all periods live together, with no distances between them.
This project is born from the desire to learn from the existing building, to allow it to talk to us, for the surviving parts of it to inspire us (from its structure to the smallest details and objects that have been found there, the graffiti...)
It’s all about making the most of its compositional, formal and historical qualities, adding the required facilities for a modern public building.
Miralles - Tagliabue | EMBT . Linguamón
The factory complex of Can ricart, in the technological district of 22@ of Barcelona, will host the future headquarters of the house of the languages, that seeks to promote and protect humanity's linguistic heritage, as well as to give visibility to the Catalan language in the world.
The basic starting point for this rehabilitation project is the conservation and revitalization of a valuable architectural heritage site.
We are aware of the fact that we will be working in an environment that has already been inhabited. It has been a workplace for over 150 years and it has a history that wants to be passed on... Here all periods live together, with no distances between them.
This project is born from the desire to learn from the existing building, to allow it to talk to us, for the surviving parts of it to inspire us (from its structure to the smallest details and objects that have been found there, the graffiti...)
It’s all about making the most of its compositional, formal and historical qualities, adding the required facilities for a modern public building.
27.10.11
0
OLGGA architectes
Stadium du Littoral . Grande Synthe
courtesy of OLGGA architectes . photos : ©Julien LANOO
Upon its Grand Opening September 4, 2011, the « Stadium du Littoral » constructed in Grande Synthe is the first facility north of Paris integrating five athletic disciplines under one roof.
Designed by OLGGA Architectes, this athletic complex includes stadium seating for 617, two club houses, locker rooms, a community recreation room and administrative offices.
This « Stadium du Littoral », provided for town’s 4000 members, also has three rugby fields, two football fields, an archery round, a running track, a 1300m cycling ring, and soon-to-be-completed BMX track.
Built on 12 hectares in the Basroch neighborhood, the building is indeed a visible architectural beacon, marking the major vehicular (interstate) entrance into the city. This pared-down building with program-induced volumes stands up against the horizon, this skyline of shadows reveals the omnipresent nature of the landscape.
The project was elaborated from a simple parallelogram monolith, responsive to the specific technical requirements established by the client.
This compact form is “hollowed out” in key places to accommodate bleachers and club houses. These excavations respond to the desire for highvisibility manifest in each sport. The stadium is not mono oriented toward a specific field, rather it opens itself onto all athletics in their collective.
courtesy of OLGGA architectes . photos : ©Julien LANOO
Upon its Grand Opening September 4, 2011, the « Stadium du Littoral » constructed in Grande Synthe is the first facility north of Paris integrating five athletic disciplines under one roof.
Designed by OLGGA Architectes, this athletic complex includes stadium seating for 617, two club houses, locker rooms, a community recreation room and administrative offices.
This « Stadium du Littoral », provided for town’s 4000 members, also has three rugby fields, two football fields, an archery round, a running track, a 1300m cycling ring, and soon-to-be-completed BMX track.
Built on 12 hectares in the Basroch neighborhood, the building is indeed a visible architectural beacon, marking the major vehicular (interstate) entrance into the city. This pared-down building with program-induced volumes stands up against the horizon, this skyline of shadows reveals the omnipresent nature of the landscape.
The project was elaborated from a simple parallelogram monolith, responsive to the specific technical requirements established by the client.
This compact form is “hollowed out” in key places to accommodate bleachers and club houses. These excavations respond to the desire for highvisibility manifest in each sport. The stadium is not mono oriented toward a specific field, rather it opens itself onto all athletics in their collective.
AllesWirdGut Architektur
Townhouse Prototype . Office and Commercial Building . St. Pölten
+ AllesWirdGut Architektur . renders: expressiv.at
+ AllesWirdGut Architektur . renders: expressiv.at
Cerrejon Arquitectos + Magén Arquitectos
Facilities for Children and Youth Activities . La Camisera
Cerrejon Arquitectos . Magén Arquitectos . photo: © Roland Halbe . + archdaily
Cerrejon Arquitectos . Magén Arquitectos . photo: © Roland Halbe . + archdaily
Gonçalo Frias
Escuela de flamenco . Jerez
courtesy of InternationalContestA
The form of the museum follows the existing urban fabric of the historic city of Jerez, with its irregular plan and massive blocks of buildings, with its beautiful "patios" in between that serve as private space of but also public space in some of them, and giving to the city a certain character.
The museum functions as one of this blocks,the coutyard in the middle is the main heart of the block and from there another forms are extended until the limits,following a certain order and trying to make a connection with the surrondings working the form in the direction of existing streets and buildings, the museum pretends to be part of the city form, and its characterize as different from others by it's unified character.
courtesy of InternationalContestA
The form of the museum follows the existing urban fabric of the historic city of Jerez, with its irregular plan and massive blocks of buildings, with its beautiful "patios" in between that serve as private space of but also public space in some of them, and giving to the city a certain character.
The museum functions as one of this blocks,the coutyard in the middle is the main heart of the block and from there another forms are extended until the limits,following a certain order and trying to make a connection with the surrondings working the form in the direction of existing streets and buildings, the museum pretends to be part of the city form, and its characterize as different from others by it's unified character.
26.10.11
0
Ateliers Jean Nouvel
building C1 . Boulogne-Billancourt
Ateliers Jean Nouvel . photos courtesy of: © F4BZ3F4B
Horizons proposes a new way of looking at an office tower. this non tower is about stratification, about stacking, about finding reasons to invent terraces, fictitious horizons, contrasts, about revealing references, diversities, interferences with nature, a distant dialogue with saint cloud hillside. the intention is for people to feel that the place where they live or work is a specific place that is different from their neighbour's place.
Horizons has been conceived in the hope that architecture can mean respecting individualities and can offer individual users small pleasures often forgotten or considered unnecessary. it is a small gesture but today opportunities for mixing work with pleasure have become rare
Ateliers Jean Nouvel . photos courtesy of: © F4BZ3F4B
Horizons proposes a new way of looking at an office tower. this non tower is about stratification, about stacking, about finding reasons to invent terraces, fictitious horizons, contrasts, about revealing references, diversities, interferences with nature, a distant dialogue with saint cloud hillside. the intention is for people to feel that the place where they live or work is a specific place that is different from their neighbour's place.
Horizons has been conceived in the hope that architecture can mean respecting individualities and can offer individual users small pleasures often forgotten or considered unnecessary. it is a small gesture but today opportunities for mixing work with pleasure have become rare
25.10.11
0
BIG
Transitlager . Basel
Big . + comic pdf
BIG wins an invited competition to renovate and extend an existing 1960′s concrete warehouse situated in a Basel industrial district which is being transformed into an alternative Arts District.
Located in Basel’s upcoming Dreispitz neighborhood, which is envisioned as an attractive and inviting urban quarter in Herzog de Meuron’s master plan from 2003, the existing 18.000 m2 ”Transitlager” built in the late 1960s is to be renovated and extended by up to 7.000 m2 for residential and arts related purposes. The development is undertaken by Basel-based real estate group Nüesch Development for the Christoph Merian Foundation with the assistance of the UBS investment company Balintra AG. The winning entry includes engineers Bollinger Grohmann and HL Technik
Big . + comic pdf
BIG wins an invited competition to renovate and extend an existing 1960′s concrete warehouse situated in a Basel industrial district which is being transformed into an alternative Arts District.
Located in Basel’s upcoming Dreispitz neighborhood, which is envisioned as an attractive and inviting urban quarter in Herzog de Meuron’s master plan from 2003, the existing 18.000 m2 ”Transitlager” built in the late 1960s is to be renovated and extended by up to 7.000 m2 for residential and arts related purposes. The development is undertaken by Basel-based real estate group Nüesch Development for the Christoph Merian Foundation with the assistance of the UBS investment company Balintra AG. The winning entry includes engineers Bollinger Grohmann and HL Technik
24.10.11
0
[tp3] architekten
House MHG . Altschwendt
[tp3] architekten . photos: © Ulrich Kehrer
1+1=1
We were presented with an exciting task in the summer. Two families who are friends had clubbed together and bought a large plot of land, with the idea of sharing and coordinating the building and planning work. The project was all the more fascinating to us, as house-building is such a personal and individual task. However, both families agreed to coordinate the planning so a single unit would be evident despite the existence of two separate family houses, also including the possibility of a shared garden over the centre boundary. A single-storey bungalow which incorporates the garages of both sections merges both building sections together like a strap which is clasping the two plots. The two-storey detached house breaks away from this strap towards the garden and therefore forms a conclusion to this building configuration. Both of the building sections are positioned such that the individual outdoor areas allocated to each of the families eventually form a protected interior courtyard. In terms of its external characteristics, the single-storey building with its two garages appears as a monolithic, white building. The two-storey house with its dark façade cladding is fascinatingly mediating between the two buildings, thereby allowing the individuality of the individual sections to become evident. Both houses are configured as low energy homes, with deep drilling and controlled living room ventilation. The bungalow in its massive construction and white plaster facade, the two-storey building in timber frame construction and dark grey façade cladding.
[tp3] architekten . photos: © Ulrich Kehrer
1+1=1
We were presented with an exciting task in the summer. Two families who are friends had clubbed together and bought a large plot of land, with the idea of sharing and coordinating the building and planning work. The project was all the more fascinating to us, as house-building is such a personal and individual task. However, both families agreed to coordinate the planning so a single unit would be evident despite the existence of two separate family houses, also including the possibility of a shared garden over the centre boundary. A single-storey bungalow which incorporates the garages of both sections merges both building sections together like a strap which is clasping the two plots. The two-storey detached house breaks away from this strap towards the garden and therefore forms a conclusion to this building configuration. Both of the building sections are positioned such that the individual outdoor areas allocated to each of the families eventually form a protected interior courtyard. In terms of its external characteristics, the single-storey building with its two garages appears as a monolithic, white building. The two-storey house with its dark façade cladding is fascinatingly mediating between the two buildings, thereby allowing the individuality of the individual sections to become evident. Both houses are configured as low energy homes, with deep drilling and controlled living room ventilation. The bungalow in its massive construction and white plaster facade, the two-storey building in timber frame construction and dark grey façade cladding.
Gramazio & Kohler
Folie . Geneva
Gramazio & Kohler
Le Belvédère Infini est constitué d’un chemin d’un mètre vingt de large et environ quatre cents mètres de long qui se retourne continuellement sur lui-même. En plus d’être un évènement architectural posé dans le parc, il entraîne le visiteur à vivre une expérience physique singulière.
Suspendue au dessus du sol, la surface de cette balade artificielle sans but – l’entrée et la sortie étant confondues – implique une variation constante d’inclinaison du chemin et de sa pente. Le visiteur se voit ainsi contraint de continuellement chercher son équilibre afin de défier la gravité. La déformation de la surface permet différents types de cheminements, avec des pentes raides, d’autres plus douces.
Cette nouvelle topographie, superposée a celle du sol initial extrêmement plat, a été imaginée sur la base d’un schéma géométrique appelé «circle packing» qui consiste en une configuration de cercles reliés par un schéma précis de tangeances.
Dans notre cas, chaque cercle - ou arc de cercle - possède entre trois et six points de contact avec ses figures limitrophes. Ce schéma permet de développer un réseau de chemins circulaires qui définissent ainsi un parcours fait d’une multitude de choix et influence les différentes couches du projet.
Gramazio & Kohler
Le Belvédère Infini est constitué d’un chemin d’un mètre vingt de large et environ quatre cents mètres de long qui se retourne continuellement sur lui-même. En plus d’être un évènement architectural posé dans le parc, il entraîne le visiteur à vivre une expérience physique singulière.
Suspendue au dessus du sol, la surface de cette balade artificielle sans but – l’entrée et la sortie étant confondues – implique une variation constante d’inclinaison du chemin et de sa pente. Le visiteur se voit ainsi contraint de continuellement chercher son équilibre afin de défier la gravité. La déformation de la surface permet différents types de cheminements, avec des pentes raides, d’autres plus douces.
Cette nouvelle topographie, superposée a celle du sol initial extrêmement plat, a été imaginée sur la base d’un schéma géométrique appelé «circle packing» qui consiste en une configuration de cercles reliés par un schéma précis de tangeances.
Dans notre cas, chaque cercle - ou arc de cercle - possède entre trois et six points de contact avec ses figures limitrophes. Ce schéma permet de développer un réseau de chemins circulaires qui définissent ainsi un parcours fait d’une multitude de choix et influence les différentes couches du projet.
22.10.11
0
EBV Estudio Barozzi Veiga
Centro Cultura Del Patrimonio . Santiago de Compostela
gracias a EBV Estudio Barozzi Veiga
El edificio se inserta en un tejido en el que los límites se desdibujan y en el que la fuerza del paisaje no se basa en el valor individual de los elementos que lo componen sino en las relaciones y vínculos que se establecen entre ellos. Ahí es donde reside el carácter del lugar y al mismo tiempo la fuerza del emplazamiento; en esta complejidad de relaciones, en la acumulación de estructuras y elementos que a lo largo del tiempo han ido tejiendo un conjunto, en el que las cosas suceden de un modo natural.
El proyecto muestra una implantación sencilla, clara, que permite integrar en él las características básicas que el emplazamiento nos ofrece: topografía, escala, naturaleza, a través de las relaciones generadas por los volúmenes que lo forman con su entorno más inmediato. De este modo los vacíos entre los diferentes cuerpos del proyecto construyen progresivamente una relación cercana e íntima con el entorno, donde la naturaleza del paisaje se inserta dentro del proyecto para envolverlo y llevarlo a formar parte de ella.
Para buscar un coherente equilibrio entre paisaje y edificio, el proyecto fracciona el programa propuesto en diferentes piezas de una escala contenida, que permitan no colapsar el paisaje con una volumetría excesivamente impositiva. El tamaño y la disposición que adoptan los volúmenes, trata de hacerse eco y de ser afín a las características del lugar; volúmenes rectilíneos, sencillos, que escalonándose progresivamente, buscan en sus intersecciones y en los espacios que generan, la riqueza de un edificio destinado a la investigación y la documentación del patrimonio cultural.
gracias a EBV Estudio Barozzi Veiga
El edificio se inserta en un tejido en el que los límites se desdibujan y en el que la fuerza del paisaje no se basa en el valor individual de los elementos que lo componen sino en las relaciones y vínculos que se establecen entre ellos. Ahí es donde reside el carácter del lugar y al mismo tiempo la fuerza del emplazamiento; en esta complejidad de relaciones, en la acumulación de estructuras y elementos que a lo largo del tiempo han ido tejiendo un conjunto, en el que las cosas suceden de un modo natural.
El proyecto muestra una implantación sencilla, clara, que permite integrar en él las características básicas que el emplazamiento nos ofrece: topografía, escala, naturaleza, a través de las relaciones generadas por los volúmenes que lo forman con su entorno más inmediato. De este modo los vacíos entre los diferentes cuerpos del proyecto construyen progresivamente una relación cercana e íntima con el entorno, donde la naturaleza del paisaje se inserta dentro del proyecto para envolverlo y llevarlo a formar parte de ella.
Para buscar un coherente equilibrio entre paisaje y edificio, el proyecto fracciona el programa propuesto en diferentes piezas de una escala contenida, que permitan no colapsar el paisaje con una volumetría excesivamente impositiva. El tamaño y la disposición que adoptan los volúmenes, trata de hacerse eco y de ser afín a las características del lugar; volúmenes rectilíneos, sencillos, que escalonándose progresivamente, buscan en sus intersecciones y en los espacios que generan, la riqueza de un edificio destinado a la investigación y la documentación del patrimonio cultural.
Fredrik Sjölander
recycling center in the Vanadismountain . Stockholm
courtesy of Fredrik Sjölander
The project is an information for a recycling center in the Vanadismountain in Stockholm. The center is located on the entrance to the mountain.
The mountain was excavated in the 60s to make room for 200 garbage trucks and in 2005 opened the recycling center. Thanks to its unique location, it has great pressure from the inner city dwellers and they often get requests from schools on field trips that they want to come and learn about recycling.
Visitors make a hike on three floors of exhibition space and a visit to vanadisberget and recycling. The exhibition follows a number of items. From how they are created, they are used, the hose and finally recovered to the new. The exhibition has practical elements like Tom Tit and encouraging visitors to participate and explore. Visit may be help to sort different metals, grind down old newspapers into new paper or the construction of new objects from old.
courtesy of Fredrik Sjölander
The project is an information for a recycling center in the Vanadismountain in Stockholm. The center is located on the entrance to the mountain.
The mountain was excavated in the 60s to make room for 200 garbage trucks and in 2005 opened the recycling center. Thanks to its unique location, it has great pressure from the inner city dwellers and they often get requests from schools on field trips that they want to come and learn about recycling.
Visitors make a hike on three floors of exhibition space and a visit to vanadisberget and recycling. The exhibition follows a number of items. From how they are created, they are used, the hose and finally recovered to the new. The exhibition has practical elements like Tom Tit and encouraging visitors to participate and explore. Visit may be help to sort different metals, grind down old newspapers into new paper or the construction of new objects from old.
Rael San Fratello Architects
Straw Gallery . San Francisco
Rael San Fratello Architects . photos: © Matthew Millman
The Straw Gallery was designed for HEDGE Gallery for the 4th annual sf20/21 San Francisco Art and Design Show held at the Festival Pavillion, Fort Mason Center. The temporary gallery was on display from September 15th through 18th opening with a benefit for the San Francisco Museum of Modern Art’s educational programs.
The gallery is an aromatic, enveloping, and raw space in contrast to the refined and modern elements that are displayed within. The gallery consists of three unfinished, blackened steel display niches interwoven within the walls of straw bales. Each niche is an excavation that is filled with HEDGE’s highly edited visions of 20th and 21st century design, art and craft, presented at different levels relative to the eye and the hand of the visitor.
The juxtaposition of the two materials, steel and straw—one industrial and the other representing a storied agrarian history—heightens the tactile sensibilities as one navigates between the richness of the hay and the clean surfaces of the steel compartments. Straw is an incredibly effective acoustic buffer and the walls are in most places two bales thick and placed strategically to block views to the exterior as you enter the space. The experience within Straw Gallery is one of quiet, calm and focused observation in contrast to a busy exterior.
The several hundred wheat straw bales, an agricultural by-product used for bedding, roughage and fuel, used to construct the gallery were returned to the feed store. The steel shelves were recycled and will be used to construct furniture and shelving in San Francisco.
Rael San Fratello Architects . photos: © Matthew Millman
The Straw Gallery was designed for HEDGE Gallery for the 4th annual sf20/21 San Francisco Art and Design Show held at the Festival Pavillion, Fort Mason Center. The temporary gallery was on display from September 15th through 18th opening with a benefit for the San Francisco Museum of Modern Art’s educational programs.
The gallery is an aromatic, enveloping, and raw space in contrast to the refined and modern elements that are displayed within. The gallery consists of three unfinished, blackened steel display niches interwoven within the walls of straw bales. Each niche is an excavation that is filled with HEDGE’s highly edited visions of 20th and 21st century design, art and craft, presented at different levels relative to the eye and the hand of the visitor.
The juxtaposition of the two materials, steel and straw—one industrial and the other representing a storied agrarian history—heightens the tactile sensibilities as one navigates between the richness of the hay and the clean surfaces of the steel compartments. Straw is an incredibly effective acoustic buffer and the walls are in most places two bales thick and placed strategically to block views to the exterior as you enter the space. The experience within Straw Gallery is one of quiet, calm and focused observation in contrast to a busy exterior.
The several hundred wheat straw bales, an agricultural by-product used for bedding, roughage and fuel, used to construct the gallery were returned to the feed store. The steel shelves were recycled and will be used to construct furniture and shelving in San Francisco.
21.10.11
0
Buol & Zünd Architekten
Musicians' Apartment House . Basel
courtesy of Buol & Zünd Architekten . photos: michael fritschi
The various buildings of a discontinued factory dating from 1885 have been transformed into a spacious home and work environment for musicians and their families. The building fabric was not in all parts of good quality. The brick structure of the workshop in the backyard as well as the warehouse was adequate, and the buildings on Lothringerstrasse, which once housed both administration and manufacturing, were used in the ensemble since they had a certain formal panache. Structures of minor architectural value were demolished and the remaining elements incorporated into the new development, forming an interesting conglomerate of special qualities.
Acoustic adaptations enable people to both teach and live in the new apartments. Guest apartments, training rooms, a sound/recording studio, a canteen and a spacious children’s
playhall – all form part of the new musicians’ apartment house.
courtesy of Buol & Zünd Architekten . photos: michael fritschi
The various buildings of a discontinued factory dating from 1885 have been transformed into a spacious home and work environment for musicians and their families. The building fabric was not in all parts of good quality. The brick structure of the workshop in the backyard as well as the warehouse was adequate, and the buildings on Lothringerstrasse, which once housed both administration and manufacturing, were used in the ensemble since they had a certain formal panache. Structures of minor architectural value were demolished and the remaining elements incorporated into the new development, forming an interesting conglomerate of special qualities.
Acoustic adaptations enable people to both teach and live in the new apartments. Guest apartments, training rooms, a sound/recording studio, a canteen and a spacious children’s
playhall – all form part of the new musicians’ apartment house.
ICA Arquitectura
Nave 16 Matadero . Madrid
ICA Arquitectura . fotos: © Iñaqui Carnicero . video: © Luis Urculo . + plataforma arquitectura
Este proyecto es el resultado de un concurso abierto organizado por el Ayuntamiento de Madrid es la Ciudad en 2007. El objetivo era volver a usar uno de los edificios del antiguo matadero de Madrid como un nuevo centro cultural y un contemporáneo espacio multifuncional.
El espacio tenía que ser utilizado como sala de conciertos, sala de exposiciones, sala de conferencias o pasarela de moda, se pidió un sistema móvil que transforma el espacio de acuerdo con el programa requerido: la provisión de una versátil sala de exposiciones que puede funcionar como la mayor sala de exposiciones de Madrid o bien como un conjunto de espacios de exhibición independientes más pequeñas.
El aspecto de mayor valor del edificio es la imagen que representa para la ciudad desde a principios del siglo, si bien no lama la atención de todos a primera vista, sigue siendo parte del legado de la ciudad. Se decidió usar el espacio con los mismos elementos originales donde se colgaban los animales del matadero, pero esta vez para colgar las piezas de arte.
El año 2009 el presupuesto se redujo a la mitad por lo que se tuvo que optar por un solo elemento de construcción, en lugar de utilizar paneles deslizantes para dividir el espacio, se utilizó un elemento convencional y ordinario como las puertas de acero para resolver todas las dificultades. Cuando se abre este conjunto de puertas, se conecta el vacío central con el resto del espacio, logrando una total flexibilidad.
La introducción del espacio de doble altura, rodeado por las puertas contrasta con el carácter tectónico y la arquitectura intemporal de la capa restante del matadero. Se mantuvo la posibilidad de tener luz natural y las puertas para dividir el espacio también se utilizan como persianas o ventanas con el fin de obtener control de la iluminación.
ICA Arquitectura . fotos: © Iñaqui Carnicero . video: © Luis Urculo . + plataforma arquitectura
Este proyecto es el resultado de un concurso abierto organizado por el Ayuntamiento de Madrid es la Ciudad en 2007. El objetivo era volver a usar uno de los edificios del antiguo matadero de Madrid como un nuevo centro cultural y un contemporáneo espacio multifuncional.
El espacio tenía que ser utilizado como sala de conciertos, sala de exposiciones, sala de conferencias o pasarela de moda, se pidió un sistema móvil que transforma el espacio de acuerdo con el programa requerido: la provisión de una versátil sala de exposiciones que puede funcionar como la mayor sala de exposiciones de Madrid o bien como un conjunto de espacios de exhibición independientes más pequeñas.
El aspecto de mayor valor del edificio es la imagen que representa para la ciudad desde a principios del siglo, si bien no lama la atención de todos a primera vista, sigue siendo parte del legado de la ciudad. Se decidió usar el espacio con los mismos elementos originales donde se colgaban los animales del matadero, pero esta vez para colgar las piezas de arte.
El año 2009 el presupuesto se redujo a la mitad por lo que se tuvo que optar por un solo elemento de construcción, en lugar de utilizar paneles deslizantes para dividir el espacio, se utilizó un elemento convencional y ordinario como las puertas de acero para resolver todas las dificultades. Cuando se abre este conjunto de puertas, se conecta el vacío central con el resto del espacio, logrando una total flexibilidad.
La introducción del espacio de doble altura, rodeado por las puertas contrasta con el carácter tectónico y la arquitectura intemporal de la capa restante del matadero. Se mantuvo la posibilidad de tener luz natural y las puertas para dividir el espacio también se utilizan como persianas o ventanas con el fin de obtener control de la iluminación.
20.10.11
0
subarquitectura . Mario Filipetto
Cittadella dell'Edilizia . Como
subarquitectura
' Jenga' es un juego de habilidad física y mental que en suajili significa "construir". Como en el juego, el edificio es resultado de apilar bloques. En este caso programáticos: la puesta en el lugar de un sistema que es al mismo tiempo compositivo y constructivo. Es una estructura basada en parámetros estrictos pero flexibles. Capaz de asentarse en un lugar complejo y establecer conexiones con su entorno en todas direcciones.
Una construcción a escala de extrema ambigüedad. Que recibe a los visitantes como un filtro generando un atrio al aire libre. El centro del edificio es un gran vacio.
subarquitectura
' Jenga' es un juego de habilidad física y mental que en suajili significa "construir". Como en el juego, el edificio es resultado de apilar bloques. En este caso programáticos: la puesta en el lugar de un sistema que es al mismo tiempo compositivo y constructivo. Es una estructura basada en parámetros estrictos pero flexibles. Capaz de asentarse en un lugar complejo y establecer conexiones con su entorno en todas direcciones.
Una construcción a escala de extrema ambigüedad. Que recibe a los visitantes como un filtro generando un atrio al aire libre. El centro del edificio es un gran vacio.
DANIELE DURANTE studiobv36
NEW IPOST BUILDING . Rome
courtesy of DANIELE DURANTE_studiobv36
One of the strongest suggestions in the design approach is the presence in the area of high density buildings and the proximity to a ten- storey block occupied by the national telephone company. These contextual relations have pushed the project idea towards a dialogue with the urban scale, making the building like a “perspective block”, with a strong plastic impact.
The typology of block, defined by exact urban alignments opening and extending themselves towards the city, has been transformed from a closed object into a vertical sequence of variable flat elements.
The building is composed by eight longitudinal volumes, juxtaposed one over the other in an apparently casual relationship. This solution provides also functional aspects, like shadowing of main facade by jutting volumes.
At the same time solar exposition is controlled by a particular technological system that combines low -emissivity glass properties with a special polycarbonate panel made from triangular matrix interposed between two glass layers.
courtesy of DANIELE DURANTE_studiobv36
One of the strongest suggestions in the design approach is the presence in the area of high density buildings and the proximity to a ten- storey block occupied by the national telephone company. These contextual relations have pushed the project idea towards a dialogue with the urban scale, making the building like a “perspective block”, with a strong plastic impact.
The typology of block, defined by exact urban alignments opening and extending themselves towards the city, has been transformed from a closed object into a vertical sequence of variable flat elements.
The building is composed by eight longitudinal volumes, juxtaposed one over the other in an apparently casual relationship. This solution provides also functional aspects, like shadowing of main facade by jutting volumes.
At the same time solar exposition is controlled by a particular technological system that combines low -emissivity glass properties with a special polycarbonate panel made from triangular matrix interposed between two glass layers.
S&Aa . Federico Soriano y Asociados
New Taipei City Museum of Art . Taipei
Federico Soriano y Asociados . New Taipei City Museum of Art
The museum of all museums is shown as isolated pieces in a garden of bamboo swaying in the air. The reeds, in his pendulum movement, glimpse visitors walking towards the buildings. Only a few have emerged of the whole hundred. But once inside, we are in the museum of all museums.
Federico Soriano y Asociados . New Taipei City Museum of Art
The museum of all museums is shown as isolated pieces in a garden of bamboo swaying in the air. The reeds, in his pendulum movement, glimpse visitors walking towards the buildings. Only a few have emerged of the whole hundred. But once inside, we are in the museum of all museums.
19.10.11
0
OFIS architects
Shopping Roof Apartments . Bohinjska Bistrica
OFIS architects . + architizer
The initial task from the client was to build a new shopping mall on the plot of the existing one.
Furthermore the new project proposed use of the shopping roof for additional volume-as new apartments.
The wooden mass is located centrally in the village of Bohinjska Bistrica in the alpine area of LakeBohinj. The village has beautiful views towards the mountains but unfortunately it was architecturally damaged in the 60s with a textile factory and housing blocks, that were build around them. The textile factory was later closed down and the plot later occupied the old shopping mall and today the new one. The side views therefore are not very nice.
OFIS architects . + architizer
The initial task from the client was to build a new shopping mall on the plot of the existing one.
Furthermore the new project proposed use of the shopping roof for additional volume-as new apartments.
The wooden mass is located centrally in the village of Bohinjska Bistrica in the alpine area of LakeBohinj. The village has beautiful views towards the mountains but unfortunately it was architecturally damaged in the 60s with a textile factory and housing blocks, that were build around them. The textile factory was later closed down and the plot later occupied the old shopping mall and today the new one. The side views therefore are not very nice.
PinkCloud.DK
REZ-IDENTIAL OFFICE TOWER . New York
PINKCLOUD.DK
NYC Real Estate and Zoning = Architectural Innovation!
All New York City Skyscrapers are reflections of a single major and dominating metric – zoning ordinances. The ubiquity of this system and its constraints has defined a de-facto Manhattan vernacular, becoming a set of indigenous design principles but unfortunately also perceived by many to be an unyielding entity in which any deviation is met with suspicion and skepticism. The REZ Tower is a proposal that seeks to evolve the notion of a Manhattan Skyscraper through an explicit exploitation of city zoning laws, seeking to understand them as a guideline for new architecture forms.
PINKCLOUD.DK
NYC Real Estate and Zoning = Architectural Innovation!
All New York City Skyscrapers are reflections of a single major and dominating metric – zoning ordinances. The ubiquity of this system and its constraints has defined a de-facto Manhattan vernacular, becoming a set of indigenous design principles but unfortunately also perceived by many to be an unyielding entity in which any deviation is met with suspicion and skepticism. The REZ Tower is a proposal that seeks to evolve the notion of a Manhattan Skyscraper through an explicit exploitation of city zoning laws, seeking to understand them as a guideline for new architecture forms.
Wiel Arets Architects
Academy of Art & Architecture . Maastricht
Wiel Arets Architects . photos: Jan Bitter . more: archdaily
Conceived as an extension to the existing Rijkshogeschool, The Maastricht Academy of Art & Architecture provides new spaces for the school of visual arts and architectural design. The building is an incision into the body of the city, an entirely new and foreign organism invading its urban context; a process akin to the operation of a virus. Yet it is set in a discreet, almost camouflaged relation to the city, providing an enclosed public space that achieves an intimate and secluded condition from the main areas of urban activity.
The project includes the renewal of the existing Academy for the Arts, together with the extension affected by two buildings. Adjacent to the old building is the new structure that contains the auditorium, the library, an exhibition room, a bar and a roof garden. The connecting footbridge with translucent glass brick floor and ceiling leads one through the treetops into the workshop building that accommodates wood and steel workshops.
To follow Kenneth Frampton’s interpretation, this element recalls the design of the Dessau Bauhaus, spanning between the two volumes of the workshop and the four-storey public core.
To encourage a continuous dialogue, the design dwelt more on creating an environment that would be conducive to social interaction among the users of the building. This is affected through the circulation system, which dominates the plan. There is only one entrance to the entire complex, and only one ramp leading into the newly constructed auditorium, library, and bar. The aerial bridge through the treetops is also the only linkage to the other part of the extension. The adjoining patio is designed as a sculpture garden. Both students and professors are made to walk along the same route through the different faculties: Architecture, Fashion, Painting and Sculpture. The entire complex becomes an environment for continuous communication between students and professors.
Architects: Wiel Arets Architects
Location: Maastricht, The Netherlands
Project Year: 1993
Photographs: Jan Bitter
Wiel Arets Architects . photos: Jan Bitter . more: archdaily
Conceived as an extension to the existing Rijkshogeschool, The Maastricht Academy of Art & Architecture provides new spaces for the school of visual arts and architectural design. The building is an incision into the body of the city, an entirely new and foreign organism invading its urban context; a process akin to the operation of a virus. Yet it is set in a discreet, almost camouflaged relation to the city, providing an enclosed public space that achieves an intimate and secluded condition from the main areas of urban activity.
The project includes the renewal of the existing Academy for the Arts, together with the extension affected by two buildings. Adjacent to the old building is the new structure that contains the auditorium, the library, an exhibition room, a bar and a roof garden. The connecting footbridge with translucent glass brick floor and ceiling leads one through the treetops into the workshop building that accommodates wood and steel workshops.
To follow Kenneth Frampton’s interpretation, this element recalls the design of the Dessau Bauhaus, spanning between the two volumes of the workshop and the four-storey public core.
To encourage a continuous dialogue, the design dwelt more on creating an environment that would be conducive to social interaction among the users of the building. This is affected through the circulation system, which dominates the plan. There is only one entrance to the entire complex, and only one ramp leading into the newly constructed auditorium, library, and bar. The aerial bridge through the treetops is also the only linkage to the other part of the extension. The adjoining patio is designed as a sculpture garden. Both students and professors are made to walk along the same route through the different faculties: Architecture, Fashion, Painting and Sculpture. The entire complex becomes an environment for continuous communication between students and professors.
Architects: Wiel Arets Architects
Location: Maastricht, The Netherlands
Project Year: 1993
Photographs: Jan Bitter
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