Arch Daily |
- One Room Hotel / dmvA-architects
- Refurbishment of Bar El Villa - Vermuteria del Mar / AMOO | Aureli Mora + Omar Ornaque
- Dentist Charlotte Mestdagh / Declerck-Daels Architecten
- The Bonjour India Experience / SpaceMatters
- Lvdu Living Art Museum / JHD Architects
- This Modular Mountain Shelter Is Net-Zero and Can Be Delivered via Helicopter
- St. Ovídio Chapel By Álvaro Siza Through The Lens Of Fernando Guerra
- Zapallar House / PAARQ Arquitectos
- 15 Innovative Pedestrian Bridges (And Their Construction Details)
- Photographer Zsolt Hlinka Captures Geometric Compositions in the Evolution of Vienna's Architecture
- ALLURE - XXL origami / FRESH Architectures
- Collages of Iconic Architecture Transformed Into Everyday Objects
- Spotlight: James Stirling
| One Room Hotel / dmvA-architects Posted: 22 Apr 2018 10:00 PM PDT  © Bart Gosselin
 © Bart Gosselin Text description provided by the architects. The owner of this 'tiny house', dating back from the 17th century, close to the Museum MAS in Antwerp, decided to convert it into the smallest hotel from Antwerp, the One Room Hotel.  © Bart Gosselin 'Promenade architectural'  © Bart Gosselin Historic versus new: wood versus white  © Bart Gosselin  Axonometric  © Bart Gosselin  This posting includes an audio/video/photo media file: Download Now |
| Refurbishment of Bar El Villa - Vermuteria del Mar / AMOO | Aureli Mora + Omar Ornaque Posted: 22 Apr 2018 08:00 PM PDT .jpg?1524197059 "© José Hevia") © José Hevia
.jpg?1524196988 "© José Hevia") © José Hevia Text description provided by the architects. The premises are located in a building’s ground floor, in the Gracia neighbourhood in Barcelona. It has been catalogued with a level C of protection (Well of Urban Interest). As from the 90s, it has worked as a bar with a mixed licence. The interior, as it happens with the vast majority of ground floors from the 1900s in Barcelona, has the shape of an elongated tube, with a small patio at the back.  Section and Plan Sketches In order to reform the old establishment, the following criteria have been taken into account: Restitution of the façade: in the original state, the entrance hole, with a height of 4.50m, was only covered halfway, with grates which belonged to an old smoke extraction, and a large opaque sign. The proposal eliminates these elements, going back to the original composition and dignifying the building. .jpg?1524197229 "© José Hevia") © José Hevia Accessibility: the interior slopes are eliminated at the access, replacing them with a smooth slope, which is less than 4% and imperceptible. It goes from the entrance till the beginning of the bar. .jpg?1524197009 "Axonometric view") Axonometric view Natural lighting: the restitution of the patrimonial façade, cutting out the original ceiling, duplicates the entrance of light from the access. At the back of the establishment, the closings of the old office are demolished and the distribution of the restrooms is modified to make two large openings which generate a new entrance of very necessary natural light. © José Hevia Acoustic comfort: given the acoustic requirements of a public venue, the false ceiling and part of the sides have been covered with cork panels, a sound-absorbent material, so reverberation can be avoided and also to reduce transmission to the neighbours. The plastic qualities of the cork finish are used as the main decorative motif of the establishment. .jpg?1524197037 "© José Hevia") © José Hevia Having completed these essential criteria, the project’s strategy consists of differentiating two sectors in one space. In the first place, the perimeter is projected, formed by the cork and tile coverings, and pavements and walls with a continuous covering. In the second place, a series of construction objects are built, with envelopes lined with marble tiles, scattered throughout the premises. Through its geometries, the uses are arranged: .jpg?1524197461 "© José Hevia") © José Hevia Surrounding: as we have said beforehand, the false ceiling and the walls are lined with cork, an element which evokes fishing materials, making use of its cutting to generate stripes which will generate a rhythm throughout the local and where the light bulbs will be placed, as if they were floating. In this existent false ceiling, a series of holes are made to decongest the premises and to accentuate the rhythm towards the interior, looking for a sensation of natural zenithal lighting. Most of the walls have auxiliary work bars, lined with white/blue bevel tile and white tile; the different combinatory motifs end up generating abstract murals that are distributed throughout the establishment, and at the same time they evoke Andalusian arabesques. Finally, a continuous self-levelling pavement is related to the walls, giving a sense of abstraction to the whole. .jpg?1524197190 "© José Hevia") © José Hevia Objects: two auxiliary tables, the folding screen, the bar-counter and the table. Each element, with its singularities, gives a different nature to each part of the bar, generating diverse atmospheres for customers who look for alternative ways of locating themselves. Tall stools are designed, and they relate the cork of the false ceiling to the rest of the establishment. Lastly, we opted for an exempt washbasin in the toilet hall, which contrasts with the green in the patio. As a whole, a series of elements that are part of the remains of the fictitious shipwreck of a large marble fishing boat. .jpg?1524197371 "© José Hevia") © José Hevia  This posting includes an audio/video/photo media file: Download Now |
| Dentist Charlotte Mestdagh / Declerck-Daels Architecten Posted: 22 Apr 2018 07:00 PM PDT  © Tim Van de Velde
 © Tim Van de Velde Text description provided by the architects. It's fun to go to the dentist.  © Tim Van de Velde The former practice was located in the garage, next to the house. The front yard of the premises seemed the ideal place to build an extension. A small infill, rather than building on a new parcel.  © Tim Van de Velde The new construction highlights the house behind. The right neighbor's volume has been stretch to design a part of the front façade of the new practice. This façade declines to ensures sun and light in the current house. Declerck-Daels chose a compact and contrasting volume, using other materials, creating another atmosphere with another approach of light.  © Tim Van de Velde On a rectangular concrete slab, separated from the house, they constructed a wooden sculpture. The façade and the sloping roof are cladded with padauk timber. The same wood was used for the windows.  Level 0 To expose the structure and the bare and authentic materials, both in- and outside the practice, the architect payed a lot of attention to the numerous details and counted on the craftsmanship of all the builders.  © Tim Van de Velde Wood is a warm, soft and tactile element and is found in all shades: wooden beams, cladding, windows, stairs, ceiling and fixed furniture. It is combined in relation with exposed concrete, calcium silicate units and frivolous colors. There's nothing to hide. All materials play a key role and they form one strong unity.  © Tim Van de Velde The architects focused on the atmosphere and comfort of both patient and dentist through different entities. There's an abundance of light throughout the whole practice.  © Tim Van de Velde The entrance, waiting area, reception and dentist lab inhabit the core of the project and through the oversized skylight you can experience the wooden facade.  Section Patients are distracted by the clouds and the birds that can be seen through the skylights above the dental chairs.  © Tim Van de Velde The playful print on the windows from the front façade generates a fine filter. This space opens itself to the street. The play and connection of volumes can be captured here.  © Tim Van de Velde The small plot of green is essential. This is the semi-private space that organizes living from working. There is a strong relation between old and new, with nice views and perspectives on the current façade, the wooden sloping roof, the green roof, etc …  © Tim Van de Velde The use of the green roof, the big amount of insulation and the low energy consumption contributes to the sustainability of this ecological building.  © Tim Van de Velde The project is the result of a strong symbiosis between architecture, interior design, structural engineering, technical engineering (quite complex in a dental office), landscaping and decoration. This symbiosis of all entities is padded out with playful accents. It is gracious, warm and welcoming. An original approach of a dental practice. It's fun indeed to go to the dentist.  © Tim Van de Velde  This posting includes an audio/video/photo media file: Download Now |
| The Bonjour India Experience / SpaceMatters Posted: 22 Apr 2018 05:00 PM PDT _-_Hemant_Chawla.jpg?1524201539 "© Hermant Chawla") © Hermant Chawla
_-_Hemant_Chawla.jpg?1524201641 "© Hermant Chawla") © Hermant Chawla Text description provided by the architects. The 'Bonjour India Experience' was the flagship initiative of the Bonjour India 2017-2018, a festival which celebrated Indo-French collaborations through more than 300 events spread over four months across 33 Indian cities. At the heart of the festival, The Bonjour India Experience pavilion was a one-of-its-kind travelling exhibition at the intersection of art, architecture, design and urbanism. The 9 meter high, 800 square metre and 40 tonne installation travelled approx. 3500 kilometres from the iconic India Gate in Delhi to Cross Maidan Garden behind the historic Churchgate Station Mumbai to become the star attraction of the world's largest book fair in Kolkata over a period three months. It welcomed more than 180,000 visitors over a period of 30 odd days spread over the three cities. .jpg?1524201730 "© Hermant Chawla") © Hermant Chawla One of the first decisions jointly taken by the clients and the design team lead by SpaceMatters was to locate the pavilion in public urban spaces. While this may seem like an obvious choice, similar cultural events in India have been largely confined to institutional spaces such as museums and cultural centres. Often perceived as elitist, these spaces cater to a small segment of the population and their ambience is in stark contrast to the diverse energy of the urban public space in Indian cities. As cultural events retreat into gated zones the access to public space in Indian cities is also shrinking, increasingly being policed and monetised. Thus, when asked to suggest an appropriate public space in their city, associates initially suggested commercial malls! The call to locate the pavilion in truly public urban spaces presented countless challenges and it was a complex undertaking to navigate the maze of permissions needed to mount an installation of this scale in a public location. However, its interaction with the urban context became the defining characteristic of the pavilion and was instrumental to its success. .jpg?1524201016 "© Hermant Chawla") © Hermant Chawla  Plan .jpg?1524200928 "© Hermant Chawla") © Hermant Chawla The design had to balance the functional demands of a travelling pavilion with the stringent requirements of a sealed exhibition space required to safely house expensive audio visual equipment while creating create a comfortable environment for the visitors. The pavilion had to be designed to be installed in a week and dismantled in three days in crowded public spaces without the use of heavy machinery (prohibited at the high security sites); with the ease of travelling halfway across the country and adapting to new sites. To reconcile the mobile and temporal nature of the pavilion alongside the ambition to leave a memorable mark on the cities it travelled to, the pavilion had to create an iconic visual presence combined with a lightness of being. _-_Hemant_Chawla.jpg?1524201595 "© Hermant Chawla") © Hermant Chawla  Elevation _-_Hemant_Chawla.jpg?1524201609 "© Hermant Chawla") © Hermant Chawla The thematic focus of the Bonjour India festival was 'Creativity, Innovation and Partnership' between India and France. Embodying these themes, the form of the pavilion evolved from the idea of confluence, with 6 curves rising together to embrace three pavilions that highlight various aspects of Indo-French creativity, innovation & partnership. The metal curves, arranged in a modular symmetry spiralling out from a central core, consisted of a rhythmic arrangement of staggered, self-supporting steel members draped with 20,000 square feet of hand woven steel mesh. The massive self-supporting structure is designed down to the last joint to be flat packed and largely hand installed in the shortest possible time. Combining the precision of cutting edge engineering and unique expression of craft, the design pays homage to the ingenuity and abstraction that is the hallmark of both French and Indian architecture. _-_Hemant_Chawla.jpg?1524201404 "© Hermant Chawla") © Hermant Chawla As an intervention in public space the pavilion is designed to integrate itself with the site conditions at each location. The metal members and mesh provide for varying gradations visual permeability, allowing the structure to weave into the urban surroundings, both emerging from and merging into the context. Views of iconic monuments at each site, such as the India Gate in Delhi and the Churchgate Railway Terminus in Mumbai are framed within the layered silhouette of the structural contours and wire mesh.As the pavilion transforms with the play of light through day and night, its spiralling form becomes the pivot which _-_Hemant_Chawla.jpg?1524201556 "© Hermant Chawla") © Hermant Chawla  This posting includes an audio/video/photo media file: Download Now |
| Lvdu Living Art Museum / JHD Architects Posted: 22 Apr 2018 01:00 PM PDT  © Jianghe Zeng
 © Jianghe Zeng Text description provided by the architects. Lvdu Living Art Museum is an experimental building with Hui Zhou regional characteristics and innovative living experience. JHD architects was trying to refine and improve the beauty of "Huizhou impression" which exists in people's mind long time ago, it will be presented in a new way as a new demonstration area that can be accepted by the local people and also can fully reflect the innovative life concept of modern society lifestyle.  © Jianghe Zeng In order to create an atmosphere of Hui Zhou cultural, the main building is designed as the rectangular layout form, cutting the exterior of the building into several blocks, properly separating the shape and increase the height of building in the corner accordingly, and use the unique Matou wall element of the Hui Zhou architecture style to combine with the simple slope roof form of the building, thus make the structure more strong.  © Jianghe Zeng  Ground floor plan  © Jianghe Zeng For the entrance design, the aim of using encircling technique is to break the traditional Chinese architecture symmetry by using white wall and wooden grid as a shield to arrange the front space of site into an asymmetric form and forming a circulation space naturally.  © Jianghe Zeng The layout of the building is based on traditional Chinese courtyard design, combined with the sense of order in Chinese architecture and various landscaping techniques in Chinese landscape to create a quiet and comfortable interior courtyard space. The change of the height of the wall has a good connection with the exterior facade of the building, it also integrated with the surrounding natural environment. When people pass through the main entrance space, the architectural space become clear suddenly, as if on the water side.  Site plan The surrounding landscape of the building is composed of different height sculptures, landscape stones, and long and narrow landscape pools. The cloud like building depict a "Hui Zhou impression" with the oriental charm when the building shows the reflection of the center courtyard pool.  © Jianghe Zeng Dark grey aluminum plate and white stone as the main materials of the building, silver gray metal grid, with imitation wood grain aluminum plate and copper plate as ornament, the combination of different materials would strengthen the nature of space. The building using metal tension net and the ultra white glass as materials of the main façade to form a strong contrast with the stone material, and it shows different style when the lights up.  © Jianghe Zeng  This posting includes an audio/video/photo media file: Download Now |
| This Modular Mountain Shelter Is Net-Zero and Can Be Delivered via Helicopter Posted: 22 Apr 2018 09:00 AM PDT  Courtesy of Lusio Architects Mountain shelters serve as protection for climbers during severe weather conditions. However, a Bulgarian design team discovered that many shelters have been destroyed, putting mountaineers at risk. As the winning proposal for the competition "Architecture of 2050," this innovative building addresses this critical problem through a combination of sustainability, materiality and technology.  Courtesy of Lusio Architects  Courtesy of Lusio Architects
Designed by Lusio Architects, this modular shelter is made up of four separate aluminum-clad modules. The modules can be delivered by helicopter and then assembled on site. When assembled, the shelter appears "hidden" on the mountainside so as "not to attract unwanted visitors." In case of bad weather, the shelter becomes a beacon, "with lights and sound that make it extremely easy to find even in the thickest of fog."  Courtesy of Lusio Architects  Courtesy of Lusio Architects There are various elements integrated into the design to assist in the safety and rescue of mountaineers. A direct video connection with the mountain rescue team is automatically activated when someone enters the shelter, and a floor heating system is powered by the solar and wind energy captured and stored by the shelter. A system of hammocks is also included in the walls of the shelter to provide multiple resting spaces while also saving space.  Courtesy of Lusio Architects  Courtesy of Lusio Architects Based on the weather conditions, the shelter changes modes to ensure the safety of the people inside. The modes include "FIND ME Mode," "RESCUE ME Mode" and in times of better weather, "RELAX Mode."  Courtesy of Lusio Architects If the design prototype (set to be delivered and installed in Vitosha, Bulgaria, in the fall of 2018) is successful, another shelter will be commissioned by the Bulgarian Antarctic Institute for their base in Antarctica.  Courtesy of Lusio Architects News via: Lusio Architects  This posting includes an audio/video/photo media file: Download Now |
| St. Ovídio Chapel By Álvaro Siza Through The Lens Of Fernando Guerra Posted: 22 Apr 2018 07:00 AM PDT  © Fernando Guerra | FG+SG A pure volume, slightly lit, sits in the middle of a garden. It is a private chapel in Quinta de St. Ovídio in Lousada, built between 1989 and 2001 and designed by Álvaro Siza Vieira. The project starts from a path, where you can see the prismatic white volume from afar. As you pass through the building and some steps, you arrive at the entrance square. Here you will notice that Siza differentiated the main facade, in stone, from the other three, in white painted concrete, giving it importance.  © Fernando Guerra | FG+SG At the entrance, next to the stone gable, a linear concrete bench is laid out perpendicularly.  © Fernando Guerra | FG+SG Entering through a wooden door, the walls are concrete, the openings are few and in simple form. The rips in the cross and semicircle shapes are strategically arranged in the gables, to bring the user closer to the idea of holiness.  © Fernando Guerra | FG+SG  © Fernando Guerra | FG+SG Inside: An altar designed in stone, wooden furniture designed by the architect, and small spots of artificial light.  © Fernando Guerra | FG+SG The photographer Fernando Guerra transports us to the building, through a walk inside, in which one can perceive the passage of the day and the peace that the place transmits. See the photo gallery below:  This posting includes an audio/video/photo media file: Download Now |
| Zapallar House / PAARQ Arquitectos Posted: 22 Apr 2018 06:00 AM PDT  © Paula Monroy
 © Paula Monroy Text description provided by the architects. Casa Zapallar is located in a coastal town, formed by a harmonious network of streets, an eclectic architecture with impressive gardens rich in flora. Zapallar is a place where tradition and modernity are joining. The people of the town are migrating, selling at good prices and yielding to new constructions.  © Paula Monroy  1st Floor Plan  © Paula Monroy This house reflects austerity of the day-to-day, without pretensions; with the looseness of a beach house. In the middle of the town, a clear volume emerges that tends to be hermetic towards the South, opening to the light of the north towards the landscape.  © Paula Monroy With interiors completely white and framed spaces by a double height that allows a generous space of natural light and the encounter with the open interior spaces. The program is organized in a simple way; longitudinally for the living room, dining room, kitchen and the stairs to the second floor. This private volume, receives the bedrooms with their respective bathrooms.  2nd Floor Plan The materiality of the house is built with wooden skeleton and ventilated frontage. The shaded grayish color is the result of a contribution to highlight the texture, which is conditioned by the different lights throughout the day.  © Paula Monroy  This posting includes an audio/video/photo media file: Download Now |
| 15 Innovative Pedestrian Bridges (And Their Construction Details) Posted: 22 Apr 2018 05:00 AM PDT  Cortesía de RO&AD Architecten There has been increasing awareness in recent years of the importance of infrastructure for pedestrians. These additions to the urban environment improve the quality of cities by connecting spaces and shortening travel distances, and their introduction can be beneficial not only to pedestrians but also to cyclists seeking a more environmentally friendly method of transport. In order to encourage the use of pedestrian infrastructure, here we present 15 footbridges, alongside their construction details, to showcase innovative solutions in terms of materials, forms, and structures. LightPathAKL / Monk Mackenzie Architects + Landlab © Russ Flatt  Cortesía de Monk Mackenzie Architects Landlab Pedestrian Bridge / JLCG Arquitectos © Fernando Guerra | FG+SG  Cortesía de JLCG Arquitectos Pedestrian Bridge in Zapallar / Enrique Browne Cortesía de Enrique Browne  Cortesía de Enrique Browne The Rainbow Bridge / SPF: architects © John Linden  Cortesía de SPF: architects The Paleisbrug / Benthem Crouwel Architects © Jannes Linders  Cortesía de Benthem Crouwel Architects The way through the Forest / VAUMM © Aitor Ortiz / Aitor Estévez  Cortesía de VAUMM Moreelse Bridge / cepezed © Leon van Woerkom  Cortesía de cepezed Bicycle Bridge Across the Sava River / dans arhitekti © Miran Kambič  Cortesía de dans arhitekti Railway Footbridge at Roche-sur-Yon / Bernard Tschumi Architects + HDA © Christian Richters  Cortesía de Bernard Tschumi Architects + HDA Wupper-Bridge Opladen / Agirbas & Wienstroer © Thomas Mayer  Cortesía de Agirbas & Wienstroer Kirstenbosch Centenary tree canopy walkway / Mark Thomas Architects © Adam Harrower  Cortesía de Mark Thomas Architects Bridge Over the Rhone / Meier + Associés Architectes © Yves André  Cortesía de Meier + Associés Architectes Pennington Road Footbridge / Softroom © Joseph Burns  Cortesía de Softroom The Claude Bernard Overpass / DVVD Engineers Architects Designers © Luc Boegly  Cortesía de DVVD Engineers Architects Designers Moses Bridge / RO&AD Architecten Cortesía de RO&AD Architecten  Cortesía de RO&AD Architecten  This posting includes an audio/video/photo media file: Download Now |
| Photographer Zsolt Hlinka Captures Geometric Compositions in the Evolution of Vienna's Architecture Posted: 22 Apr 2018 02:30 AM PDT  © Zsolt Hlinka In his latest photo series, "Viennametry," Hungarian photographer and printmaker Zsolt Hlinka captures the unexplored voids in Vienna's patchwork of historical and contemporary architecture. After previously studying the symmetrical corner buildings of grandiose Budapest, Hlinka has moved north to Austria on his quest to find geometry and symmetry within the urban landscape.  © Zsolt Hlinka Unlike Hlinkas past projects, "Viennametry," follows the evolution of architecture within the city. By placing the contemporary against its traditional counterpart, the similarities or obvious differences display the development of Vienna's architecture over the eras. "These forms are developed by building on their predecessors, respecting or even breaking traditions, which means they cannot be separated from each other," he explains.  © Zsolt Hlinka  © Zsolt Hlinka  © Zsolt Hlinka  © Zsolt Hlinka  © Zsolt Hlinka  © Zsolt Hlinka  © Zsolt Hlinka To keep up to date with Zsolt Hlinka's portfolio of work, find his most recent photographs on his Instagram account.
 This posting includes an audio/video/photo media file: Download Now |
| ALLURE - XXL origami / FRESH Architectures Posted: 22 Apr 2018 02:00 AM PDT  © David Foessel
 © David Foessel Text description provided by the architects. In the vanguard of contemporary architecture, the new Clichy-Batignolles neighborhood (PARIS) bears the hallmark of preliminary workshops of which it resulted between the converter, the contracting authorities and the two architectural firms Itar and Fresh (agent): diversity and cohabitation are its trademarks.  © David Foessel Lot O6B in the Clichy-Batignolles quarter accommodates a new XXL origami design, a product of the dialogue between the two architectural firms, Fresh and Itar, for two contracting authorities, Ogic and Demathieu Bard Immobilier, hired here to reinvent types of housing.  Floor Plan An architectural polyphony of 121 accommodations is available to buyers and renters in accordance with three distinct options: 3-story urban houses, a 7-story building, and a 15-story tower, in other words, 50 meters that are set up like the mast of a ship. It is possible, on each of its sides to focus the telescope on the great landscape that is Paris and its famous landmarks: on the Martin-Luther-King Park and the higher-level court to the north, on the Défense to the west, on the Eiffel tower to the south and on Montmartre to the east.  © David Foessel .jpg?1524133686 "Balconies Detail") Balconies Detail  © David Foessel  This posting includes an audio/video/photo media file: Download Now |
| Collages of Iconic Architecture Transformed Into Everyday Objects Posted: 22 Apr 2018 01:00 AM PDT .jpg?1524175118 "© Filipe Vasconcelos") © Filipe Vasconcelos It's not uncommon to happen upon works of architecture that resemble everyday objects. Sou Fujimoto even created an entire exhibition of "architecture" made of ashtrays, potato chips and matchboxes. Cheese graters, beehives and bottle openers appear to have been enlarged and given an architectural program (given the resemblance to their smaller counterparts). Architect Filipe Vasconcelos goes beyond obvious alikeness and explores, through digital collage, the similarity between architectures and objects. He creates scenes in which the works are reimagined in displaced situations, with nothing to do with original context or use. .jpg?1524175090 "© Filipe Vasconcelos") © Filipe Vasconcelos See the Heydar Aliyev Center transformed into a dress and Niemeyer's Niterói museum converted into a roulette and other unusual analogies and allusions below. .jpg?1524175021 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175042 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175110 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175032 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175064 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175084 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175185 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175099 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175074 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175144 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175195 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175053 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175205 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175125 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175225 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175134 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175246 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175236 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175154 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175216 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175164 "© Filipe Vasconcelos") © Filipe Vasconcelos .jpg?1524175175 "© Filipe Vasconcelos") © Filipe Vasconcelos  © Filipe Vasconcelos .jpg?1524175011 "© Filipe Vasconcelos") © Filipe Vasconcelos To see more of Filipe Vasconcelos work, visit his website.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Apr 2018 11:00 PM PDT  Staatsgalerie, Stuttgart, Germany (1977–1984), 1984. Alastair Hunter, photographer. Image Courtesy of Canadian Centre for Architecture British architect and Pritzker Laureate Sir James Stirling (22 April 1926 – 25 June 1992) grew up in Liverpool, one of the two industrial powerhouses of the British North West, and began his career subverting the compositional and theoretical ideas behind the Modern Movement. Citing a wide-range of influences—from Colin Rowe, a forefather of Contextualism, to Le Corbusier, and from architects of the Italian Renaissance to the Russian Constructivist movement—Stirling forged a unique set of architectural beliefs that manifest themselves in his works. Indeed his architecture, commonly described as "nonconformist," consistently caused annoyance in conventional circles.  Portrait of James Stirling. Ray Williams, photographer.. Image Courtesy of Canadian Centre for Architecture According to Rowan Moore, Stirling also "designed some of the most notoriously malfunctioning buildings of modern times." Yet, for all the "veiled accusations of incompetence," as Reyner Banham put it, Stirling produced a selection of the world's most interesting and groundbreaking buildings. Notably, the Royal Institute of British Architects' highest award, the Stirling Prize, was named after him in 1996.  History Faculty Building, University of Cambridge, England (1963–1967). Ezra Stoller, photographer. Image Courtesy of Canadian Centre for Architecture The Queen's College Florey building was the third and final building of The Red Trilogy, encompassing the Leicester Engineering Faculty building and the Cambridge History Faculty building. Within its design was held an architectural style imbued with a radically revised type of Modernism. This history faculty building (1968) at the University of Cambridge, which he designed alongside his partner James Gowan, often forced its inhabitants to "struggle to study in [an] alternately freezing/boiling greenhouse, with dodgy acoustics, frequent leaks and falling cladding tiles." Yet the architectural concepts of interweaving tension and elaboration and, according to Moore, "interplays of forces and illusions" were groundbreaking.  Biblioteca Pubblica, Latina, Italy (1979–1985): worm's-eye axonometric view of reference library. Image Courtesy of Canadian Centre for Architecture  Stiff Dom-ino Housing, theoretical project (1951): cut-away axonometric view with hinged windows. Image Courtesy of Canadian Centre for Architecture His 1984 Neue Staatsgalerie in Stuttgart quickly became, according to Moore, "one of the biggest tourist attractions in the country," making it "a prototype of the Guggenheim in Bilbao." After the Staatsgalerie, Stirling's work was often described as Postmodernism, a label which he himself rejected. During this time he also received a number of significant commissions, from the Clore Gallery to London's Tate Britain and the design for the new Tate Galleries in his hometown of Liverpool.  Clore Gallery, Tate Britain, London. Image © <a href='https://commons.wikimedia.org/wiki/File:Clore_Gallery_London_Dec07.JPG'>Wikimedia user Elekhh</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Staatsgalerie, Stuttgart, Germany (1977–1984), 1984. Alastair Hunter, photographer. Image Courtesy of Canadian Centre for Architecture A few days after being conferred with a Knighthood, Stirling was hospitalized and died on the 25th June 1992. In recent years his work has been continually re-evaluated, leading to a number of books and exhibitions, most notably the 2012 exhibition James Stirling: Notes from the Archive in Canada. For Moore, his later work became "more likeable and less leaky". His defenders have often ascribed the technical failures of his buildings to poor construction, cost-cutting and unworkable clients.  The Florey Building at Queen's College, Oxford University. Image © James Brittain  University of Cambridge History Faculty. Image © <a href='https://commons.wikimedia.org/wiki/File:History_Faculty_University_of_Cambridge.jpg'>Wikimedia user Solipsist</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/deed.en'>CC BY-SA 2.0</a> See the work of James Stirling featured on ArchDaily via the thumbnails below, and more coverage of Stirling below those: London Calling: The Man Behind the Stirling Prize London Calling: British Modernism's Watershed Moment - The Churchill College Competition  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, 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
Nema komentara:
Objavi komentar