Arch Daily |
- Sebastian Weiss Reveals The Public Personalities of French Landmarks in Paris, Nanterre and Arcueil
- Antepavilion / PUP architects
- La Branche Home for the Disabled / Boegli Kramp Architekten
- Sun Room Pavilion / Donn Holohan - The University of Hong Kong
- Half House / Architects Group RAUM
- Brazilian Architects Explore The Intersection Between Curitiba and Its Canalized Rivers
- 5 Passive Cooling Alternatives Using Robotics and Smart Materials
- Casa Concreto / Grupo MM
- The Best Photos of the Week: The Beauty of Concrete
- Step Into a Movie Dreamworld With "Accidental Wes Anderson" on Reddit
- Bell Pavilion / Peso Von Ellrichshausen
- Spotlight: Eliel Saarinen
- Spotlight: Eero Saarinen
- FLOW Hostel / PRTZN Architecture
| Sebastian Weiss Reveals The Public Personalities of French Landmarks in Paris, Nanterre and Arcueil Posted: 20 Aug 2017 09:00 PM PDT  © Sebastian Weiss For Hamburg-based photographer Sebastian Weiss, buildings are dramatis personae, or "characters". Inspired by Ash Amin and Stephen Graham's 1997 book The Ordinary City, in which the authors described the city as the "theater of life", this photo-essay of architectural landmarks in the French cities of Arcueil, Nanterre, and Paris examines the personalities of public buildings. In considering the "city itself as a theater," Weiss has brought the "protagonists of the city" to the fore. "I was looking for architectural people," Weiss recalls, "whose roles are essential and whose absence would make an entirely different story." With this in mind, these are his favorite urban "performances". La cité Curial-Cambrai  © Sebastian Weiss  © Sebastian Weiss ZAC du Coteau  © Sebastian Weiss SILOS 13  © Sebastian Weiss Choux de Créteil  © Sebastian Weiss Stade Jean-Bouin  © Sebastian Weiss Centre des nouvelles industries et technologies  © Sebastian Weiss Tours Aillaud  © Sebastian Weiss Grande Arche  © Sebastian Weiss Cité de la musique – Philharmonie de Paris  © Sebastian Weiss  © Sebastian Weiss Le Centre National d'Entraînement  © Sebastian Weiss  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Aug 2017 08:00 PM PDT  © Jim Stevenson
 © Jim Stevenson From the architect. The pavilion invites discussion about the occupation of the city's rooftops by highlighting relaxed permitted development rights. It suggests that if dwellings could be disguised as air conditioning equipment, thousands of micro houses could be built across the city providing new homes.  Colored Exploded View Covertly extrovert, the snaking linear form is functional yet surprisingly sculptural and is clad in silver shingles cut from reject Tetra-Pak printed roll. The Antepavilion has been built by PUP with the assistance of carpenters and a team of volunteers, and technical support from structural engineers, AKTii.  © Jim Stevenson  Floor Plan (Seat)  © Jim Stevenson PUP Architects said: "While permitted development exists for large scale infrastructural roof installations, a little challenge has been made for other viable and productive uses for rooftops. By subverting the form of the permitted and giving it a non-standard use, we hope to bring into question this order of priorities."  © Jim Stevenson  Components  © Jim Stevenson  This posting includes an audio/video/photo media file: Download Now |
| La Branche Home for the Disabled / Boegli Kramp Architekten Posted: 20 Aug 2017 07:00 PM PDT  © Alexander Gempeler
 © Alexander Gempeler From the architect. The different buildings of the La Branche home for the disabled create a small village in its own right, situated in a rural location with a view of the Alps. The facility on a gently sloping south-facing terrain was to be completed by polyvalent buildings placed in a way to form the village center.  © Alexander Gempeler Two new buildings define a central square situation on three levels. Together with the nearby buildings of the hall and the school, it creates a meeting place, a village square representing the heart of the location. The stairs are also an outdoor amphitheater and can be used for performances. To encourage contact and exchange, the existing street was removed and diverted around the village center. Access to the square is exclusive via small footpaths that interweave with the existing network of walkways.  Lower Floor Plan To retain the rural topographical character, the natural, gently sloping terrain was hardly changed. The building volumes are inserted into the green areas as free-standing structures. They are derived from Anthroposophic teachings and appear in a translated, polygonal, crystalline form.  © Alexander Gempeler To break direct translation, the volumes were however clad in vertically structured wooden boards. The appearance is invigorated through the seemingly arbitrary use of differently dimensioned, yet always formally congruent windows.  Upper Floor Plan The situation on the slope allows floor-level access to all stories. The lower ground floors, which have a direct relationship with the large square, unite the public functions of the store, restaurant, and administration. The upper ground floor accommodates therapy rooms, studios and the therapeutic bakery, which can all be accessed independently of the upper level.  © Alexander Gempeler The two buildings are structured in the organizational areas of production, sales, administration, therapy, and nursing. The functional division is both horizontal through the independent buildings and vertical due to the different functions. The simple organization of the buildings takes the orientation and coordination difficulties experienced by the users into account.  © Alexander Gempeler Vertical access is closely connected to the relevant entrances and almost exclusively serves as shortcuts for the outdoor paths. Central, slightly bossed corridors with natural light from both ends connect the individual rooms on each floor.  This posting includes an audio/video/photo media file: Download Now |
| Sun Room Pavilion / Donn Holohan - The University of Hong Kong Posted: 20 Aug 2017 05:00 PM PDT  Courtesy of HKU
 Courtesy of HKU From the architect. Sun Room is an in-situ composite woven bamboo shell, which explores the potential of digital design and fabrication techniques to reinvigorate traditional craft.  Courtesy of HKU Bamboo weaving is both a sustainable and culturally significant method of construction in China, but due to its complexity and reliance on skilled labour, is in deep decline. The Sun Room project sought to apply digital design methodologies to break down the complexity of this age old craft - simultaneously exploring its potential at an architectural scale and its accessibility as an alternative construction methodology for local people. Over the course of the project, students from the University of Hong Kong and local villagers worked with the last remaining bamboo weaver in Peitian to re-learn, adapt, and evolve this traditional process.  Drawings The village of Peitian has been a focus of study for a number of years at HKU, with the initial speculation engaging with issues of village reconstruction and development. Through this study, it came to be understood that aside from the pressing issue of village regeneration, there is an equally urgent crisis underway - in the decline of traditional crafts and trades and the significant loss of intangible cultural heritage that this represents.  Courtesy of HKU  Drawings  Courtesy of HKU The genesis of the project centres on reviving Peitian's unique "Tea House" typology. These earth and wood structures, embedded into the landscape, act as shelters for local farmers - and also as meeting places, stores or small workshops. Historically, these pavilions were often used by craftsmen to demonstrate their skill or to trial new construction methodologies. Today these structures have, for the most part, been replaced by generic outbuildings in concrete and brick.  Courtesy of HKU Sun Room is a community space that provides a respite for villagers who work the land in the hot growing season. The form and siting of the shelter are carefully considered to maximise ventilation and view and to respect protected viewsheds that are a major feature of the landscape.  Courtesy of HKU  This posting includes an audio/video/photo media file: Download Now |
| Half House / Architects Group RAUM Posted: 20 Aug 2017 01:00 PM PDT  © Yoon Joon-hwan
 © Yoon Joon-hwan A Perceptible Frame Kim, Taecheol (Professor, Dong-A University) in the music video for the Chemical Brothers' song 'Let Forever Be', directed by Michel Gondry, the actress continuously jumps from two-dimensional to three-dimensional spaces and vice versa, creating unique and repetitive patterns. This music video shows Michel Gondry's originality, famously the director of the film The Science of Sleep, and creates an awkward effect by connecting two-dimensional and three-dimensional worlds. Its awkwardness unexpectedly stimulates and encourages audience participation, instead of allowing them to remain passive.  © Yoon Joon-hwan Spacing How does an architect begin to design a project? First, the architect works on making a three-dimensional structures and emphasizing it in a unique way, in order to create a unique space. If the architect begins by using a general three-dimensional space, he or she cannot help but expect an output that is too simple and obvious to be easily designed. That's why architects, at the beginning of the design stage, separate lines and faces of a structure instead of matching them correctly and connecting these lines and faces again later, to make a three dimensional mass. The way architects think about the connection, which differs from architect to architect, develops into an original architectural idea. Sinwook Oh sets a frame detached from a picture on a wall, leaving a space between them. It's an installation that makes a conscious connection between the two-dimensional frame and picture to create a three-dimensional space. The audience is required to overlap these two elements to see a single space.  © Yoon Joon-hwan A Perceptible Frame Like its surrounding areas, the construction 'half-house' shows a situation where the land is cut through by a new road. Its name may connote a two-dimensional facade cut and set along the road. There is no cross section but a frame (skin), however, detached from the wall. In fact, this frame is a formative structure playing an important role. If this house was designed as a half structure, as the name literally implies, and revealed a cross-section of the house, it would look incomplete. It's well that it does not. Let's have a look at the rear. This construction is located in the middle of a group of houses in a seaside village.  © Yoon Joon-hwan  Longitudinal Section From the back, forming an intended line, these houses are constructed along the boundary lines on the cadastral map, so they fit in with their surroundings. While the wall line is adjusted to an axis parallel on the boundary line, it is not parallel with the road and instead forms an angle to the road. Through this classical misalignment, these houses try to realise a combination of crossing masses. The misalignment figures the Modernism which features geometrical aesthetics that many are familiar with. It also seems to reflect a kind intention to make these houses accommodate to surroundings and keep the context at the same time. It appears far too plain, however, and that is why the architect divides this house into a frame (skin) at the front and a picture (body) at the back, connecting the two again trying a three-dimensional modeling.  © Yoon Joon-hwan  Cross Section  © Yoon Joon-hwan Windows and openings designed in the modeling process add zest to the owner's daily life. On the one hand, including different shapes of pots placed in a fragmented space near the stairs leading to the second floor, seems to imply the owner is at a loss. This fragmented space hinders a mass combination. However, it appears that the architect should be more active and bold when realising a mass combination. On the other hand, the room with a nice view, the terrace on the second floor suitable for a party with a view over the sea, and simple and inexpensive materials emotionally link the house to its owner and make up for any minor drawbacks. The owner is a modest and simple person who always feels grateful for the house.  © Yoon Joon-hwan Considering the concept of the 'perceptible frame', the upper part of the parking space entrance on the left-front side of the house, which is an essential element of the architecture, should have been designed as a part of the detached frame. The parking space hows the architect's hesitancy when framing and the architect's intention to hide behind functionality of the parking space. Perhaps he as tried to be too nice in accommodating the person occupying the house. A little awkwardness is okay. In fact, it would be even better if it were as awkward as Michel Gondry's work. Awkwardness draws attention. The audience wants to be stimulated and participate. After our visit, the owner was rushing out of the house to go to work. After watching him through the window in the detached frame, I thought that architects don't have to be only nice.  © Yoon Joon-hwan  This posting includes an audio/video/photo media file: Download Now |
| Brazilian Architects Explore The Intersection Between Curitiba and Its Canalized Rivers Posted: 20 Aug 2017 09:00 AM PDT  Escritório curitibano propõe reabertura de alguns trechos dos rios Ivo e Belém para ajudar a transformar a cidade com mais espaços de lazer e descanso. Imagem: Solo Arquitetos/Expo 2017/Divulgação. Image Cortesia de Gazeta do Povo / Haus In many cities, rivers play an integral part in the formation of a local landscape and urban identity, contributing to economics, transport, and recreation, amongst other things. Unearthing the city's rivers to create new leisure spaces is one urban solution that is widely adopted by several cities around the world, in order to capitalize on the existing waterscape. In five years, the capital of South Korea resurrected its main river, the Cheonggyecheon, which had been buried under express streets and viaducts, restoring a sense of peace, green space, and national history to the city. Milan followed the same path: not long ago, the mayor of the Italian city Giuseppe Sala proposed reopening the navigable canals of Navigli for the public to interact with. And now the Architectural Office in Curitiba Solo Arquitetos suggests that Curitiba join the movement, reopening channeled stretches of the Belem and Ivo rivers, in the center of the city. The project was envisioned for the 2017 Architecture Exhibition for Curitiba, which brings together various proposals to rethink the city.  Imagem: Solo Arquitetos/Expo 2017/Divulgação. Image Cortesia de Gazeta do Povo / Haus “The city can take other paths. The spaces can be occupied in different ways", explain the architects involved in the project. "The rivers are seen as a problem, but we see in the reopening the chance to takes up again the relationship of the citizen with the river, bringing more vitality to the degraded center area." Architects who signed the project are Arthur Felipe Brizola, Gabriel Zem Schneider, João Gabriel Cordeiro Küster and Thiago Augustus Prenholato Alves, together with the students Eduardo Sanches Salsamendi, Mariana Resende Sutil de Oliveira, Kauana Perdigão, Lucas Holmes, Paola Bucci Leal, Nágila Fernanda Hachmann, Larissa Angela Pereira da Silva, Jessica Tiemi Ouchi, Rafael Santos Ferraz, Franco Luiz Faust and Lucas Aguillera.  Imagem: Solo Arquitetos/Expo 2017/Divulgação. Image Cortesia de Gazeta do Povo / Haus The architects emphasize that additional technical studies are still necessary for the possible implementation of the rediscovery of the Curitiba rivers, but they point out that in the chosen stretches could be installed areas of swimming, canoeing, multi-sports court, a skating rink, stage, gardens, and bleachers.  Imagem: Solo Arquitetos/Expo 2017/Divulgação. Image Cortesia de Gazeta do Povo / Haus The Belém river is the most emblematic of Curitiba, not only because of its historical importance in the emergence of the city but also because it is a strictly urban river, with source and mouth within the perimeter of the city. Ivo is an important tributary of the first, crossing crucial areas of the city. The architects point out at least six different ways of interacting the river with the rest of the city, which can coexist along the Center, and can be with access stairs, grandstand mode, only with ciliary vegetation and hybrid models, as shown in the figure below.  Imagem: Solo Arquitetos/Expo 2017/Divulgação. Image Cortesia de Gazeta do Povo / Haus The studied stretches for the reopening of the Belem and Ivo rivers are at Mariano Torres and Vicente Machado Avenue. Both are extremely polluted, according to an assessment by the Environmental Institute of Paraná. Therefore, before the rivers were even unearthed, the de-pollution of both would have to be planned.  Imagem: Solo Arquitetos/Expo 2017/Divulgação. Image Cortesia de Gazeta do Povo / Haus  Imagem: Solo Arquitetos/Expo 2017/Divulgação. Image Cortesia de Gazeta do Povo / Haus News via: Gazeta do Povo / Haus.  This posting includes an audio/video/photo media file: Download Now |
| 5 Passive Cooling Alternatives Using Robotics and Smart Materials Posted: 20 Aug 2017 07:00 AM PDT  Cortesía de IAAC The IAAC (Institute for Advanced Architecture of Catalonia) has developed a series of advanced materials and systems for air conditioning and passive ventilation, allowing homes to reduce interior temperatures up to 5 degrees lower while saving the electricity consumption caused by the traditional air-conditioning. The systems are made from long-lifespan materials, which lower the costs of maintenance in the long-term and can be used as low-cost alternative building technologies. The projects highlighted are the Breathing Skin, Hydroceramics, Hydromembrane, Morphluid and Soft Robotics - all developed by students of the IAAC's Digital Matter Intelligent Constructions (conducted by Areti Markopoulou). The passive air-conditioning of spaces is investigated using a combination of new materials that mimic organic processes, adaptive structures and Robotics that help regulate temperature and create sustainable micro climates. Facades and light structures like Hydroceramics, Breathing Skin or Hydromembrane have been developed by the IAAC during recent years. By creating a series of systems that act like a second skin in buildings, IAAC transforms a building’s thermoregulation to imitate the human body -transpiring water to regulate the temperature. Hydroceramics is a façade system made of clay and hydrogel panels capable of cooling building interiors up to 5 degrees. Hydrogel capsules have the capacity to absorb up to 500 times their own weight in water to create a construction system that "breathes" through evaporation and perspiration.  Breathing Skin. Image Cortesía de IAAC Unlike Hydroceramics, parallel inventions Hydromembrane and Breathing Skin are based on compounds made with fine membranes and intelligent fabrics for buildings that act as a second "respiratory" skin for constructions capable of self-regulating the humidity and climate of indoor and outdoor spaces. Each system uses materials that have a high capacity of water absorption, which is later released by evaporation - creating a cooling effect in warm environments. As an example, Breathing Skin absorbs up to 300 times its volume in water in a relatively short period of time thanks to the presence of superabsorbent polymer called sodium polyacrylate. IAAC has also designed more alternatives that focus on structures and applied robotics in the new “bioclimatic architecture”. Morphluid or Soft Robotics (SORO) are created as passive shading systems using "live roofs" that regulate the amount of light and heat entering the spaces.  Morphluid. Image Cortesía de IAAC Soft Robotics is a lightweight and sensitive robotic shading device that attempts to create microclimate by controlling sunlight, ventilation and temperature to humidify the atmosphere. This robotic prototype adopts different sizes and shapes as the artificial "sunflowers" that project shade the moment its integrated liquid element is evaporated by the heat of the sun. Morphluid is also based on the transition of liquids as an activator that modulates the roof and adjusts the environment by means of shading. Morphluid integrates two water tanks into a movable structure (a roof, a window) that tilts when the water in one of the tanks evaporates, allowing shade to continuously project and refresh the environment.  Hydromembrane. Image Cortesía de IAAC The IAAC academic director and project manager, Areti Markopoulou, highlights "the potential of advanced systems and materials to help us have the most pleasant temperature in our homes through more sustainable buildings that breathe and behave the living things and interact with their environment." Markopoulou Also highlighted the importance of this innovation to energy saving, since "passive air-conditioning materials and systems are based on principles of physics such as evaporation to cool spaces." To learn more about each project, check out the gallery below: Breathing Skin Breathing Skin. Image Cortesía de IAAC Soft Robotics (SoRo) SoRo. Image Cortesía de IAAC MorphluidHydroceramic Hydroceramic. Image Cortesía de IAAC Hydromembrane Hydromembrane. Image Cortesía de IAAC  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Aug 2017 06:00 AM PDT  © Iván Casillas
 © Iván Casillas From the architect. With the idea of creating an oasis in the middle of the woods, the Casa Concreto project is born. Where the context of the house becomes the perfect green scenario to show off the concrete's grey tones that, when in touch with nature, ages in an artistic way.  © Iván Casillas  Ground floor plan  © Iván Casillas  First floor plan  © Iván Casillas A private access gives place to the first level that, in a semi-open floor plan, the public areas are located. The three rooms are in the second level. One of them has an independent access with a separate staircase.  © Iván Casillas The vegetation surrounding the house is integrated playfully in the interiors with patios, natural light entries and floor to ceiling windows. The finishes and lighting design also play an important role with grey and brown tones in flooring and wood work. These create a warm and cozy ambiance even with the coldness of the concrete.  © Iván Casillas  Sections  © Iván Casillas  This posting includes an audio/video/photo media file: Download Now |
| The Best Photos of the Week: The Beauty of Concrete Posted: 20 Aug 2017 05:00 AM PDT Due to its ability to be shaped into complex forms and the diversity of textures that it can offer, concrete is one of the favorite materials of many architects, who appreciate its capacity to help them realize their designs. For this reason, for this week's Photos of the Week we have selected 20 images that highlight the beauty and expressiveness of this material. Read on to see a selection of renowned photographers such as Brigida González, Bruno Candiotto, Élena Marini Silvestri, and Raphael Olivier. Xia ZhiBeijing No.4 High School Fangshan Campus / OPEN Architecture © Xia Zhi Daniela Mac AddenS+J House / Luciano Kruk © Daniela Mac Adden Élena Marini SilvestriOaxaca's Historical Archive Building / Mendaro Arquitectos © Élena Marini Silvestri Laurian GhinitoiuPilgrimage Church / Gottfried Böhm © Laurian Ghinitoiu Brigida GonzálezE20 Private Residence / STEIMLE ARCHITEKTEN BDA © Brigida González Ivan BrodeyLøren Metro Station / Arne Henriksen Arkitekter + MDH Arkitekter © Ivan Brodey Daniela Mac AddenS+J House / Luciano Kruk © Daniela Mac Adden Fernando Guerra | FG+SGSambade House / spaceworkers © Fernando Guerra | FG+SG Bruno CandiottoWorkshop House / PAX.ARQ © Bruno Candiotto Lorena DarqueaAcolhúas House / SPRB arquitectos © Lorena Darquea Brigida GonzálezGreiner Headquarter / f m b architekten © Brigida González Raphael OlivierNeo-Brutalist Revival / Raphael Olivier © Raphael Olivier Carlos PatrónGabriela House / TACO taller de arquitectura contextual © Carlos Patrón Élena Marini SilvestriOaxaca's Historical Archive Building / Mendaro Arquitectos © Élena Marini Silvestri Raphael OlivierNeo-Brutalist Revival / Raphael Olivier © Raphael Olivier Ivan BrodeyLøren Metro Station / Arne Henriksen Arkitekter + MDH Arkitekter © Ivan Brodey Luis GordoaCasa del Abuelo / Taller DIEZ 05 © Luis Gordoa Wooseop HwangEarth House / BCHO Architects © Wooseop Hwang Fernando StankunsFaculty of Architecture and Urbanism, University of São Paulo (FAU-USP) / João Vilanova Artigas and Carlos Cascaldi © Fernando Stankuns Bruno CandiottoWorkshop House / PAX.ARQ © Bruno Candiotto  This posting includes an audio/video/photo media file: Download Now |
| Step Into a Movie Dreamworld With "Accidental Wes Anderson" on Reddit Posted: 20 Aug 2017 02:30 AM PDT  Lighthouse in Húsavík, Iceland. Image <a href='https://www.reddit.com/r/AccidentalWesAnderson/comments/6lg9c1/i_took_this_picture_of_a_lighthouse_in_h%C3%BAsav%C3%ADk/'>via Reddit user Milonade</a> If you ever have those moments where you take a step back from your life and feel like you've suddenly fallen into a scene from a movie, you may appreciate the subreddit /r/AccidentalWesAnderson. Director, producer, screenwriter, and actor Wes Anderson is well known for creating scenes in his films that blur the lines between the real and the unreal. His extreme symmetry and restricted color palettes can often give the impression of a surreal, self-contained world. The purpose of the Accidental Wes Anderson subreddit is for users to post photos of real-world architecture and scenes they've stumbled upon that look like they could be stills from one of Anderson's movies, with Redditors finding Anderson-esque scenes around the globe in everything from bathrooms to staircases to city streets. Even a viewer unfamiliar with Anderson's films can browse the collection of photos and easily understand his aesthetic. Below is just a small selection of some of the most evocative photos to be found on the subreddit.  Choi Hung Estate in Hong Kong. Image <a href='https://www.reddit.com/r/AccidentalWesAnderson/comments/6s1glf/this_apartment_building/'>via Reddit user shaggysnorlax</a>  Inside a tower in Pisa, Italy. Image <a href='http://i.imgur.com/m2b3P4d.jpg'>via Reddit user LaTalpa123</a>  Sketch Restaurant, London. Image <a href='https://www.reddit.com/r/AccidentalWesAnderson/comments/6se4o1/sketch_restaurant_in_london/'>via Reddit user leprocto</a>  Hotel Saratoga in Havana, Cuba. Image <a href='https://www.reddit.com/r/AccidentalWesAnderson/comments/6juk8c/hotel_saratoga_havana_cuba/'>via Reddit user saulbloodyenderby</a>  Reykjavík, Iceland. Image <a href='https://imgur.com/CbnCuWT'>via Reddit user ladydilara</a>  Swimming Hall in Gotha, Germany. Image <a href='https://www.reddit.com/r/AccidentalWesAnderson/comments/6sswkz/swimminghall_in_gotha_germany/'>via Reddit user Teillu</a>  Hotel Belvédère near the Rhône Glacier, Switzerland. Image <a href='https://www.reddit.com/r/AccidentalWesAnderson/comments/6gg227/hotel_belv%C3%A9d%C3%A8re_near_the_rh%C3%B4ne_glacier_switzerland/'>via Reddit user pierreor</a>  Tin Mal Mosque, Morocco. Image <a href='https://i.imgur.com/BeNYBsu.jpg'>via Reddit user that-there</a>  Men's room at The Fabulous Fox Theatre in St. Louis. Image <a href='https://www.reddit.com/r/AccidentalWesAnderson/comments/6m329p/mens_room_at_the_fabulous_fox_theatre_in_st_louis/'>via Reddit user heff66</a>  Homes in Vietnam. Image <a href='https://www.reddit.com/r/AccidentalWesAnderson/comments/6lqh6q/homes_in_vietnam/'>via Reddit user temporality</a>  This posting includes an audio/video/photo media file: Download Now |
| Bell Pavilion / Peso Von Ellrichshausen Posted: 20 Aug 2017 02:00 AM PDT  © Pezo von Ellrichshausen
 © Pezo von Ellrichshausen From the architect. This is a room for a continuous video projection, for the documentation of a monumental but fragile installation made by Christian Boltanski in the Atacama Desert. With two concentric cylinders and two tunnel-like extensions, this sculptural piece is meant to erode its own figure in order to re-enact an inner landscape. It is a dimly lit, opaque and seamless chamber, rough enough so as to evoke the original distant place where the installation was recorded.  Plan  © Marc Domage  Diagram The radius of the smallest cylinder is, in fact, defined both by a fine-tuned equipment and by the precise distance of an observer immersed in the projected image. The other cylinder, as a consequence of the reversible path to go from outside to outside, might be read as a leftover of the inner corner in which the recorded landscape is projected. It is somehow difficult to understand how a small building can contain a massive landscape in its modest entrails. Here, what seems to be a defensive gesture towards the surrounding garden is no other than a haven for the devious and fleeting overlap between reality and fiction.  © Pezo von Ellrichshausen  Model  © Pezo von Ellrichshausen  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Aug 2017 01:00 AM PDT  Helsinki Central Railway Station. Image © <a href='https://commons.wikimedia.org/wiki/File:Helsinki_Railway_Station_20050604.jpg'>Wikimedia user Revontuli</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Though some may now know him only as the father of Eero Saarinen, Eliel Saarinen (August 20, 1873 – July 1, 1950) was an accomplished and style-defining architect in his own right. His pioneering form of stripped down, vernacular Art Nouveau coincided with stirring Finnish nationalism and a corresponding appetite for a romantic national style and consciousness; his Helsinki Central Station became part of the Finnish identity along with Finnish language theaters and literature. Later moving to America, his city planning and Art Deco designs resonated through western cities in the first half of the 20th century.  Image <a href='https://en.wikipedia.org/wiki/File:Eliel_Saarinen.jpg'>via Wikimedia</a> (public domain) Graduating from the Helsinki University of Technology at the end of the 19th century, the 1900 World's Fair provided Saarinen with his first opportunity to draw attention. His Finnish Pavilion was an extraordinary mix of the many styles of the period, combining Art Nouveau with traditional Finnish wooden architecture and the Gothic Revival which had dominated much of Northern Europe for the previous 50 years. He continued working in this style, which would help found the National Romantic movement in Scandinavia. Building on the early commercialism of Art Nouveau, he even design a line of pottery for Arabia Pottery.  Finnish Pavillion at the 1900 World's Fair. Image via Wikimedia (public domain)  National Museum of Finland. Image © <a href='https://commons.wikimedia.org/wiki/File:Helsinki_Kansallismuseo_2006.jpg'>Wikimedia user Alessio Damato</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> A romantic imagining of a Finnish national past helped Saarinen's designs catch on, and he was soon designing National Museums, important railway stations and the other infrastructure typical to an ascendant national culture in the early twentieth century. His most important commission, Helsinki Central Railway Station, became known around the world as an example of Scandinavia's quiet, "rational" nationalism. His high profile helped him in breaking into city planning, working on plans for Tallinn, Budapest and Helsinki in the 1910s, and later influencing the design of Canberra.  Saarinen's unbuilt plan for the Haaga district of Helsinki. Image <a href='https://commons.wikimedia.org/wiki/File:Haga_vy.jpg'>via Wikimedia</a> (public domain)  The unbuilt plan for the Tribune Tower. Image via Wikimedia (public domain) Interrupted by the First World War and changing tastes, Saarinen moved along with his then-13-year-old son Eero to the United States after his design for the Tribune Tower in Chicago was placed second in 1923. Although not built, his application of gothic verticality to a streamlined modern design won praise across the US and influenced many other architects in their designs for the early generation of skyscrapers; even Louis Sullivan, "father of skyscrapers", hailed his design as the future of the Chicago School. Working in the US through the 1940s, his style shaped and evolved Art Deco into the stripped back, West Coast style that would define mid-century Los Angeles.  Kleinhans Music Hall, Buffalo. Image © <a href='https://www.flickr.com/photos/bobistraveling/4029535536'>Flickr user bobistraveling</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Like Father, Like Son: 4 Famous Architecture Dynasties  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Aug 2017 11:00 PM PDT  TWA Terminal. Image © <a href='https://www.flickr.com/photos/samsebeskazal/10283256224/'>Flickr user samsebeskazal</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Son of pioneering Finnish architect Eliel Saarinen, Eero Saarinen (August 20, 1910 – September 1, 1961) was not only born on the same day, but carried his father's later rational Art Deco into a neofuturist internationalism, regularly using sweeping curves and abundant glass. Saarinen's simple design motifs allowed him to be incredibly adaptable, turning his talent to furniture design with Charles Eames and producing radically different buildings for different clients. Despite his short career as a result of his young death, Saarinen gained incredible success and plaudits, winning some of the most sought-after commissions of the mid-twentieth century.  Image <a href='https://commons.wikimedia.org/wiki/File:Eero-Saarinen.jpg'>via Wikimedia</a>. Image by Balthazar Korab in public domain Saarinen was born in Finland and spent his childhood there before his father Eliel's architecture work took the family to the United States. Eero followed in the family tradition, studying design under his father at Cranbrook Academy of Art before moving to study in Paris at the end of the 1920s and then the Yale School of Architecture, from which he graduated in 1934. Eero first attracted attention while working with his father, particularly for his furniture design with Charles Eames, and he continued to produce influential furniture designs throughout his career; the Tulip Chair which he designed for Knoll, for example, has become known as a classic piece of design, as have many other of his pieces in the late 1940s and early 50s. Architecturally, however, Saarinen had been quietly building up a name for himself while working with his father's company, attracting international praise for Crow Island School (1940).  The Tulip Chair. Image © <a href='https://commons.wikimedia.org/wiki/File:Saarinen_Tulpanstolen.jpg'>Wikimedia user Holger.Ellgaard licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> His first significant move out of his father's shadow came in 1947 when, still working at Eliel's practice, Eero entered his own design into the competition to design St Louis' Gateway Arch and ultimately won the commission. Supposedly, when the competition organizers were informing the second-round candidates of their success, they mistakenly addressed their telegram to Eliel Saarinen—it wasn't until three days later that they corrected their mistake, causing Eliel to graciously open another bottle of champagne to toast his son.  St Louis Gateway Arch. Image © <a href='https://www.flickr.com/photos/jeffnps/5263761913'>Flickr user jeffnps</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> In 1950, working on the General Motors Technical Center with his father, Saarinen suddenly found himself sole architect after Eliel Saarinen's death. Creating a rational steel and glass design different from anything designed by Eliel Saarinen, Eero Saarinen rapidly found himself sought after by other major US corporations. Using this as a launching pad, Saarinen tirelessly fought for and won some of the 1950s' most prestigious commissions, including the TWA Terminal, Washington DC's Dulles International Airport, and the American Embassy in London.  Washington Dulles International Airport. Image © MWAA Even when he did not directly contribute to a design, Eero Saarinen would still have a dramatic effect on the path of architecture in the 1950s: famously, it was Saarinen who retrieved Jørn Utzon's Sydney Opera House design from the pile of rejected competition entries.  North Christian Church, Columbus. Image © Hassan Bagheri Equally capable of creating a steel and glass cubist design as a sweeping futurist roof, Saarinen's incredible versatility combined with his near ubiquity in the mid-twentieth century led to widespread acclaim, with the AIA awarding him their Gold Medal in 1962, a year after his death. However, it also led to a fierce academic reaction to his work, notably from Yale professor Vincent Scully who criticized his apparent lack of a signature style.  MIT Chapel. Image © <a href='https://www.flickr.com/photos/janela_da_alma/222841971'>Flickr user janela_da_alma</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Saarinen died in 1961, aged just 51, during an operation to remove a brain tumor, leaving his then-partners Kevin Roche and John Dinkeloo to complete many of his important works (including the St Louis Arch), and to go on to have very successful careers of their own. Despite his astonishing success during a short career, Saarinen's influence was perhaps not fully recognized until recently, as the donation of Roche and Dinkeloo's Saarinen archives to Yale in 2005 helped lead to a surge of interest in his designs in the past decade. View all of Eero Saarinen's work on ArchDaily via the thumbnails below, and more coverage below those: Photographer Max Touhey Gives a Rare Glimpse Inside Eero Saarinen's TWA Flight Center 11 Projects Win Modernism in America Award New Documentary to Dive into the Life and Works of Eero Saarinen A Virtual Look Into Eames and Saarinen's Case Study House #9, The Entenza House Photos of Eero Saarinen's Abandoned Bell Labs André Balazs Tapped to Transform JFK's Historic TWA Terminal  This posting includes an audio/video/photo media file: Download Now |
| FLOW Hostel / PRTZN Architecture Posted: 19 Aug 2017 10:00 PM PDT  © Balázs Danyi
 © Balázs Danyi From the architect. FLOW Hostel occupies the second floor of a more than hundred-year-old downtown historic building in Budapest. Our team was asked to turn the whole area into a hostel with 98 beds for young tourists traveling on a budget. In addition to rooms with capacities of four to eight people, a chain of communal areas was designed comprising of an entrance hall including the reception, a lounge, a canteen with self-service kitchen and a media area.  © Balázs Danyi  © Balázs Danyi Spatial Experience Instead of Dark Corridors and Preparation for the Unknown  © Balázs Danyi The building has a longitudinal layout with a load-bearing wall in the middle dividing the floor plan into two tracts, that are further divided by walls perpendicular to the facade. These walls had created a chain of interconnected generous spaces called emphilade.  Scheme  Floor Plan - After As different types of uses occupied the building several corridors appeared that enabled rooms to operate independently, but at the same time, they became long, dark and narrow transit spaces.  © Balázs Danyi We did not only want to eliminate such areas during the design but wanted even to turn visitors' daily movements inside the hostel an exciting spatial experience with bright and generous spaces.  © Balázs Danyi Learning from the past of the place we also wanted to prepare for possible future changes by finding out architectural means that enable functional modifications to the possibly highest extent on the lowest possible cost of time and infrastructure.  © Balázs Danyi Chain of Public Activity Spaces: Versatile Structures, Neutral Infrastructure  © Balázs Danyi With the homogeneous linoleum flooring, the uniformly white walls and the arrangement of cable trays below the ceiling for the various mechanic systems and other permanent elements we made a neutral 'infrastructure' that can be easily adapted to unknown future changes in use.  © Balázs Danyi Onto this neutral base, each public area was given a unique character through the design of furniture and other easily changeable elements of the interior custom designed by us. We designed modular, lightweight and easily demountable interior elements since this is the layer that is to change in the shortest period of time.  © Balázs Danyi When visitors want to reach their room they walk through this mixture of spaces with heterogeneous physical characters that provide versatile activities instead of dark and monotone corridors.  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 | |
Nema komentara:
Objavi komentar