Arch Daily |
- Bonus Arena Hull / AFL Architects
- PETSHOP office / PAUM design
- Xuhui Demonstrative Project / SUP Atelier
- “The light of Buddha” exhibition / studio O
- Foster + Partners' Tulip Towers Could Pose Risks to Air Traffic Control
- CK House / Christiana Karagiorgi Architects
- Why Nature Should be a Co-Author in Architectural Projects
- The Tides / Kurylowicz & Associates
- Spotlight: Oscar Niemeyer
- Spotlight: Charles and Ray Eames
- Compás de las Ánimas y del Nazareno / WaterScales arquitectos
| Bonus Arena Hull / AFL Architects Posted: 15 Dec 2018 06:00 PM PST  Courtesy of AFL Architects
 Courtesy of AFL Architects Text description provided by the architects. One of Hull's legacy projects following UK City of Culture 2017, Hull Venue (now the Bonus Arena) is a high-quality destination venue, the first UK facility of its type and size to provide a flexible front of house space and deliver a mixed programme of entertainment, conference, exhibition and banqueting using the same space.  Courtesy of AFL Architects The venue includes a 3,500 capacity multi-use auditorium with retractable seating and moveable acoustic wall for adaptable configurations. Along with food and beverage outlets and dedicated breakout spaces, there is 2000m² of exhibition space throughout the building.  Courtesy of AFL Architects The site is a landmark gateway to the city, south of the city centre, with Princes Quay and the Old Town to the east and Hull Marina and the Fruit Market to the south and south-east. The brief emphasised Hull City Council's aspirations for regenerating this part of the city and building on Hull's musical heritage.  Courtesy of AFL Architects Careful choice of colours and materials ensures the venue contributes positively to the city townscape and delivers excellent acoustic performance. The design concept expresses the internal uses:  Courtesy of AFL Architects The dynamic form of the building creates a modern landmark for the city and is driven by its internal uses. The flexibility of the auditorium space is a major feature of the venue's design including retractable seating on the event floor, removable seats and rostrums on the upper tier, a sliding moveable wall which divides the auditorium into two spaces and a removable conference stage on the upper tier.  Courtesy of AFL Architects The adaptability of this venue allows it to support a diverse range of activities. The new inclusive public realm, with generous plazas of hard and soft landscaping, creates pedestrian links directly connecting the venue to the bars and restaurants of the surrounding city streets and adjacent shopping centre.  Courtesy of AFL Architects Early business planning and benchmarking to establish the venue size and uses were essential to achieve resilience. "AFL Architects was appointed by NPS on behalf of Hull City Council to design and deliver a 3,500 capacity arena including a wider masterplan that incorporated a multi-storey car park and associated landscaping. Their experience of spectator venues, designing in flexibility, value added design and knowledge of BIM were of the highest calibre. The Bonus Arena has turned out to exceed all expectations and we would not hesitate in recommending AFL Architects for future projects of this nature. "  Courtesy of AFL Architects The venue is sited sustainably on brownfield land providing a landmark destination that adds to the vibrancy and viability of Hull city centre. The official opening was in August 2018 and showcases Hull's ambitions to build on the economic and social impact generated by the 2017 UK City of Culture status.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 15 Dec 2018 03:00 PM PST  © Sergey Melnikov
 © Sergey Melnikov Text description provided by the architects. The office for IT department of the PETSHOP company is located in St. Petersburg, on Chkalovsky avenue, in a Soviet industrial building of 50th – 60th years of the 20th century. Ridge ceiling and concrete columns more than 4 meters high, the top floor and huge windows overlooking the Petrograd Side – these are a fine introduction of space for the creative department of the modern dynamic company.  © Sergey Melnikov The aesthetics of Bauhaus (the higher school in Dessau and the architectural direction of the first third of 20th century) has become a basis of style and the main source of inspiration. Simple laconic forms, utilitarian approach and the ideas of functionalism once has made a revolution in architecture. Now we transfer this esthetics to interior design, but only its decorative part. The interior stylistics of co-working and office spaces of modern New York also had a great influence on this interior mix. There, in NYC, interior design for once industrial spaces outgrew "the same loft" long ago.  Floor Plan In office space planning the most representative meeting room has become the main object and emphasis, receiving the laconic rounded forms and the central position in "the heart", dividing other open space into two «wings» – a zone of graphic designers (for twenty people) and a zone of IT specialists (for thirty people). These are the clean, spacious working spaces which are not overloaded with excess objects: only the order, freedom and a lot of live plants. Botanical, slightly southern motives - an important component of this interior. Plants support a slightly-dusty-color palette of an interior, like an old photo.  © Sergey Melnikov The second "key" object, an amphitheater, is located near the meeting room. It is a universal lecture hall suitable for short meetings, free time, activities and other. It is the «center of gravity», the place of force and gathering of all. This place is for a corporate spirit. Its ladder (with guest seats) conducts upward into a mezzanine – the second level where it is possible to work, have a rest, play in PS …  © Sergey Melnikov Below a mezzanine there is a kitchen and a lunch zone for employees with a big mono-table and a zone for cooking: here it is possible to have dinner with colleagues or to hold buffet receptions. The bathroom supports a slightly noticeable theme of South American sun and jungle: the terracotta color of walls, chandelier-fans and the playlist with luk thung and bossa nova. This beautiful and intelligent space, "not-like-office-project-looking", is designed to give comfort and the right vibes to creative employees, that they could find inspiration, harmony and the new amazing ideas.  © Sergey Melnikov  This posting includes an audio/video/photo media file: Download Now |
| Xuhui Demonstrative Project / SUP Atelier Posted: 15 Dec 2018 01:00 PM PST  Courtyard surrounded by living room and book house. Image © Su Chen, Chun Fang
 Birdview. Image Courtesy of SUP Atelier Text description provided by the architects. Located in Xuhui No.26 Block in Shunyi District of Beijing, the project was commissioned by Xuhui Group's Beijing office to create a small-scale sharing space in a leisure park. Powered by the sharing economy in vogue, the space can be booked by residents through an intelligence system. Moreover, through collaboration with BREEAM system in UK and LEED system in the US, the project serves as a zero-energy consumption demonstrative project in cold areas of North China, aiming to reduce energy consumption, improve thermal comfort, and promote sustainability through theme activities of mitigating the increasingly severe environmental problems.  Public living room. Image © Su Chen, Chun Fang  floor plan  Fitness house facing the garden. Image © Su Chen, Chun Fang The project borders a community playground on the south. Unlike the centralized layout often seen in sustainable projects, the main building consists of 3 similar units that are scattered among trees as small-scaled landscape buildings: a fitness center, a lounge and a book cafe (doubling as a showroom of popular science), which can be operated separately. The 3 units center on a sunken courtyard paved with permeable gravel. Users can enter this small building cluster via a wooden walkway through the rain garden. The overhead wooden walkway and the pipe trenches underneath connects the 3 units with a half-earthed energy & smart control center, forming a "3 driven by 1" mode.  module diagram  sustainable design technical diagram 01-structural Main structures of prefabricated timberwork and louvers of prefabricated carbonized wood correspond to the zero-carbon concept from perspectives of materials and construction. Architectural elements of the 3 units were classified into various groups of standardized modules with green technology. Through modification and combination, these modules can adapt to various spaces and facilitate comparative studies and promotion of sustainable technologies.  Public living area. Image © Su Chen, Chun Fang As an experimental platform for prefabricated buildings with zero energy consumption, the project has established an integrated mechanism of "design-construction-test-feedback" process. With the help of information technology, the analysis of sustainable indicators can bring forth implementation methods, which can fit in newly built and renovated buildings in cold areas, or serve as prototypes in both public and housing projects.  Fitness house interior. Image © Su Chen, Chun Fang  Fitness house interior. Image © Su Chen, Chun Fang This project is located in a cold area, where heating and cooling energy consumption are both huge. High-performance envelopes with thermal indicators greatly outperforming the minimum code. Passive design strategies, such as projected roofs with air-ducting devices and composite façades with photovoltaic double glazing and prefabricated double-layered wooden envelope, which can boost natural ventilation.  Ventilation and lighting area with colorful glass. Image © Su Chen, Chun Fang The applications of renewable energy include film glass, photovoltaic power generation, and a hybrid heating system powered by both solar thermal power and air-source heat pump. Sustainable drainage strategies have been integrated into the landscape, too: Green roofs and a permeable courtyard can purify and retain rainwater.  Double layer structure. Image © Su Chen, Chun Fang  Detail. Image © Su Chen, Chun Fang The buildings are equipped with intelligence control systems. Through real-time monitoring of the environmental indicators (temperature, humidity, illumination, CO2, PM 2.5, infrared rays)， the energy system can be controlled automatically to save energy and reduce emission. The public can view the real-time indicators, too.  Courtyard surrounded by fitness house and book house. Image © Su Chen, Chun Fang  This posting includes an audio/video/photo media file: Download Now |
| “The light of Buddha” exhibition / studio O Posted: 15 Dec 2018 11:00 AM PST  Entrance installation. Image © Mathias Magg
 Central pavilion. Image © Mathias Magg "The Light of Buddha" is the first exhibition of a private collection ever allowed in the Palace Museum, commonly known as the Forbidden City. studio O was commissioned by Beijing-based Zhiguan Gallery (止观美术馆) to develop the exhibition design and retrofit installation system for the display of 112 antique Buddhist sculptures spanning from the 4th century a.d. to 16th a.d. from the Himalayan regions (Pakistan, North India, Nepal, Tibet) Occupying the entirety of the Palace of Abstinence, the exhibition is located in the northeastern quadrant of the Forbidden City. Within the Palace, the collection of Buddhist sculptures is displayed between two main pavilions: Zhai Gong (Hall of Abstinence, 斋宫) to south and Cheng Su Dian (Hall of Sincerity, 诚肃殿) to north. The exterior spaces are also included in the design and create a path for visitors to move clockwise through the space from the outer-courtyard inward.  Master plan The exhibition begins with a metaphorical dialogue between the visitor, the first installation and the backdrop of the Forbidden City – it is a journey that guides the viewer to the place from where the exhibited sculptures originate. Abstractly representing the eight most significant peaks of the Himalayan mountain range, audiences encounter eight 2.5 meter-tall white steel pillars upon entering the exhibition courtyard. By proportionally reducing the heights of these peaks to human scale, the peaks seem within reach. As nature often exists beyond our scale, subverting the great difference between man and nature allows us an opportunity to reflect on human existence.  North pavilion. Image © Mathias Magg  Cross section_north pavilion  North pavilion view of central sculpture. Image © Mathias Magg The journey continues through the second courtyard and then into the Zhai Gong(斋宫) pavilion, where it meets the first part of the exhibition. Here, like in the Cheng Su Dian(诚肃殿) pavilion, the sculptures are set along the space's interior perimeter and presented within customized system of vitrines. By creating a neutral and almost invisible background, the visitor can intimately experience the artworks through a series of small openings that reveal each figurine. The exhibition design can be experienced and viewed as a whole, yet simultaneously also presents the opportunity for unique, personalized journeys for each visitor and with each sculpture. It is as if the exhibition layout is designed to protect the sculptures – creating a sequence where fragments of history are viewed and appreciated through "frames." Frames that are perceived as tridimensional paintings in which the antique sculptures transmit timeless narratives of history and culture.  Fitting system axonometric phase  Fitting system axonometric phase Throughout the design process, studio O remained committed to creating a discreet environment suitable for exhibiting the utmost refined craftsmanship of the ancient Himalayan masters. In order to create an intimate environment that considers yet re-evaluates the existing interior conditions, lighting plays a decisive role. The existing lighting conditions due to the wide-glass window displays were not suitable for viewing the private collection. Therefore, studio O controls the amount of ambient light and focuses it on the precise openings within a series of vertical, black, self-standing panels. These panels also serve as a temporary design system that accommodates the original building structure without demolishing existing walls, and further allows freedom for defining the size and position of each display opening. They incorporate a flexible lighting system that is built into metal frame and designed specifically for each sculpture.  South pavilion. Image © Mathias Magg As each spatial experience depends on our arrival in it, passing from the first exhibition hall section into the second allows viewers to further reconsider their conceptions of space. The installation in the central pavilion thus serves as a link, and a point of restful contemplation between the two pavilions. Mirroring the pilgrimage Buddhist monks make to the Himalayan region, the fabric installation, comprised of 135 layers of textile, welcomes visitors into the calm, peaceful and timeless space of a lit tunnel as an allegory of an inner reflection. After visiting the last exhibition hall, the journey is concluded via the passage through the adjacent courtyard and then back to the entrance. A progressive movement through the ancient architecture before returning to the outer world.  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners' Tulip Towers Could Pose Risks to Air Traffic Control Posted: 15 Dec 2018 06:00 AM PST  Courtesy of DBOX for Foster + Partners Blossoming alongside the iconic Gherkin building, Foster + Partners' Tulip Tower has been planning to join London's skyline since they released their proposal earlier in November. However, construction of the1,000-foot tower has been halted until officials can determine its impact on aircraft radar systems at London City airport, six miles away. Featuring mobile gondolas in the form of three-meter wide glass spheres intended for visitor rides on an elliptical journey around the tower, the proposed viewing platform is potentially highly problematic.  Courtesy of DBOX for Foster + Partners Though London is not new to mobile structures, such as the London Eye that sits in the midst of the city, Foster + Partners proposal is over twice its size. The movement from the gondolas can confuse the air traffic control systems, according to the technical experts at London City airport, who stated, "The gondolas will be moving and therefore may have a slightly different effect than a static element of the building." In a global city like London, it would seem that a major addition to the skyline would face greater zoning standards or building regulations in the initial design stage itself, that would prohibit such a situation from occurring. Rather than being unprecedented, designing moving structures at such a height is deemed to be an obvious source of issue for any project whether or not there is an airport nearby.  Courtesy of DBOX for Foster + Partners Not only posing risks in the airspace, but the building's design itself has also attracted opposition from residents and members on the planning committee. Anastasia Shteyn, during a City of London public consultation, commented: "I don't understand why we need this phallic-shaped attraction, with little aesthetic merit. As a resident of Petticoat Tower, I object to this construction project. It will create noise and turn the neighborhood into a construction site for years to come, affecting property prices and residents' daily comfort." The project, with its provocative design, is sure to instigate some objections and promises for an interesting turn of outcomes. News via The Guardian  This posting includes an audio/video/photo media file: Download Now |
| CK House / Christiana Karagiorgi Architects Posted: 15 Dec 2018 05:00 AM PST  © Maria Efthumiou, CreativePhotoRoom
 © Maria Efthumiou, CreativePhotoRoom Text description provided by the architects. The project's site is located on a riverside plot with a big inclination and a dominant landscape surrounding. The main idea of the design was to bring the landscape views inside the house - thus creating different perspectives of nature through every living space.  © Maria Efthumiou, CreativePhotoRoom  Ground floor plan  © Maria Efthumiou, CreativePhotoRoom The program was developed in 3 levels whereas different level exterior spaces were designed to serve everyday life during different weather conditions. Two main yards are created in the north and south in two separated levels (upper and lower).  © Maria Efthumiou, CreativePhotoRoom The building looks like a fortress from the back site - a solid white volume with rectangular frames put randomly on its surface. Each frame works as a nature canvas for the interior spaces. The feeling of the inhabitant is freedom, openness and security - requirements that had been set from the beginning.  © Maria Efthumiou, CreativePhotoRoom The main house level is set to be lower in relation to the city level. Therefore the south yard with the swimming pool is protected from the public views. The house's big scale is not obvious from the road, a fact that was one of the main ideas of the design.  © Maria Efthumiou, CreativePhotoRoom  This posting includes an audio/video/photo media file: Download Now |
| Why Nature Should be a Co-Author in Architectural Projects Posted: 15 Dec 2018 04:00 AM PST  Tidal Pools of Leça da Palmeira / Alvaro Siza. Image: © Fernando Guerra | FG+SG Dealing with the context of a project’s site is an essential part of architecture, be it by denying or incorporating preexisting elements and the environment’s conditions in the design. However, understanding what lies around as an active agent of the decisions and space organization goes beyond simply considering the good views, natural ventilation, solar orientation, etc; it is about seeing these conditions as co-authors. These cases are most notable when practices think of the architecture's surrounding environment as an active agent. Office Casagrande Laboratory, headed by Finish architect Marco Casagrande, proposes an architecture that acts as a mediator in the relationship between people and nature. In his descriptions, we frequently see the idea of nature as a co-author in the design process. This is given as the starting point for propositions that reconnect contemporary society and natural elements. These strategies often take advantage of these natural resources to create new places.  From an approach that highlights the nature-body relation, the collective chooses a few elements, such as water vapor, vegetation, wood, among others, to feed the relational sense that the project intends to establish among its residents, the building and the site. Ruin Academy / Marco Casagrande, © AdDa, Tsai Ming-Hui. Ruin Academy / Marco Casagrande. Image: © AdDa, Tsai Ming-Hui Altogether, this posture gives the practice’s production a close connection between the design and site analysis, particularly when it comes to reading the local potentialities and elements that can heighten new tensions in the nature-body relation, inside the specific scope of each proposal.  Section - "Ruin Academy" by Marco Casagrande To explore the relations between the body and nature doesn't necessarily mean to mime the Renaissance traditions that established natural harmony, geometry and proportion parameters as references. Often, it is about incorporating nature as a permanent active force in the design process, one that brings characteristics that can be richly explored, such as textures, colors, temperatures, and contrasts. This is evident in some projects that took advantage of their very specific locations to establish these relations, as is the case with the Leça Swimming Pools by Portuguese architect Álvaro Siza Vieira.  The built part of the project blends into the preexistent elements when it comes to color, texture and materialness. Tidal Pools of Leça da Palmeira / Alvaro Siza. Image: © Fernando Guerra | FG+SG Considering the rock formations of the coast and the tidal dynamics, the construction sometimes relates to the evident human intervention, and other times to a broad reading of the landscape, as the chosen material blends into the environment.  Forest Temple / Marco Casagrande. Image: © Lina Pilibaviciute The main issue in these cases is to adopt a very specific relationship in comparison to other initiatives that deal with nature, such as biomimetic architecture or sustainable projects. It is about placing architecture and its authors under a broader perspective of contact and teamwork with the interferences and opportunities given by the environment.  Spaces that consider the place's dynamics in its design also deal with nature as an active agent. Muuratsalo Experimental House / Alvar Aalto. Image: © Nico Saieh This comprehension of a place helps to create the notion that architecture cannot be seen strictly as an isolated element but as an interaction between everyday needs and its natural environment.  This posting includes an audio/video/photo media file: Download Now |
| The Tides / Kurylowicz & Associates Posted: 15 Dec 2018 01:00 AM PST  Courtesy of Kuryłowicz & Associates
 Courtesy of Kuryłowicz & Associates Text description provided by the architects. The Tides and the Warsaw Rowing Society (WRS) buildings form a new face for Warsaw's developing riverfront. Located on the west bank near the Prince Józef Poniatowski bridge in Warsaw's city center, the seven-story buildings make up an elegant composition set in between two flowing lines of movement; the Vistula river, and ul. Wioślarska (the Vistula highway). Both add narrative as well as a multiplicity of forces around separate programmatic elements belonging to two different client bodies.  Context Plan The Tides building provides over 13,000 square meters of high-quality, flexible office space, 10 luxury apartments, a restaurant, and a bar while the WRS building contains boat storage, conference rooms, offices, a gym and washroom facilities which belong to Poland's oldest sports association: The Warsaw Rowing Society established in 1878. Both buildings overlook the naturally lush and wild east bank of the Vistula River and the national stadium.  Courtesy of Kuryłowicz & Associates  Courtesy of Kuryłowicz & Associates The buildings from the Vistula highway have a maritime quality which scatters a series of fleeting images in a location which was in need of an urban presence. The Tides building appears docked at the riverbank, its faceted timber mass, clad in wood veneer HPL panels, creates a dynamic buffer between the buzzing transport route and the serene qualities of the river on the other side. At certain moments the building becomes suspended, revealing glimpses of the gracious shoreline and Warsaw's thriving river walk.  Courtesy of Kuryłowicz & Associates From over the river, viewing from the bridge or the east bank, the architecture becomes entirely abstract. The buildings disparate programs, which required varied façade transparencies, become unified by a pleated glass curtain as if the mass has been broken to free the spaces within, revealing to the riverfront a shimmering cascade. At night the buildings project watercolor impressions onto the surface of the Vistula river.  Courtesy of Kuryłowicz & Associates The Warsaw Rowing Society building is a smaller, calmer and civically scaled mass and is clad in dark vertical timber panels. A lower four-story glazed annex, which visually connects the WRS building with The Tides, includes the rowing club's training pool which allows the club to train at any time of the year and it is set so that the athletes face the river while rowing. This double height space is fully glazed lets natural light into space and invites the public to catch a glimpse of the action through the window. Within the glazed rowing pool volume and suspended over the water like a theatrical fly tower, is a stepped platform allowing coaches to get multiple views of the rower's stance and technical positioning.  Section A The Tides and the WRS buildings bring the city to the edge of the river. Located on Warsaw's key cultural and historic cycle and pedestrian route, close to metro, bus, and tramway stop; opens up the capacities of the location as a new life and work neighborhood from which episodes of urban life unfold along the Vistula boulevard creating a lively and congenial social environment on Warsaw's riverbank.  Courtesy of Kuryłowicz & Associates  This posting includes an audio/video/photo media file: Download Now |
| Posted: 15 Dec 2018 12:00 AM PST  Cathedral of Brasília. Image © Gonzalo Viramonte Oscar Ribeiro de Almeida Niemeyer Soares Filho, or simply Oscar Niemeyer, (December 15, 1907 – December 5, 2012) was one of the greatest architects in Brazil's history, and one of the greats of the global modernist movement. After his death in 2012, Niemeyer left the world more than five hundred works scattered throughout the Americas, Africa, and Europe.  Courtesy of ON Niemeyer attended the National School of Fine Arts in Rio de Janeiro in 1929, graduating in 1934. He began working with the influential Brazilian architect and urban planner Lúcio Costa in 1932, a professional partnership that would last decades and result in some of the most important works in the history of modern architecture.  Ministry of Education and Health Building, Rio de Janeiro. Image © Marina de Holanda In 1936, Niemeyer joined a team of Le Corbusier, Lúcio Costa, Affonso Eduardo Reidy, Carlos Leon, Jorge Moreira and Ernani Vasconcellos to design the headquarters of the Ministry of Education and Health, located in the center of Rio de Janeiro. Aged just 29 years, Niemeyer was assigned as a draftsman for Le Corbusier, however after Le Corbusier left Brazil the young prodigy made changes to the design that greatly impressed Lúcio Costa—so much so that by 1939 he appointed Niemeyer as the project's lead architect. The building, a horizontal bar that intersects a vertical blade, was completed in 1945 and became the cornerstone of modern Brazilian architecture, attracting international attention.  National Congress of Brazil. Image © Andrew Prokos In 1956, then-president Juscelino Kubitshek invited Niemeyer to participate in the largest urban and architectural work of the country's history: the construction of the new capital in the middle of the savannah, Brasília.  Church of Saint Francis of Assisi, Pampulha. Image © <a href='https://www.flickr.com/photos/56218409@N03/5198791347/'>Flickr user Matthias Ripp</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Lúcio Costa, the masterplanner of the new capital, said in an interview with Ana Rosa de Oliveira in 1992: "when Juscelino became president, he had an architect in his pocket, Oscar Niemeyer. He was a pre-selected architect. This means that the competition was only for the city's urban planning, the masterplan." The collaboration of Costa and Niemeyer gave the world something entirely new: the first major city designed entirely on the basis of modernist principles of functionality and aesthetics.  Niterói Contemporary Art Museum. Image © Gili Merin Oscar Niemeyer was never a scholar, never interested in theories, jargon, or clichés. His freeform, flowing lines were always accurate. Though he had strongly held political views, unlike some other Modernists they were not especially apparent in his work. His goal was simple and innocent: give beauty to the world. And he did.  Cathedral of Brasília. Image © Gonzalo Viramonte See the thumbnails below for all of Oscar Niemeyer's works featured here on ArchDaily, and the links below those for our articles on the great architect. Infographic: Oscar Niemeyer's timeline Oscar Niemeyer, Brazil's Modernist Icon, Dies Tribute to Oscar Niemeyer by Norman Foster Oscar Niemeyer, My Dear Old Friend Quotes from Oscar Niemeyer (1907-2012) Norman Foster on Meeting Niemeyer Gallery: Oscar Niemeyer's Cathedral of Brasília Photographed by Gonzalo Viramonte Oscar Niemeyer Through the Lens of Haruo Mikami Video: Niemeyer Center / Oscar Niemeyer Oscar Niemeyer's "Favorite Project in Europe" Captured in Spectacular Photo Set by Karina Castro See Oscar Niemeyer's Unfinished Architecture for Lebanon's International Fair Grounds Explore Oscar Niemeyer's Unbuilt House in Israel with This 3D Model Louis Vuitton's Cruise '17 Collection Unveiled at Niemeyer's Niterói Contemporary Art Museum One of Oscar Niemeyer's Final Designs Will Be Completed Posthumously in Germany Petterson Dantas' Illustrations Are a Colorful Ode to Oscar Niemeyer  This posting includes an audio/video/photo media file: Download Now |
| Spotlight: Charles and Ray Eames Posted: 14 Dec 2018 10:00 PM PST  Eames House. Image © <a href='https://www.flickr.com/photos/jkz/20338540121/'>Flickr user jkz</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Charles (June 17, 1907 – August 21, 1978) and Ray Eames (December 15, 1912 – August 21, 1988) are best known for their personal and artistic collaboration, and their innovative designs that shaped the course of modernism. Their firm worked on a diverse array of projects, with designs for exhibitions, furniture, houses, monuments, and toys. Together they developed manufacturing processes to take advantage of new materials and technology, aiming to produce high quality everyday objects at a reasonable cost. Many of their furniture designs are considered contemporary classics, particularly the Eames Lounge & Shell Chairs, while the Eames House is a seminal work of architectural modernism.  Ray and Charles Eames. Image © Eames Office Charles Eames began his architectural study after he was awarded a scholarship to study in his hometown at Washington University in St. Louis. However, after just two years at the university he left, at least in part due to the school's teaching: he once described how classical architectural training "forces upon the young designer a system of sterile formula," and a teacher reportedly claimed that he was "too modern." Undeterred, Eames set up a firm with partner Charles Gray, and the pair was later joined by Walter Pauley. In 1938, Eames accepted the invitation of Eliel Saarinen to study at the Art Academy in Cranbrook, Michigan, where he would later become head of the industrial design department.  Eames House. Image © <a href='https://www.flickr.com/photos/danagordon/4261127586/'>Flickr user danagordon</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Nicknamed Ray-Ray by her family, Bernice Alexandra Kaiser was born in Sacramento, California. Her artistic talent was recognizable from a young age, so after high school Ray left California to study in New York City with German Abstract Expressionist Hans Hofmann. She then went on to study at the Art Academy in Cranbrook, where Charles was one of her teachers. Charles divorced his first wife and married Ray in 1941, and the two moved to Southern California where they opened their famous design firm.  Eames House. Image © <a href='https://www.flickr.com/photos/jkz/19711512313/'>Flickr user jkz</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> They initially supplied the American Navy with leg splints and stretchers during World War II, and following the war they took what they had learned about molded plywood and applied it to their groundbreaking furniture designs. Their furniture made of cast aluminum, fiberglass-reinforced plastic, wire mesh, and molded plywood was distributed by Herman Miller and brought their studio international acclaim. As early as 1945 the couple became successful enough to design and build the Eames House, the work they are most known for in the architectural realm. Together they also produced over 80 experimental films that showcased many of their philosophies on design.  The Eames House After Charles' sudden death in 1978, their office was closed and Ray dedicated all of her time to organizing and archiving their lifetime body of work in addition to collaborating on numerous books about their design studio. Interestingly, Ray passed away on the same day as Charles exactly ten years later, but the significance of Eames Design lives on to this day.  Eames House. Image © <a href='https://www.flickr.com/photos/jkz/20332522285/'>Flickr user jkz</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> You can read more information about Ray Eames here, or click the links below to see ArchDaily's coverage of the duo and their work. Below that, we've rounded up a selection of videos either about the Eamses, or made by the couple themselves. Films by Charles & Ray EamesManufacturing the ChairsThe Power Couple This posting includes an audio/video/photo media file: Download Now |
| Compás de las Ánimas y del Nazareno / WaterScales arquitectos Posted: 14 Dec 2018 09:00 PM PST  © Fernando Alda
 © Fernando Alda About the place and the intervention  © Fernando Alda  Master plan  © Fernando Alda It took place an architectural competition for refurbishing and renovating the castle surroundings in order to renovate public facilities as well as attract new travellers. We purposed an intervention called "tapestry scale 1:1" which captures the energy of its landscape. It would be a kind of stone map which would help the visitant to see, discover, know and experience the cultural landscape. The first phase of the complete intervention has been a small square called Compás de las Ánimas y del Nazareno.  © Fernando Alda  Compás Plan Compás de las Ánimas y del Nazareno  © Fernando Alda  Section B  © Fernando Alda The place, thanks to its textures, colours, aromas, texts and pavements, shows its domestic past, underline its religious present and offers itself to the meeting of inhabitants and travellers. In its walls some texts tell the amazing discovering of the thrones. The "fountain of the souls", pilar de las Ánimas, it's a spring which blows water through the eroded stone. The slope is used for creating long stone benches surrounded by aromatic plants. It finishes in a stair seeming a floating carpet which takes us to an upper belvedere to the Valley of Guadalhorce.  © Fernando Alda  This posting includes an audio/video/photo media file: Download Now |
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