Arch Daily |
- Loft in a Historic Tenement / CUNS
- House D / Dietrich | Untertrifaller Architekten
- Maslak No.1 Office Tower / Emre Arolat Architects
- ANGLE / Hiroyuki Arima + Urban Fourth
- BomBom Boutique Hotel / Architecture Studio YEIN
- Wu Ji Academy / Wutopia Lab
- Eric Parry Architects' 72-Story Skyscraper Receives Approval from City of London
- Clifton Hill Clinic / Cloud Architectiure Studio
- New Permanent Garden / Gabriel Orozco
- Faena Forum, Faena Bazaar and Park / OMA
- Calatrava's St. Nicholas National Shrine at the World Trade Center Tops Out
- Gamla Villan / Mer Arkkitehdit
- Värtaterminalen / C.F. Møller Architects
- BIG and BARCODE Win Competition for the Sluishuis Housing Development in Amsterdam
- "Never Built New York" Explores the Forgotten Past and the Future that Never Was
- Cañete Productive House / Seinfeld Arquitectos
- Zaha Hadid Architects Responds to Patrik Schumacher's "Urban Policy Manifesto"
- 5 Easy Steps to Improve Your Portfolio
- Frei Otto's Drawings and Models Showcased With Exhibition Design by FAR frohn&rojas
| Loft in a Historic Tenement / CUNS Posted: 29 Nov 2016 09:00 PM PST  © Hanna Długosz
 © Hanna Długosz From the architect. We would like to present you the reconstruction project of the loft's space into the private accommodation in an apartment building. The building was built in the late nineteenth century.  Floor Plan Both district and the building itself are located in the preservation maintenance zone. The tenement is located in the compact residential of the street, it has 4 floors, a cellar and an attic.  © Hanna Długosz Such space requires an individual approach as well as the application of unusual solutions, we did not change the cubature, gross covered area, its height, length, width and the number of the stores, however we have created a new history of the place!  Section  Section We tried to keep the effect of the maximally open space and the exposure of the important elements for us. Among them you can find the roof construction and the original height of the rooms.  © Hanna Długosz Very clearly exposed wooden roof construction gives the interior the flavor and in our opinion – it highlights its uniqueness. By creating a new function of the loft, we felt as if it was our operating pattern; the look of the interior is dedicated by the roof construction.  © Hanna Długosz Multiple number of windows in the whole loft allows the sun a better exposure of all the rooms. Moreover, the big white planes of the walls and ceilings do brighten the space. Lighted by the skylight, the open kitchen interior is a link between the private sphere of the owners and the living and the guest room. The large kitchen with a huge cooking island is an excellent place for cooking and spending relaxing time in the hammock. As well as the tenements, we also love the natural materials. Here, except for the pine wood, the brick played the major role. We used it on the knee walls, and on the whole length of the tenement's wall, By doing it – we have emphasized the length of the apartment.  © Hanna Długosz The living room is a separate big part of the whole open daily space. This is place with the TV and comfortable, variable seats, located around. It is a perfect space to relax with friends The bathroom, dedicated mainly to the guests, but used as a toilet on a daily basis, has a basin, lavatory and the shower. Another bathroom was designed in the bedroom. The idea of an open bathtub next to the bed is the removal of all the barriers between these spaces. The bathtub is located in the bay window, with an easy access to the wardrobe located in this room. Next to it, we have additionally designed a separate box with the toilet and the shower.  © Hanna Długosz The attic's floor is a mix of the pine wood and the very dark gres tiles with an interesting and irregular surface. We kept the interiors in the earthy tones, that together with the timeless whiteness present themselves the prettiest. Product Description. We wanted to keep the original character of the tenement that's why one of the most important materials we used are definitely the original sliced bricks and also wooden floors (pine).  This posting includes an audio/video/photo media file: Download Now |
| House D / Dietrich | Untertrifaller Architekten Posted: 29 Nov 2016 07:00 PM PST  © Bruno Klomfar
 © Bruno Klomfar Located on a mountain overlooking Bregenz, Haus D′s open floorplans and generous glazing allow for magnificent views over the surrounding countryside and Lake Constance. The home is stratified into 3 stories, with the Entrée and utilities located on the first floor, guest and children′s rooms on the second, and Master bedroom and an open layout kitchen+dining+living room on the third. In order to strengthen the connection to the natural environment, the third floor also boasts a patio which wraps around the entirety of the building.  © Bruno Klomfar  Floor Plan 01  © Bruno Klomfar The geometric form of the home, combined with the architect′s decision to construct with concrete and wood, create a powerful building that seems to blend into the surrounding landscape. Furthermore, the attention to detail highlights the craftsmanship for which this region of Austria has become famous.  © Bruno Klomfar  This posting includes an audio/video/photo media file: Download Now |
| Maslak No.1 Office Tower / Emre Arolat Architects Posted: 29 Nov 2016 06:00 PM PST  © Thomas Mayer
 © Thomas Mayer The project for the office building to be situated on the Mecidiyekoy-Maslak axis, where Turkey's foreign capital takes its most visible form, was conditioned by the tension between density of its environ and the tightness of the project site. It was the client's wish that the building would be a prestigious building, just like all the other surrounding buildings which only meant to be prominent, having been developed with no certain rule, plan or order.  © Thomas Mayer Apart from the other projects along the Buyukdere Avenue, which is the main business district of Istanbul, Maslak No.1 Office Tower was designed to enrich the quality of the typical office space by vertical gardens. In order to accomplish that, a rational office block which was planned over a 8.25 x 8.25 m grid, enveloped with a free formed glazing system was designed. The envelope, acting as a secondary facade in south and west direction is detached from the building up to 17 meters, let vertical gardens in 20 meters high. The space in-between two facades was considered as a buffer zone both for the acoustical and the climatic sense. The simple reinforced concrete office building with a basic, operable aluminum framing and glazing system helped in ease of construction and decrease in budget compared to similar investments, being free of direct wind load and sun rays. The envelope in steel structure, while creating the climatic control, provides the building with the prestige, identity and peculiarity through the crowd of alike structures that is a part of the client's brief.  © Thomas Mayer  Ground Plan  © Thomas Mayer The curvilinear plan of the facade formed by the 150 x 200 cm rectangular modules was designed regarding the perception from the highway. These glass panels are arranged in the texture of fish-scale letting air flow through and they have a translucent film layer over it. The opacity of the film layer diverse, up to the orientation of the curvilinear facade; on southern facade a less transparent pattern was chosen; however in north, almost a transparent film was used which are designed according to environmental control issues.  © Thomas Mayer The office buildings at this district are planned and are being managed as private gated communities, independently secured and controlled. No free access or passage is allowed even at the communal ground levels, that prevents any possible interaction with the street and neighboring alike complexes. As a matter of creating porosity on the urban level, a considerable part of the ground floor, together with the buffer zone and the outside terrace at Maslak No:1 Tower is kept except the secured, private areas of the building, that welcomes public freely with a hope that future developments or refurbishments at the region may carry on this attitude to empower the urban life throughout the district. Concept Project presented at the beginning of 2009 was developed with all parties and local authorities until 2012. As opposed to many other projects in Turkey, the construction started then with all documents ready and completed in 2014 through a well-organized and controlled process.  © Thomas Mayer Sustainability Statement Maslak No.1 is certified with LEED Gold and is considered among the high-qualified and highly-demanded office buildings of the district, in spite of notably simple choice of materials compared to the counterparts in the market, inhabiting national and international significant companies such as Deloitte as the main tenant.  Section Main volumetric composition of the project depends on a simple reinforced concrete office block and a porous envelope that controls the general climate of the building. While letting air flow through the glass panels arranged as fish-scale, the envelope filters direct effects of the climate. The in-between buffer zone, provided the design of the office framing dependent on most simplest parameters technically; low wind loads and least amount of uv control. The envelope also provided acoustic comfort, made natural ventilation possible at suitable seasons by operable windows which also decreases the sense of working in a plaza effect on employees. The existence and density of the dots on the film coating on these glass panels are designed parametrically according to the movement of the sun in order to decrease solar gain and to provide shade control while at the same time letting panoramas at eye level.  © Thomas Mayer General office planning strategy takes into account the issues of flexibility and adaptability, designed in the scope of shell and core design. The carpark levels, lobby space and circulation core together with minimum amount of common restrooms were completed with simple finishes of optimum budgets. Large amount of exposed concrete and use of partial suspended ceiling elements, together with a simple local stone on the floor are the main materials used. The rest of the office floors were finished as a simple naked grid structure, to be equipped with raised floor and dry wall structures. Concrete surfaces were finished in a quality that once again encourages the tenant to keep it as exposed or with partial ceiling elements.  © Thomas Mayer The building has maximum energy efficient design based on the latest technology in building materials, illumination and mechanical systems. The 3D Variable Refrigerant Volume (VRV) system and heat recoverable HVAC Units help it to reach high efficiency level, aiming to reach an energy saving level of 40% compared to buildings with similar features. The building is equipped with maximum cooling / heating and story based control with three tube VRV system and reinforced fresh air with recycling fresh air units. Regenerative elevators produce their own electricity, water efficient appliances and fixtures are installed, energy saving is provided by the use of LED and T5 lighting fixtures,  © Thomas Mayer The location of the site had benefits of highway access for material supply during construction as well as its close proximity to public transport; bus and metro that are a few minutes walk away. Finally, the project tries to create an urban porosity on the ground level, as described in the project description text, as opposed to the rest of the district that would behave as seeds for a future consideration of urban access and communal use throughout the neighborhood.  This posting includes an audio/video/photo media file: Download Now |
| ANGLE / Hiroyuki Arima + Urban Fourth Posted: 29 Nov 2016 02:00 PM PST  © Kenichi Suzuki  © Kenichi Suzuki These days, we are losing focus of our main theme. Perhaps we need to include the surrounding margins when we address the meanings of virtualized space.  © Kenichi Suzuki "...If our experience of reality is to maintain its consistency, the positive field of reality has to be "sutured" with a supplement which the subject (mis)perceives as a positive entity but is effectively a "negative magnitude."  © Kenichi Suzuki The sire is only a few minutes walk from the Ohori Park, where the outer moat of the Fukuoka Castle used to stand during the 1600s. Today, the area has become community park with a perimeter of about 2km, enjoyed by locals as a place for talking, running, and cycling. The park is also a cultural region containing an art museum, Noh theater, gallery, and restaurant.  Diagram Following this context, the first floor and courtyard were designed as a gallery the embraces the concept of "beautiful cars as a lifestyle." The house centers around the courtyard that features a selection o attractive trees such as oak, maple, katsura, and ash, and is designed so that it is disconnected from the outside world. The floor and wall surfaces that face the courtyard, however, have different angles in various places to transform and spread light. Various spaces surround the courtyard in a U-shape throughout the three levels, each offering a view of the inside that can be seen from the different zones. The surrounding environment is monotonous with clustering mid-rise structures, and the project has no distant views. The design emphatically focuses n defining the house as a distinctive couple cut off from the ordinary foreground, and to explicitly yet reasonably screen its environment. While functional, both interior ad exterior spaces of ANGLE contain fluctuation and variations in many places. Volumes eoxand, contract, and continue, and the project becomes unified, through the use of material and texture . The couple, the children, and the grandmother. Each member of the family enjoys life ; according to their own taste and style.  © Kenichi Suzuki  This posting includes an audio/video/photo media file: Download Now |
| BomBom Boutique Hotel / Architecture Studio YEIN Posted: 29 Nov 2016 12:00 PM PST  © Yoon, Joonhwan
 © Yoon, Joonhwan "Spring! It's spring!" This was what we hoped at the beginning of this project the first visitors of the boutique hotel BomBom would call it. ('Bom' is the English transliteration of a Korean word which means the season of 'spring.')  © Yoon, Joonhwan Architecture as a means of communication People use various codes as a means of intercommunication or to embed information. The architect believes architecture can be a means of communication and the container of information.  © Yoon, Joonhwan  Section  © Yoon, Joonhwan For travelers, the hotel is not only an accommodation but also an architectural place where they can share information. In this sense, we inserted the codes of '봄 (bom)' and 'spring' into the facade image of the hotel. The code on the facade is not just to assume the function of architecture with simple fenestration, but also to serve as a design element that controls the neighboring detrimental scenes, thereby making the lively image of Hotel BomBom flow in and out of windows with light penetrating through them.  © Yoon, Joonhwan BomBom as a shelter for travelers A tourist city where the ice sports game of the 2018 Pyeongchang Winter Olympics will be held, Gangneung is a place that expects a new and transformative trend to be seen. The site is a part of the commercial area in Sol-ol Residential District, where accommodations and entertainment facilities are mixed up. The original site was a fallow land which seemed to wait for the buildings with similar characters to come up. This building seems to have a significance in its same functioning as accommodation but with a completely different image. We wanted to impart a sense that spring has come to everyone who sees BomBom.  © Yoon, Joonhwan  Plan (level 6)  © Yoon, Joonhwan BomBom provides low stone fences and benches under roadside trees and the cafe on the 2nd floor where the hotel guests can have breakfast in the morning and communicating and sharing travel information in the evening. The standard rooms are on the 3rd and 4th floors, while the duplex suite rooms are on the 5th and 6th floors each of which has an exclusive terrace open to the outside in the urban center, serving as an open but also private space for rest.  © Yoon, Joonhwan Materiality and architecture The old bricks giving off the sense of warmth seemed to be the most appropriate for the image of BomBom. Amongst many kinds of bricks, I intended to choose the ones which express a bright sense of spring, thus using the antique bricks that can embrace the reminiscence of travelers. The brickwork was built in three ways: the stairways and the corner window at the ground-floor front were made with cavity wall masonry, so as to flow the light from inside BomBom toward the urban nightscape; the exposed antique brickwork outside the east and south balconies on the 2nd floor becomes both exterior and interior materials, serving to transfer the external image into the inside; the upper vertical mass was made with protruding brickwork in order to emphasize the sense of massing and the unique texture of bricks.  © Yoon, Joonhwan  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 Nov 2016 11:00 AM PST  Courtesy of Wutopia Lab
 Courtesy of Wutopia Lab In 2006, house No. 1, house No. 2 and courtyard No. 3 were completed at the same time in Jiu Jian Tang, Shanghai, which were all designed by famous international architect Arata Isozaki.  Courtesy of Wutopia Lab In 2011, the owners of these estates, unbeknownst to the others, invited local architect Yu Ting to transform them one by one.  Courtesy of Wutopia Lab After a long time of disuse, house No.2 would become an academy special for ancient Chinese classics, expanding from 400 to 900 sqm, as the owner's wish.  Courtesy of Wutopia Lab After bound up the old building with bamboo curtain wall, the architect covered it with a translucent rice paper glass box to weaken the sense of volume. The side atrium, a public space lacking in old building appeared naturally in the gap between these two boxes. The 6-meter-high gate, looks like a dramatic cave made the side atrium more like a courtyard blurring the inside and outside space.  1F plan The new-built classroom is a pure glass box. It suggests functional differences of interior by comparing to old building in symmetry to reach an accurate balance on the façade. For example, rounded and right angle; translucent and transparent, vertical and horizontal grid.  Courtesy of Wutopia Lab The façade of Wu Ji is a space not a boundary. Tier upon tier, Architect used Capitalism architecture vocabulary to create Chinese mood as a result in this space. The Isozaki's work can't be elucidated in the Wu Ji at last. It is only a distant memory. Wu Ji is a totally new one.  Courtesy of Wutopia Lab Those 3 buildings were looked on as whole but humdrum by Isozaki. As a result of different functions, they rebuilt in different methods, finally reached a balance of harmony, which we called Mutation.  Section 2-2 You can find more information on the other two buildings, one is 'Kaisersaal of Longevity，Kun opera playhouse'，another is 'painter's Atelier'.  Courtesy of Wutopia Lab  This posting includes an audio/video/photo media file: Download Now |
| Eric Parry Architects' 72-Story Skyscraper Receives Approval from City of London Posted: 29 Nov 2016 09:20 AM PST  © DBOX for Eric Parry Architects Eric Parry Architects' 1 Undershaft has been granted planning permission from the City of London Corporation's Planning Committee, which will allow the 73-story tower to become the tallest building in the London Financial District and the second tallest building in the UK, behind only The Shard.  © DBOX for Eric Parry Architects The 295 meter (967 foot) tall structure will house over 130,000 square meters (1,400,000 square feet) of Grade A office space and 1,800 square meters (19,3875 square feet) of retail and restaurant space accessible from an open public square beneath the building.  © DBOX for Eric Parry Architects At the top of the building, a free public viewing gallery, the tallest free observation deck in the UK, will provide views of the city and an education center with two classrooms. A bank of dedicated elevators will transport visitors to the deck, 7 days a week.  © DBOX for Eric Parry Architects The project (already being dubbed "The Trellis") will join the group of iconic towers that make up the City of London's distinctive skyline, including the Leadenhall Building by Rogers Stirk Harbour + Partners (The Cheesegrater), Foster + Partners' 30 St Mary Axe (The Gherkin), and PLP Architecture's upcoming 22 Bishopsgate.  © DBOX for Eric Parry Architects Learn more about the project, here. News via Eric Parry Architects.  This posting includes an audio/video/photo media file: Download Now |
| Clifton Hill Clinic / Cloud Architectiure Studio Posted: 29 Nov 2016 09:00 AM PST  © Jeremy Wright
 © Jeremy Wright From the architect. The Clifton Hill Clinic challenges the design norm prevalent in local medical practices. The 1901 former residential building has been transformed into a 9 room contemporary facility that will become an important social hub for the local community.  © Jeremy Wright Inspired by a visit to the Royal Children's Hospital in Melbourne the client, a local GP challenged us to deliver a cutting edge conversion on a very tight budget. We cut an internal corridor through the center of the site and fed of that space. This allowed us to create colour and light that is typified by the stair light well and courtyard spaces.  Section  Section The building has created considerable local interest since its completion, its light and airy feel very different to the medical practices the locals visit.  © Jeremy Wright Product Description. The client for the project required a tough and seemingly impenetrable exterior cladding to the rearof the property, worried about potential break-ins We selected VM Zinc to provide this exterior but also for its beautiful aesthetic properties.  © Jeremy Wright  This posting includes an audio/video/photo media file: Download Now |
| New Permanent Garden / Gabriel Orozco Posted: 29 Nov 2016 07:00 AM PST  © Andy Stagg
 © Andy Stagg Created over the past two years by the artist, with support from 6aarchitects and horticulturists at the Royal Botanic Gardens, Kew, this extraordinary garden will be open to the public every weekend and used by invited groups during the week. It introduces a new, planted entrance to the garden for residents of Sceaux Gardens housing estate, where the SLG has run art programmes for a number of years. The opening of the garden marks a pivotal moment in the SLG's history of working with artists on ambitious and challenging projects which aim to inspire, attract and connect with large and diverse audiences.  Plan Establishing a tension between symmetry and assymetry, a geometry of intertwining circles intricately outlined in brick dimensioned york stone subtly maps a series of discreet spaces or notional rooms. Each is lent its own distinctive character through slight shifts in form or by being at different levels, variously planted or featuring seating, a sink, water butt or welcome bowl built up from the york stone.  © Andy Stagg The various levels and spaces can be used interchangeably for sitting, eating, playing or showing work by other artists, reflecting the multiple activities the garden will be used for. The choice of materials was drawn from the language of the gallery's Victorian building and includes bricks from the newly opened up rear facade. Playing on the idea of an urban ruin, the garden will gradually evolve to become rambling and overgrown with different grasses, low level creepers and fragrant plants chosen with expert advice from horticulturists at the Royal Botanic Gardens, Kew.  Plan  Plan The invitation to create a garden at the SLG as a permanent art work presented a unique opportunity to extend my work into new territory. From my first visit I was impressed by the SLG's commitment to its local community and neighbourhood and intrigued by the relationship between the garden space and its different audiences, and the idea of creating something which could provide an inspiring platform for all of them. I started to think about various geometries emerging from the architecture surrounding the space and how they might be re-integrated into it as the basis of a design. It has been a fascinating process working directly with the gallery, architects and horticulturalists to develop the plans for the work which I am excited to see become a reality.  This posting includes an audio/video/photo media file: Download Now |
| Faena Forum, Faena Bazaar and Park / OMA Posted: 29 Nov 2016 05:45 AM PST  Faena District. Image © Iwan Baan
 Faena District. Image © Iwan Baan From the architect. As the cultural core of the Faena District, the Forum provides a focal point to the neighborhood and to the mid-Beach zone at large. The ensemble of three buildings – the Faena Forum, Faena Bazaar and Parking—enrich Faena's hotel and residential components along Collins Avenue, providing a dynamic symmetry between the district's cultural and commercial programming across Miami Beach's main thoroughfare.  Faena Forum. Image © Iwan Baan  Faena Forum. Image © Iwan Baan The existing site presented three distinct conditions for the three distinct programs– a large, wedge shaped site for the Forum, a protected historic art deco hotel for the Bazaar and an empty lot allocated for parking. Although the Faena District enjoys a unique location spanning two waterfronts, the cultural components were positioned on the quieter, residential zone along Indian Creek rather than the activated Atlantic beachfront.  Faena Forum Section  © Kris Tamburello The Forum claims the heart of the complex by addressing this urban context with two volumes that generate distinct frontages toward Indian Creek Drive and Collins Avenue. Embedded within the residential zone west of Collins, the Forum's cube and cylinder achieve the same intimate scale as the Bazaar and Park. The Forum's circular plan enables the public domain to expand, activating pedestrian movement within the district. A 45-foot cantilever allows the landscaped plaza to slip under the Forum along Collins, providing a dramatic sense of arrival.  Forum Spiral Balcony. Image © Iwan Baan The combination of the Forum's classical dome space with a black box theater in the main assembly space provide the ultimate flexibility for the diverse programming of Faena's multifaceted ambitions. Combined, the full layout has the capacity for large scale events. Independently, the spaces can be divided to host distinct events, with dedicated acoustics and arrival. The Forum represents endless possibilities to host a range of events - from concerts to conventions; roundtable discussion to banquets; intimate exhibitions to art fairs- all within a single evening. Liberated from obligations to operate as a strictly institutional or a strictly commercial entity, the Forum presents a new typology for interaction, leveraging the ambiguous advantage of Faena's redefinition of culture.  Faena Distric. Image © Iwan Baan  Faena District Section  Faena District. Image © Iwan Baan  This posting includes an audio/video/photo media file: Download Now |
| Calatrava's St. Nicholas National Shrine at the World Trade Center Tops Out Posted: 29 Nov 2016 05:20 AM PST  via Saint Nicholas National Shrine at the World Trade Center The Santiago Calatrava-designed St. Nicholas National Shrine at the World Trade Center has topped out, and capped with a temporary, six-foot-tall cross. The Byzantine-styled structure was envisioned by Calatrava in 2013 as a non-denominational spiritual center to replace the original St. Nicholas Greek Orthodox Church, located at 155 Cedar Street, which was destroyed on 9/11. Now, the 40 structural pieces of the ribbed dome have been set into place, matching the number in the dome of Hagia Sophia. Foundation work on the project began just over a year ago. Located around the corner from Calatrava's "Oculus" at the WTC Transportation Hub, the church is being constructed at a cost of $40 million, raised completely from private donors. The project is estimated to complete in early 2018, at which time, the permanent cross will be lifted into place. News via The New York Times. H/T Curbed NY. Calatrava Reveals Design for Church on 9/11 Memorial Site Video: Santiago Calatrava On His Design For Ground Zero's Only Non-Secular Building  This posting includes an audio/video/photo media file: Download Now |
| Gamla Villan / Mer Arkkitehdit Posted: 29 Nov 2016 05:00 AM PST  © Marc Goodwin
 © Marc Goodwin "Gamla Villan" was designed to connect with unique history of the villa district built between 1879 and 1939. During this period a famous spa with celebrity guests operated in Hanko. Most of the old villas have been preserved with their grand towers, verandas, balconies and charming atmosphere still intact. The aim was to create a modern house with a touch of historic Hanko.  © Marc Goodwin  Floor Plan  © Marc Goodwin The house sits on a quiet and sheltered meadow in Hanko, Finland. Oak and apple trees combine with a view across the meadow to the sea to provide coordinates which situate the house in its surroundings.  © Marc Goodwin Several steps were taken to increase volume and create a sense of dignity in keeping with a villa in this area. The cold storage / guest room area was integrated into the main space. The height of the house was emphasized which also gave possibilities to play with the loft space.  Section The entrance facade to the street with systematic narrow windows is restrained and calm. The roof is pitched, but over the main living space it is turned - origami-like - to face the garden and the sea. As a result the garden comes as a surprise with its groin vault structure. The high landscape window creates an illusion of a space bigger than its area. Through the loggia in front of the glass wall one moves gradually from the living room outside to the terrace.  © Marc Goodwin  This posting includes an audio/video/photo media file: Download Now |
| Värtaterminalen / C.F. Møller Architects Posted: 29 Nov 2016 03:00 AM PST  © Adam Mørk
 © Erik Adamsson The new terminal for Stockholm's permanent ferry connections to Finland and the Baltics will be a landmark for the new urban development Norra Djursgårdsstaden - both architecturally and environmentally.  © Adam Mørk The firsthand experience of the terminal reveals a confident realization and immediacy detailing that demonstrates an innovative new type of typology in the area.  © Adam Mørk Mixing urban park and infrastructure  © Adam Mørk Therefore, the terminal is raised to be at level with the urban zone, so it is easy for both pedestrians and traffic to access. At the same time the roof of the terminal building is designed as a varied green landscape with stairs, ramps, niches, and cosy corners, inviting both Stockholmers and passengers for a stroll or relaxing moments, while enjoying the view of the ferries, the archipelago, and the city skyline.  Site Plan In that way radically blurring the way in which the line between architecture, harbour and the rooftop landscape is experienced, linking the terminal to its maritime context in a direct manner, both in scale, tectonics and though its materiality - but also back to the city through its accessible public park on top.  © Adam Mørk Clarity and consistency  © Adam Mørk Focus on light  © Adam Mørk  Section  © Adam Mørk Made to be self-sufficient in energy  © Adam Mørk An estimated four million people annually will pass through Värtaterminalen, travelling to and from Finland and the Baltics.  © Adam Mørk Product Description.The firsthand experience of the terminal reveals a confident realization and immediacy detailing that demonstrates an innovative new type of typology the area, capable of intermixing fluid spaces for traffic and passengers, further enhanced through a setting of large seamless surfaces, interwoven from outside in and outwards. Applicating a special atmospheric sensuality and attention to material, detail - perhaps more parallel to the architecture of its vessels it serves than the traditional architecture in the area, surrounding the site of the terminal.  © Adam Mørk Radically blurring the way in which the line between architecture, harbour and the rooftop landscape is experienced, linking the terminal to its maritime context in a direct manner, both in scale, tectonics and though its materiality - but also back to the city through its accessible public park on top.  © Adam Mørk A deliberate clarity and consistency of architectural solutions, most clear through the terminals exposed zig-zag trusses, vast use of floor-high seamless panoramic glass sections and seem less floors and cladding used for its facades and ceilings. And for the urban park it's vast green buildup on top it's roofscape.  This posting includes an audio/video/photo media file: Download Now |
| BIG and BARCODE Win Competition for the Sluishuis Housing Development in Amsterdam Posted: 29 Nov 2016 02:30 AM PST  © BIG / Barcode Architects BIG and Barcode Architects have been selected as the winning team in a competition to design a new mixed-use building in the emerging district of IJburg Steigereiland in Amsterdam. To be known as Sluishuis (Lock House), the building will serve as a new icon connecting the neighborhood to Amsterdam's historic center while providing 380 zero-energy residences, 4,000 square meters of commercial and public space, and a marina with space for up to 30 houseboats.  © BIG / Barcode Architects The winning design takes the form of a classic European courtyard typology, adapted to the canal-centered landscape of Amsterdam and the complex context of the site, close to both large infrastructure and small-scale urban development. Towards the water, the building corner is lifted to bring daylight and views to inner apartments and to allow watercraft to enter the complex. From this peak, a cascade of landscape terraces creates a transition from the scale of the cityscape to its small-scale surroundings.  © BIG / Barcode Architects "Having spent my formative years as an architect in Holland at the end of the 20th century, it feels like a homecoming to now get to contribute to the architecture of the city that I have loved and admired for so long," said Bjarke Ingels, Founding Partner of BIG. "Our Sluishuis is conceived as a city block of downtown Amsterdam floating in the IJ Lake, complete with all aspects of city life. Towards the city, the courtyard building kneels down to invite visitors to climb its roof and enjoy the panoramic view of the new neighborhoods on the IJ. Toward the water, the building rises from the river, opening a gigantic gate for ships to enter and dock in the port/yard. A building inside the port, with a port inside the building."  © BIG / Barcode Architects  © BIG / Barcode Architects Around the building, a vegetated promenade connects an archipelago of public program elements, including mooring points for houseboats, a sailing school, and floating gardens. The pathway loops around to connect to a public passage climbing the terraces on the roof of the building, leading to community viewing platform at the building's peak. "We have tried to design a building with a surprisingly changing perspective and a unique contemporary character, which reflects the identity of the future residents and all users of Sluishuis." explained Barcode Architects Partner Dirk Peters.  © BIG / Barcode Architects The design was lauded by the competition jury for its ambitious sustainability goals, which aim to increase social sustainability by "reducing environmental impact during the construction phase, limiting total CO2 emissions, and by using renewable resources throughout the building." "The world-famous urban environment of Amsterdam was created by the fusion of water and city," said Andreas Klok Pedersen, Partner at BIG. "The new Sluishuis is born of the same DNA, merging water and perimeter block and expanding the possibilities for urban lifeforms around the IJ." News via BIG.  © BIG / Barcode Architects  © BIG / Barcode Architects  © BIG / Barcode Architects  © BIG / Barcode Architects  © BIG / Barcode Architects  © BIG / Barcode Architects  © BIG / Barcode Architects  © BIG / Barcode Architects  © BIG / Barcode Architects  © BIG / Barcode Architects
 This posting includes an audio/video/photo media file: Download Now |
| "Never Built New York" Explores the Forgotten Past and the Future that Never Was Posted: 29 Nov 2016 01:30 AM PST  Raymond Hood Skyscraper Bridge. Image Courtesy of Metropolis Books This article was originally published by Metropolis Magazine as "An Incredible Journey into the New York City that Never Was." Imagine the waters surrounding the Statue of Liberty were filled up with land. That you could walk right up to Lady Liberty herself, following a path from Manhattan's Battery Park. Believe it or not, in 1911, this could have been. In Never Built New York, authors Greg Goldin and Sam Lubell (foreword by Daniel Libeskind) describe with irony, and sometimes nostalgia, the most significant architectural and planning projects of the last century, projects that would have drastically changed the city—but never did.  Cover of Never Built New York featuring Zaha Hadid's project for 425 Park Avenue. Image Courtesy of Metropolis Books The book organizes over one hundred projects in a geographic way, starting with citywide plans to projects located in Downtown, Midtown and Uptown Manhattan, Bronx and Queens, Brooklyn and Staten Island. Some are well known, such as the long-lasting battle for the design of the United Nations headquarters or the tragic collapse of an ambitious master plan for Ground Zero. Others are unexpected and surprising—see Moshe Safdie's Habitat New York residential project or radical as Koolhaas' tower for 23 East 22nd Street. A few are pure flights of fancy. Most really could have been built; for reasons often financial and political in nature, however, they never saw the light of day. "The book taps into a part of all humanity—the what if. What if I had done that. What if I had married her? What if I had moved there? Everybody thinks about that," says Lubell.  T. Kennard Thomson, "City of New Manhattan." The plan consisted in extending Manhattan for four miles into the Upper Bay. This 1,400 acres addition would have stretched the city from Battery Park all the way to the Statue of Liberty and beyond. Image Courtesy of Metropolis Books Just as compelling as the extraordinary collections of drawings is the vivid language the authors use to tell the projects' stories. Goldin and Lubell, whose editorial tone ranges from sarcastic to critical, introduce the reader to the people behind these visionary projects, giving us glimpses of their dreams and obsessions.  Raymond Hood Skyscraper Bridge. Image Courtesy of Metropolis Books Raymond Hood, the architect behind the Daily News Building and the American Radiator Building, is one such protagonist. The authors recount how, in 1925, Hood designed a 10-thousand-foot-long bridge that was also a skyscraper. The design included two residential towers 50 to 60 stories tall, which functioned as pillars to anchor the suspended bridge. The megastructure would have accommodated space for 50,000 people, shops, theaters, and esplanades. Elevators would grant residents access to the waterfront for boating, swimming, or other aquatic activities. Hood defended the scheme as a feasible solution to traffic congestion: "Serious minds have claimed that the project is not only structurally sound but possessed of unusual advantages, financially."  Office of Metroplitan Architecture, 23 East 22nd Street. Image Courtesy of Metropolis Books Traffic congestion was also a source of vexation for Robert Moses, whose 1941 Mid-Manhattan Expressway project was part of a major scheme to build five crosstown expressways. At a height of ten floors above the street, the expressway would have run through a densely built mid-town, literally breaking into existing buildings. Moses envisioned commercial and parking spaces on top of the viaduct, and buildings hanging from the highway "like barnacles on some great seagoing bark," in the authors' words.  Rufus Henry Gilbert Elevated Railway. Image Courtesy of Metropolis Books Another protagonist, Rufus Henry Gilbert, felt the city needed more mass transit. In 1870 he envisioned a train propelled by compressed air that would run inside "atmospheric tubes." These pneumatic tubes would be suspended on top of a slender gothic arch, supported by fluted Corinthian columns. Gilbert battled with all his force to see his project come true, but was defeated by lack of fundings and power maneuverings. According to Lubell and Goldin, he died "impoverished and broken." The non-built New York informs the one existing today. In some cases, it underlines the city's lack of audacity; how else would one characterize the ditching of Mies van der Rohe's sleek modernist tower cluster, south of Water Street, for one of the bulkiest office towers in the city–One New York Plaza? In others, it shows an urban nightmare narrowly avoided— what if, for example, Moses's crazed Midtown-Expressway and 5th Avenue extension through Washington Square Park had been given the go-ahead?  Ludwig Mies Van Der Rohe Battery Park Apartments. Image Courtesy of Metropolis Books Never Built New York is ultimately a guide to the city that goes beyond what's immediately visible. It helps compare the New York that "is" with the one it could have been, and what it might one day be. As Goldin and Lubell put it: "this trek through the distant and recent past is also a journey ahead. Never Built New York is about the power of ideas to shape the future. Indulge and imagine."
  This posting includes an audio/video/photo media file: Download Now |
| Cañete Productive House / Seinfeld Arquitectos Posted: 29 Nov 2016 01:00 AM PST  © Juan Solano Ojasi
 © Juan Solano Ojasi Our commandment: a house project for Lucy, who lost everything during Pisco earthqueake on 2007. It is an example of a poblation living drama that suffers, as many others, the consequences of expanding and nonplaning through the abstent of a place to live and social and fisical support. This project should have developed by selfconstruction and family involvement. Nowadays, Cañete Productive House pretends to be a positive experience where Lucy and all the poblation will have new life achievements. In order to avoid the local difficulties about electric energy production, we are making an especific investigation with Erich Saettone and Michelle Prutsky that allows the introduction of green energy into houses taking advantage of the weather conditions.  Axonometric  Axonometric This project is located at the province of Cañete in the city of Lima, Peru. The urban structure takes position along a covered and damaged main street, symbol of the abandonment. We can find two situations in vernacular houses characteristics of the peruvian coast: First, the patio as a living generator in consequence of the weather. Although, the ALAR: an intermidiate space beetween the house and the street, as a neighbourhood life organizator. This situation will be endorsed by Lucys memories about her relationship with the exterior (her patio) to do her daily activities , disolving the interior-exterior limits. Furthermore, the poblation relationship has ended because of the insecurity that avoids intermidate spaces beetween private houses and streets.  © Juan Solano Ojasi In consequence, we propose influently solutions and the street invigoration. That is why our first measure is a front patio carved in the house facade to establish transitional relations, while reforcing the street with a front side based in comercial activities for the family to get economic incomes. Therefore, we hope habitants can reach their public relations and improving their life quality. As a result, the “Alar” has been made as a reinterpretation of the site architecture through an urban mobiliary which offers shadow and street activities for their community.  Section Section  Section Section Cañete Productive House borns for the stage development necesity because of the economic posibilities. The first stage, on ground level, will be used for any economic activity and will home to the intimate family: mother, daughters and the grandson. Moreover, the second stage seeks the development of two housing units available to be rented on the second floor and to improve the site use. For instance, a damp zone where the services will be done. The first stage has already been done. The project intervention will start inserting three patios which will be uncontinously (inttermitently) crossed through, while producing empty and full spaces that offers exterior life areas. Besides of that, it will fortify afective relations and restrict private and colective limits beetween every family house member, so they could remember what they have lived in the past to allow new kinds of afective and spacial relations.  © Juan Solano Ojasi  © Juan Solano Ojasi After the difficult times lived by Lucy, we decided to work cooperatively with her to rescue the house DNA. The memories work as a fundamental relation structure for old members reunion, so it will recover the old link beetween the house and the back side creek. Therefore, we tough about the posibility to visualy go through the interior and exterior (patios) spaces to look for the old link beetween the creek and the houses. As Lucy told us, the old place where her kids grew up and used to play.  © Juan Solano Ojasi We recovered the old local cane knitted fabric job for houses enclosures, allowing us to draw a texture which reminds with the shadows the time and the dessert condition. The lattices will mark difusive limits beetween the public street scope and the creek with the house. This is the result of conversations with Lucy to end some security myths. The adobe has been the principal constructing material of the site, however the destruction mark caused by the bad use of it avoid us to consider it as a contructing possibility. Ergo, we decided to use a simple frame system and well know by the local people, who will help with the construction process.  © Juan Solano Ojasi Consequently, we decided to use exposed bricks to make evident the material, reduce the outcomes and construction process. And eventually, the project nature and the weather allowed us to work with pasive energies such as the southern wind to produce energy by the developed helixes, and the countinously sunning that is a guarantee for using solar pannels. Altough, a bottle system with copper pipes to warm the water.  © Juan Solano Ojasi  This posting includes an audio/video/photo media file: Download Now |
| Zaha Hadid Architects Responds to Patrik Schumacher's "Urban Policy Manifesto" Posted: 29 Nov 2016 12:05 AM PST  Courtesy of ZHA On Thursday 17th of November, at the World Architecture Festival in Berlin, Patrik Schumacher gave a lecture offering his theory on how to address London's Housing crisis. Given Schumacher's well-known penchant for neoliberal economics, it was perhaps little surprise that his plan included a number of highly controversial ideas, such as the elimination of all forms of social housing and planning, and the privatization of all public space—with Schumacher highlighting Hyde Park as a particularly interesting opportunity. Though ArchDaily was in attendance at the lecture, we chose not to cover Schumacher's speech, at least in part because the audible boos from the crowd indicated that this was not a position that the wider architectural profession was interested in giving publicity to. However, the news was picked up by a number of other architectural publications including Dezeen; as a result, Schumacher's speech became front page news on the London Evening Standard, prompting a response from London Mayor Sadiq Khan who said Schumacher's ideas were "out of touch" and "just plain wrong." These developments in turn have prompted an outcry from the architectural profession, causing Zaha Hadid Architects to write an open letter in response to the furore. Read on to see the full letter.  Shot of one of the slides Schumacher presented at the 2016 World Architecture Festival Berlin. "Demand 5" recommends to "Abolish all forms of social and affordable housing." Image © ArchDaily "Patrik Schumacher's 'urban policy manifesto' does not reflect Zaha Hadid Architects' past—and will not be our future. Zaha Hadid did not write manifestos. She built them. Zaha Hadid Architects has delivered 56 projects for all members of the community in 45 cities around the world. Refusing to be confined by limitations or boundaries, Zaha did not reserve her ideology for the lecture hall. She lived it. She deeply believed in the strongest international collaboration and we are very proud to have a hugely talented team of 50 different nationalities in our London office, including those from almost every EU country. 43% of architects at ZHA are of an ethnic minority and 40% of our architects are women. Zaha Hadid didn't just break glass ceilings and pull down barriers; she shattered them—inviting everyone of any race, gender, creed or orientation to join her on the journey. Embedding a collective research culture into every aspect of our work, Zaha has built a team of many diverse talents and disciplines—and we will continue to innovate towards an architecture of inclusivity. Architects around the world are calling for the profession to become more inclusive. The national and international press have also done a very good job highlighting the critical issues of housing and the threats to vital public spaces. Through determination and sheer hard work, Zaha showed us all that architecture can be diverse and democratic. She inspired a whole new generation around the world to engage with their environment, to never stop questioning and never—ever—stop imagining. Collaborating with clients, communities and specialists around the world who share this vision, everyone at Zaha Hadid Architects is dedicated to honouring Zaha's legacy, working with passion and commitment to design and deliver the most transformational projects for all." - Zaha Hadid Architects  This posting includes an audio/video/photo media file: Download Now |
| 5 Easy Steps to Improve Your Portfolio Posted: 29 Nov 2016 12:00 AM PST  Image © Giacomo Magnani <a href='http://www.giacomomagnani.com'>(www.giacomomagnani.com)</a> In this article, originally published as "¿Qué es un portafolio de proyectos y cómo se hace?" (What is a portfolio and how do you make one?) from blog Enlace Arquitectura, the author shares a series of suggestions and steps on making a suitable and convenient portfolio for when you’re job hunting. The basis of these recommendations is to correctly understand what a portfolio is and what it should contain. It also details how to maximize creativity in the representation and execution of architectural projects when included in a portfolio. Entering the workforce is a big challenge for young architects, there’s a lot of competition and you must be able to demonstrate and defend your abilities as a professional. A basic aspect to get you started in the field or if you are looking for a job is to always have a portfolio of previous work. Many employers and professional firms will request one along with a presentable resume. What is a portfolio?A portfolio is an architect's introduction letter that not only shows work experience but is also an instrument that reflects the style and personality that differentiates him from the rest. If you are a student or recently graduated and don’t have any work experience, you can also build a portfolio with academic work and make the most of your creative abilities when designing it. It can include projects done in school workshops, participation in competitions and other complementary activities like photos or publications in magazines or newspapers. If you’ve never made one before, here are some steps that will guide you in designing or improving your portfolio: 1. First, gather all the visual content from your past projects and choose the most relevant ones to best organize the content. That could include blueprints, drawings, sketches, perspectives and diagrams that best illustrate your skill and style as an architect. Think quality over quantity, the goal isn’t to show the most creative projects, but the ones that best showcase your talents. 2. Once you’ve got your visual content in order you need to choose a presentation format. Currently, the digital portfolio is the most used since in addition to being able to send it immediately, it also makes it easier to edit and update subsequent projects. Consider a format that makes it easy to read and print on different paper sizes, like A4 format. 3. Design a template, making sure that the background doesn’t distract from the content. We recommend using neutral colors to highlight graphic elements (drawings, photographs, renders, sketches, construction details). It’s not necessary to saturate a page with content, remember that less is more, go for austerity and simplicity above all else. 4. An architect expresses herself visually, so avoid overloading your portfolio with text, it should be something that speaks itself. It isn’t about selling renders, the content should also reflect your freehand skill, layout, constructive vision, space perspectives, photographic quality and convey professionalism. 5. A simple and sophisticated cover to present the portfolio will suffice. In the first few pages, you can include a brief description of your resume and relevant contact information, such as telephone and email. If you want your work to look more organized, also include an index. Save the file in PDF format and you are ready to send it to a recruiter or print it. Recommendations:
 This posting includes an audio/video/photo media file: Download Now |
| Frei Otto's Drawings and Models Showcased With Exhibition Design by FAR frohn&rojas Posted: 28 Nov 2016 10:00 PM PST  Courtesy of FAR frohn&rojas Frei Otto (1925-2015) was best known for his innovative lightweight structures, even naming an institute after them at the Stuttgart Technical University. His speciality in tension and membrane structures were, and still are, not only beautiful, but also incredibly modern for his time, creating forms that were entirely new to the eye. One of his most notable creations is the Multihalle, which he contributed towards with the architects Carlfried Mutschler + Partner in 1975; it still remains the largest freestanding wooden lattice structure in the world. Following the award of the Pritzker Prize to Otto shortly before his death in 2015, the ZKM Center for Art and Media in Karlsruhe is hosting an exhibition of his works in order to introduce "new perspectives on the work of Frei Otto" while "formulating present-day questions concerning the future of our built environment." In service of this aim, architects FAR frohn&rojas created an exhibition design both reminiscent of Otto's deceptively simple structures, and carefully calibrated to show the huge archive of work to great effect. Read on to find out more about the exhibition and its design.  Courtesy of FAR frohn&rojas Description from exhibition architects FAR frohn&rojas: Frei Otto. Thinking in ModelsFrei Otto (1925-2015) is one of the best known and most innovative international German architects of the 20th century and is a key figure in the architectural culture of the federal state of Baden-Württemberg. In 2015 he was awarded the Nobel Prize for Architecture for his work, also known as the Pritzker Prize, and is the highest honor for architecture in the world. The biggest exhibition on the oeuvre of Frei Otto is a shared project between the Archive of South West Germany for Architecture and Engineering (saai) of the KIT and the Wüstenrot Foundation in cooperation with ZKM | Karlsruhe. Projects that are both known and completely unknown are presented. The material encompasses over 200 models, approximately 1,000 photos, drawings, sketches, plans and films as well as a large-scale media projection. In the 1950s Frei Otto was a major presence at garden shows with his marquee designs, offering the emerging West Germany a diversion from its post-war reconstruction. In 1964 he founded the Institute for Lightweight Structures at Stuttgart Technical University, which he made into one of the leading research institutes for environmentally aware architecture and engineering sciences in the world.  Courtesy of FAR frohn&rojas The newly open GermanyWith the German Pavilion at the Expo 1967 in Montreal, which he realized with architect Rolf Gutbrod, he created a symbol for the newly open Germany. This impression was further strengthened by the roof-scape for the 1972 Olympic Games in Munich, which he created together with the architects Behnisch & Partners. Over the following decades Otto participated in the completion of numerous buildings such as the Multihalle in Mannheim, which was designed by the architects Carlfried Mutschler + Partner in 1975. The Multihalle remains the biggest free-standing wooden lattice construction in the world, and was awarded heritage status due to its sophisticated, materials-minimizing construction in 1998. Several surveys plan to subject the "wonder of Mannheim" to a general refurbishment. The partial upkeep of the hall and its dismantling are presently being discussed. In 1997, together with Frei Otto, the architects Ingenhoven, Overdiek, Kahlen and Partners won the competition for the refurbishment of Stuttgart Central Railway Station. Otto designed the chalice-shaped pillars which characterize the overall appearance of the station. Otto developed the optimum design of the pillars using numerous models. Otto distanced himself from the project in 2009. In the year 2000, Otto designed the Japanese Expo Pavilion in Hanover with the architect Shigeru Ban. The exhibition consists of four central positions which fill each atrium to spectacular effect and guide the visitors through the wide ranging archive material which the Archive of South West Germany for Architecture and Engineering (saai) has prepared especially for this exhibition.  Courtesy of FAR frohn&rojas Thinking in ModelsFrei Otto's approach expresses itself in its willingness to experiment, in which methods that straddle architecture, science and art can be found. He developed instruments for researching self-organizing processes, measurement tables for determining force flows, equipment for researching pneumatic design forms and tools for the analysis of sophisticated network models. His tireless experimentation with models served the purpose of researching causal contexts and was simultaneously part of the formgenerating design process. In this way Frei Otto provided the foundation for a culture of experimentation between academic observation and artistic skill which remains relevant to this day — a form of technical-intellectual self-alignment in which design can represent the development of individual knowledge as well as a starting point for a collective discourse on the future of the built environment.  Courtesy of FAR frohn&rojas With Frei Otto, the architectural models do not function as "static objects" but as "dynamic objects", or as process models for the entire environment. They embody an "operational aesthetic" (Georg Vrachliotis) which alternates between the precision of scientific objects and the imagination of artistic instruments.  Courtesy of FAR frohn&rojas The innovative potential in Frei Otto's oeuvre is based on the dramatic interdisciplinary nature of his thinking that straddles architecture, technology, science and society. He consistently addressed the example provided by nature, and throughout his life, tried to make use of it for architecture and engineering. The goal of this exhibition is to convey new perspectives on the work of Frei Otto and to serve as a basis for new discussions on the future of the built environment between architecture, technology, sustainability and society.  Courtesy of FAR frohn&rojas Four central positionsThe exhibition consists of four central positions which fill each atrium to spectacular effect and guide the visitors through the wide ranging archive material which the Archive of South West Germany for Architecture and Engineering (saai) has prepared especially for this exhibition. 1. "Frei Otto's Model Landscape" All of the models are organized to scale, placed in their content-related and historic context, and presented on an approx. 50-meter-long table construction. The technical and design context of the individual models and projects is supplemented by the original plans and detailed picture material. In this way, the researching character and aesthetic continuity in Frei Otto's thinking becomes evident. The visitors gain the impression that they are exploring a "horizontal cabinet of curiosities".  Courtesy of FAR frohn&rojas 2. "Frei Otto's open archive" A key component of the exhibition is the "open archive." This consists of 18 over-sized archive shelves which are constructed in a circular form around both courtyards and therefore provide the exhibition with spectacular cohesion. With the use of selected original plans, photos, books and reproductions, the users are guided through the key events in the life of Frei Otto — the Development Institute for Lightweight Building in Berlin, the world-famous Institute for Lightweight Structures in Stuttgart and his studio in Warmbronn, to ground breaking projects like the German Pavilion for the Expo 67, the Multihalle in Mannheim and his initial research into Stuttgart 21. The shelves of the archive function as a freely accessible storage area and a place of knowledge that straddles presentation and storage.  Courtesy of FAR frohn&rojas 3. "Frei Otto's Cosmos" Throughout his life, Frei Otto collected and archived photographs of structures from the natural world. They served as a source of inspiration and free association to him and were also definitive source of research. The key factor in this respect is that Frei Otto consistently addressed the example provided by nature and tried to make use of it for architecture and engineering. At 18 tables — which are inspired by the tables in Frei Otto's studio in Warmbronn — visitors are able to see large-format photos of studies of nature, spiders' webs, sand structures and soap bubbles. A sophisticated world of images is opened to them which provides insights into the poetic and scientific cosmos of Frei Otto's thoughts and imagination.  Courtesy of FAR frohn&rojas 4. "Frei Otto's Projection" Frei Otto's innovative potential is based on the dramatic inter-disciplinary nature of his thinking that straddles architecture, technology, science and society. The image and technical media dimension play a major role in this respect. In a projection which is over 25 meters in size, this thinking is conveyed in terms of its aesthetics and power of media-based visual expression.  Courtesy of FAR frohn&rojas
 Courtesy of FAR frohn&rojas Exhibition design: FAR frohn&rojas Berlin, Santigo de Chile and Los Angeles Curator: Georg Vrachliotis  This posting includes an audio/video/photo media file: Download Now |
| You are subscribed to email updates from ArchDaily. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google Inc., 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
.jpg?1480319636){kind=link}
Nema komentara:
Objavi komentar