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Arroio do Meio, Rio Grande do Sul, Brezilya

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Arroio do Meio, Rio Grande do Sul, Brezilya

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Arroio do Meio, Rio Grande do Sul, Brezilya

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Chancellor's Wings, Harehills, Leeds LS9 7JX, Birleşik Krallık

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Maggie’s Leeds Centre / Heatherwick Studio

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Maggie’s Leeds Centre / Heatherwick Studio

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Maggie’s Leeds Centre / Heatherwick Studio

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Completed in 2020 in Harehills, United Kingdom. Images by Hufton+Crow. Maggie’s Centre is a charity that provides free practical and emotional support for people with cancer. The 462 sq metre centre, located within the…

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Namba Parks, 2 Chome-10-70 Nanbanaka, Naniwa Ward, Osaka, Osaka ili, Japonya

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Namba Parks, 2 Chome-10-70 Nanbanaka, Naniwa Ward, Osaka, Osaka ili, Japonya

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Namba Parks, 2 Chome-10-70 Nanbanaka, Naniwa Ward, Osaka, Osaka ili, Japonya

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The Jerde Partnership's Namba Parks, in Osaka, Japan, was just named one of the winners of the Urban Land Institute's 2009 Awards of Excellence: Asia Pacific competition. When asked to create a gateway to redefine Osaka's identity, the architects responded with this project that would become a natural intervention in Osaka's dense and harsh urban condition. The rooftop park offers a sloping park plane that is "bifurcated by a sinuous, open-air 'canyon' path that reinforces the connection with nature while forming the primary circulation pattern."

More about the park after the break.

Running alongside a 30-storey office tower and a 46-storey residential tower, Namba Parks creates a dynamic rooftop space, while providing a commercial center on the lower levels. The structure gradually ascends eight levels as it flows past several city blocks. Since the park starts at street level and gently rises, large numbers of people are attracted to the trees and water features evident on the park plane. As people travel through the park, outdoor terraces and quiet pockets of greenery provide spaces to dine or relax.

"Namba Parks creates a new natural experience for Osaka that celebrates the interaction of people, culture and recreation," explained the architects. The project exemplifies the Green Transit-Oriented Development, where economic performance and quality green design emerge as a single objective.

As seen on World Architecture News.

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The Jerde Partnership's Namba Parks, in Osaka, Japan, was just named one of the winners of the Urban Land Institute's 2009 Awards of Excellence: Asia Pacific competition. When asked to create a gateway to redefine Osaka's identity, the architects responded with this project that would become a natural intervention in Osaka's dense and harsh urban condition.

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Green School Bali, Jl. Raya Sibang Kaja, Banjar Saren, Sibang Kaja, Kec. Abiansemal, Kabupatén Badung, Bali 80352, Indonesia

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Green School Bali, Jl. Raya Sibang Kaja, Banjar Saren, Sibang Kaja, Kec. Abiansemal, Kabupatén Badung, Bali 80352, Indonesia

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Green School Bali, Jl. Raya Sibang Kaja, Banjar Saren, Sibang Kaja, Kec. Abiansemal, Kabupatén Badung, Bali 80352, Indonesia

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An Unprecedented Structure
IBUKU has pioneered a new design vocabulary, making our own rules along the way, and offering new solutions to the world through our journey. Today, we offer yet another design solution, an unprecedented structure which is not only an incredible piece of bamboo architecture, but will serve as a reference in lightweight structures altogether.

The Arc is the newest building on campus at the world-renowned Green School in Bali, Indonesia. The school has a 12 year history of breaking boundaries and expanding horizons and the Arc is the newest benchmark in that history, raising the bar for sustainable education around the world. The first building of its kind ever made, The Arc at Green School is built from a series of intersecting 14 meter tall bamboo arches spanning 19 meters, interconnected by anticlastic gridshells which derive their strength from curving in two opposite directions.

The Arc is a feat of engineering; it required months of research and development and fine tuning of tailor-made details. The result is a refined design with unparalleled beauty, which stands as a testament to IBUKU 's commitment to expanding horizons in architecture and design
Inspired by Nature

The concepted structure for The Arc is totally unprecedented. Embarking on a design never before executed required some bravery and optimism. We were creative and stubborn enough to research and develop the answers needed for the success of the project

-Rowland Sauls The Arc at Green School - Project Manager, IBUKU

The Arc at Green School Bali enters a new era for organic architecture, with its 19 meter span arches, interconnected by anticlastic gridshells. It is a new community wellness space and gymnasium for the extraordinary campus, in collaboration with Jorg Stamm and Atelier One.

-Elora Hardy Creative Director, IBUKU

The Arc employs one of nature's greatest strategies for creating large spaces with minimal structure. Within a human ribcage, a series of ribs working in compression are held in place by a tensioned flexible layer of muscle and skin. This creates a thin but strong encasement for the lungs. In the case of The Arc, arches working in compression are held in place by tensioned anticlastic gridshells. These fields of gridshells appear to drape across the spaces between impossibly thin arches soaring overhead, giving a whimsy, intimacy and beauty to the space. Although, the gridshells appear to hang from the arches, they actually hold them up.

The gridshells use shape stiffness to form the roof enclosure and provide buckling resistance to the parabolic arches. The two systems together create an unique and highly efficient structure, able to flex under load allowing the structure to redistribute weight, easing localised forces on the arches.

-Neil Thomas, Director of Atelier One

The Arc's counterintuitive orchestration of geometry brings the structure into a state of equilibrium, which means a dramatically decreased necessity for structural material. This also means an unprecedented inner volume with an impossibly thin structure and without any distracting trusses.

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An Unprecedented Structure IBUKU has pioneered a new design vocabulary, making our own rules along the way, and offering new solutions to the world through our journey. Today, we offer yet another design solution, an unprecedented structure which is not only an incredible piece of bamboo architecture, but will serve as a reference in lightweight structures altogether.

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Little Island, New York, Amerika Birleşik Devletleri

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Little Island, New York, Amerika Birleşik Devletleri

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Little Island, New York, Amerika Birleşik Devletleri

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Designed by Heatherwick Studio, together with landscape architecture firm MNLA, the long-awaited Little Island project is New York's newest major public space, showcasing a richly-planted piece of topography above the Hudson River. The design featuring a public park and performance venues reinvents the pier typology into an undulating artificial landscape. After surpassing many hurdles, the eight years in the making project is now open to the public, and the bold design is set to become an icon in New York.

The project reimagines the pier as an experience and designs a structure that would foster a vibrant art, education and community space, creating a distinct performance venue. The offshore structure connected to the shoreline through two doc-like pathways features three outdoor performance spaces: an acoustically-optimised 700-seat amphitheatre, a 200-seat spoken word stage, and a flexible venue with a capacity for 3,500 at the centre. The project creates a diverse landscape with numerous pathways, viewing platforms and destinations, fostering numerous activities.

The project began when we were asked to conceive of a sculptural structure to go on a design for a newly enlarged piece of the Hudson River Park promenade. The project was interesting, but we saw the opportunity to create a more engaging experience for New Yorkers and to build on the city's heritage of inventing exciting new public spaces. Instead, we had the idea to make an entirely new type of pier as a lush rectangular garden island, connected to the land with generous gang-planks as bridges, aligned to the street grid of New York. - Thomas Heatherwick, Founder of Heatherwick Studio

The structural columns are a key identity element of the design, which comprises some 132 tulip-like concrete piles that double as planters. Describing the structure, Thomas Heatherwick says, "we were inspired by these piles and the civil engineering required to build structures that can withstand extreme river conditions. Could we make these the heroes of our project, rather than hiding them? The vision that's been built is based on taking these piles and turning their tops into dramatic planters that fuse together to make a richly-planted undulating landscape." The project's engineering consultant Arup used parametric modelling and advanced prefabrication techniques to deliver the complex precast geometry of the "pots", which were fabricated locally and delivered on-site.

Typically pier structures are always flat, but we saw this as an unmissable opportunity to lift the surface to create a topography that would make a more dynamic social experience for visitors and give great sightlines for performing spaces and lookout points over the river and back towards the city. - Thomas Heatherwick, Founder of Heatherwick Studio

The architecture studio worked with New York-based landscape architecture studio MNLA to design the park, which is home to nearly 400 species of trees, shrubs, grasses and perennials. The landscape creates opportunities for different views and creates numerous paths within the park while also fostering biodiversity.

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Heatherwick Studio's Little Island Creates an Artificial Landscape above the Hudson River

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Designed by Heatherwick Studio, together with landscape architecture firm MNLA, the long-awaited Little Island project is New York's newest major public space, showcasing a richly-planted piece of topography above the Hudson River. The design featuring a public park and performance venues reinvents the pier typology into an undulating artificial landscape.

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Neue Nationalgalerie, Potsdamer Straße, Berlin, Almanya

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Neue Nationalgalerie, Potsdamer Straße, Berlin, Almanya

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Neue Nationalgalerie, Potsdamer Straße, Berlin, Almanya

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Text description provided by the architects. The Neue Nationalgalerie in Berlin is an icon of twentieth-century architecture. Planned and built from 1963 to 1968, the steel and glass structure is the only building designed by Ludwig Mies van der Rohe in Europe after his emigration to the USA.

After almost fifty years of intensive use, the listed building required a comprehensive refurbishment. The existing fabric has been refurbished and upgraded to current technical standards with a minimum of visual compromise to the building's original appearance. The functional and technical upgrades include air-conditioning, artificial lighting, security, and visitors' facilities, such as the cloakroom, café, and the museum shop, as well as improving disabled access and art handling.

The necessity of an extensive repair of the reinforced concrete shell and the complete renewal of the technical building services required an in-depth intervention. In order to expose the shell construction, around 35,000 original building components, such as the stone cladding and all the interior fittings, were dismantled. After their restoration and modification where necessary, they were reinstalled in their precise original positions.

The key to the complex planning process for this project was finding a suitable balance between monument conservation and the building's use as a modern museum. The unavoidable interventions to the original fabric within this process had to be reconciled with preserving as much of the original substance as possible. Though the essential additions remain subordinate to the existing design of the building, they are nevertheless discreetly legible as contemporary elements. The refurbishment project does not represent a new interpretation, but rather a respectful repair of this landmark building of the International Style.

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Neue Nationalgalerie / David Chipperfield Architects

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Completed in 2021 in Berlin, Germany. Images by Simon Menges, Archiv Neue Nationalgalerie, Nationalgalerie, Staatliche Museen zu Berlin, Reinhard Friedrich, Staatliche Museen zu Berlin, Zentralarchiv, Reinhard Friedrich., Landesarchiv Berlin, Photo: Horst Siegmann. The Neue Nationalgalerie in Berlin is an icon of twentieth-century architecture. Planned and built from 1963 to 1968, the steel and glass structure...

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Text description provided by the architects. The distinguished and welcoming new building of the Amsterdam courthouse has begun operation, replacing the old complex on Parnassusweg in Amsterdam. The first sessions take place here on Monday the 3rd of May. This scintillating and functional building in the Zuidas area was designed and built by the consortium NACH (New Amsterdam Court House) at the behest of the Central Government Real Estate Agency. The Amsterdam courthouse, with 50 different courtrooms, more than 1000 staff including 200 judges, and 140,000 verdicts per year, is by far the largest of the 11 courthouses in the Netherlands.

NACH is a consortium involving Macquarie Capital, ABT, DVP, KAAN Architecten, Heijmans and Facilicom. The government and NACH entered into a Public-Private Partnership (PPP) for this courthouse. The PPP oversaw the funding and construction of the building, and leads a 30-year commitment to maintenance and property management - or support services for the courthouse - to be undertaken by Heijmans and Facilicom. This consists of an ambitious variety of services: the in-house restaurant, which has healthy living as its core value; the facilities management, which keeps track of the available work spaces - in real-time on a daily basis - from study rooms to meetings rooms; the building's cleaning needs, which are monitored digitally to directly follow use.

The architectural design by KAAN Architecten, one of the initiators of the consortium, was founded on the principle that in a state governed by the rule of law, jurisprudence is a public affair woven into the fabric of everyday life. The 50-metre-high building is open and unpretentious in nature. Large windows in the lower half of the building allow views from the street into the interior. The spaciously designed foyers around the courtrooms provide room for visitors (800 to 1000 per day), robed lawyers with their clients, reporters, defendants, and others. There is always a view of the city from the building itself. The central hall with escalators alongside an enclosed garden and floors of courtrooms opens into a sea of space and light.

The new courthouse is an expression of comfortable functional architecture. The building's plan is well thought out. It has assembled and stacked the spaces that need to operate together, and separated those that need to remain separate - such as the routes judges, detainees, and visitors take through the building. Close collaboration between architects, consultants for construction, building physics, installations and security (including fire safety), contractors and suppliers has produced a practical and environmentally friendly building, virtually energy neutral and future-proof by way of its extreme flexibility. Staff and visitors are treated to an inspiring, comfortable, and safe environment made with solid materials that will age beautifully.

Where the building and city merge, the entrance is furnished with a south-facing square the size of half a football pitch. This square in fact takes up a quarter of the courthouse site, features the same light grey paving as indoors, and has the same benches. The elegant canopy over the entrance stretches an equal distance into the indoor space, uniting the two. The square is public space, of course, and makes a gesture to the city. A low-rising ramp minimizes any sense of obstruction between the city, the square, and the courthouse, even though the structure is slightly raised for security (against collisions). One side of the square has been planted with trees that blossom, giving not only staff and courthouse visitors a place to relax, but everyone in the area at any time of day.

Next to the square's reflective pool is a big and intriguing work of art by artist Nicole Eisenman, entitled 'Love or Generosity'. Exceeding 5 metres in height, the figure wears hiking boots and symbolizes the act of gatekeeping. The figure is dressed in contemporary casual clothing and bends forward with symbols in its hand that represent wisdom, strength, patience, progress, and courage. A small owl, an arrow, and an acorn which stand for the resilience of society seem to have just been picked up from the square.

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Text description provided by the architects. The distinguished and welcoming new building of the Amsterdam courthouse has begun operation, replacing the old complex on Parnassusweg in Amsterdam. The first sessions take place here on Monday the 3rd of May.

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Tianjin Juilliard School / Diller Scofidio + Renfro

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Text description provided by the architects. The Tianjin Juilliard School (TJS) is a center for performance, practice, research, and interactive exhibitions, with communal spaces that are designed to welcome the public into the creative process and performance of music. TJS is the first performing arts institution in China to confer a U.S.-accredited Master of Music (MM) degree.

The new school also comprises a Saturday Pre-College program for students ages 8- 18; continuing education programs for professionals and adult learners; public education programs for music learners of all ages; and public performances. Located in the Yujiapu Financial District, the 32,500 m2 (350,000 square-foot) building was designed by Diller Scofidio + Renfro, the same firm responsible for the 2009 expansion of Juilliard's iconic New York home.

The building is composed of four faceted pavilions housing a 690-seat concert hall, a 299-seat recital hall, a 225-seat black box theater, and administrative, faculty, and rehearsal programs. Five glass bridges span an expansive public space that extends the surrounding park into the building, inviting students, visitors and concert goers to mingle, relax and experience the students practicing and giving informal performances. The glass bridges contain classrooms, teaching studios, and practice rooms, encouraging visual and auditory access to the study of music, inviting exchange between students, faculty and visitors.

The school utilizes leading edge telecommunication and video conferencing technologies to ensure a high degree of connectivity and collaboration between students and faculty at Tianjin Julliard School and The Juilliard School in New York. The Juilliard Imagination space, for example, is a digitally connected exhibition space, capable of hosting livestreamed concerts between both Juilliard facilities.

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Tianjin Juilliard School / Diller Scofidio + Renfro

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Text description provided by the architects. The Tianjin Juilliard School (TJS) is a center for performance, practice, research, and interactive exhibitions, with communal spaces that are designed to welcome the public into the creative process and performance of music. TJS is the first performing arts institution in China to confer a U.S.-accredited Master of Music (MM) degree.

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Casa Pampa Beach Access Road, Provincia de Puntarenas, Kosta Rika

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Casa Pampa Beach Access Road, Provincia de Puntarenas, Kosta Rika

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Casa Pampa Beach Access Road, Provincia de Puntarenas, Kosta Rika

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the sirena house by studio saxe

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designboom | architecture & design magazine

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nestled along the small costa rican beach town of santa teresa, the sirena house by studio saxe celebrates its forested site. the team was developed the beachfront house to be integrated into the jungle experience while framing the views of the ocean. studio saxe decomposes the mass of the building into a series of pavilions with overlapping roofs that create interesting circulation spaces between the volumes. by de-materializing the volumes, the volume of the home dissipates into its lush surroundings.

images by andres garcia lachner

studio saxe organizes the different programs of the sirena house within the decomposed volumes. pavilions are divided into bedrooms, living spaces, service areas, and together they create a harmony that is weaved together through circulation of indoor and outdoor spaces. this in turn allows the inhabitant to experience the intense natural surrounding every time they have to move from one place to the other. creating the sensation of floating roof-lines, a series of thin columns support the roof planes in a way that they seem as they are floating a combination of steel and wood construction with concrete foundations allow for the lightness of space, and the bleeding of boundaries between the structure and its surroundings.

the decomposed organization of studio saxe's sirena house allows for cross-ventilation due to the openness of each cloistered room. the extended roof-lines are carefully placed to protect from the sun and the rain through a process of bioclimatic design which analyzes the sun patterns, winds, and precipitation to create comfort without the use of energy. an array of sustainable systems such as rainwater catchment, water recycling systems, energy generation, and clever design makes this project a pioneer in sustainable tropical architecture that has passive design at its core.

full article here
project info:
project title: sirena house
architecture: studio saxe
location: santa teresa, puntarenas, costa rica

interior design: pauline steenkamer nosara design

landscape: vida design studio

design director: benjamin g. saxe

builder: adrian y alvarado empresa constructora

structural engineer: sotela alfaro

electro-mechanical engineer: dynamo studio

area: 1,000 square meters

completion: november 2020

photography: andres garcia lachner

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studio saxe weaves its sirena house through coasta rica's jungle shore

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nestled along the small costa rican beach town of santa teresa, the sirena house by studio saxe celebrates its forested site. the team was developed the beachfront house to be integrated into the jungle experience while framing the views of the ocean.

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Lian Xin Lu, Yinzhou Qu, Ningbo Shi, Zhejiang Sheng, Çin

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Lian Xin Lu, Yinzhou Qu, Ningbo Shi, Zhejiang Sheng, Çin

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Lian Xin Lu, Yinzhou Qu, Ningbo Shi, Zhejiang Sheng, Çin

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MoAE – Huamao Museum of Art Education / Álvaro Siza + Carlos Castanheira

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Text by Álvaro Siza - A Convivial Relationship

1.The Museum of Art Education of Ningbo occupies a site located along the North shore of Lake Donqian. Its plan has a triangular form, delineated by continuous walls, with slightly curved rather than angled corners.

On the ground floor, the volume of the museum emerges isolated and bordered on its three sides by planted or paved areas. Public and service access to this level - which is designated P0 - together with access to the VIP area, are located on the Northwest facade, in the gap between the museum and the hillside. This space extends, wrapping around the museum and connecting with the access road.

2. Generally, on all floors, the internal spaces in a strip to the Northwest, are occupied by atriums, lifts, stairwells, services and toilets. A second strip is occupied by spaces of larger dimensions: foyer, library, administration and exhibition rooms.

Finally, on the Southeast side, there is an ample, full height triangular space, top lit by a roof light and surrounded by ramps from the first to the fourth floor. The natural lighting is highlighted by the white walls and is brought into the surrounding rooms, through deliberately placed openings.

3. The basement and the recessed top floor are differentiated by function and dimension. They are organised according to the planned spatial and structural order and in accordance with the impact of other floors levels. Basement: the area corresponding to the visible volume of the building, with uses and circulation similar to the upper floors, also extends under the entrance way to the Northwest, between the hillside and the museum and under a narrow band of the hillside, accommodating technical areas.

The structure and roof slab for a second level, which is accessible from the basement and from the museum entrance way, retains and limits the hillside and its vegetation. Set-back Floor/VIP Area: only part of the available area is occupied and this opens out to the rooftop terrace.

4. The building, cladded in corrugated aluminium sheeting, appears dark in the landscape. Its image constantly shifting from black to silver, depending on the angle of incidence of light and the angle of vision. The interior is an essay on light, captured in the internal patio and distributed from there to spaces arranged around it, becoming progressively less intense. The controlled lighting, specific to the different exhibition spaces, uses tube lights, suspended both horizontally and vertically as suits in each case.

5. Externally, a pedestrian ramp connects the museum entrance way with the road network of the nearby residential area and hotel. A fundamental intent of the project, is for it to be part of a convivial relationship between the natural landscape and the pre-existing and planned buildings, while maintaining the role of protagonist that is appropriate to a public and cultural building.

Text by Carlos Castanheira - Small on the Outside and Immense Inside

A Museum must be big. Inside.
A Museum must be bright. Inside.
The Art Education Museum is a small Museum that is immense inside.

Leaning against on the hillside, its undulating form hovers above the ground.
It is intriguing in its elegance and in its mystery.
Nothing is obvious in this little building.

The public entrance is reached after passing around the form of the building and experiencing an imposed, absorbing compression, to then be released into a vast space, the full height of the building, where a snaking ramp links all the floor levels. This exercise of compression and release is constant during the visit.

This diversity in routes and the interconnection of spaces makes this small building vast inside.
Its volume is equally challenging.

From the exterior it is suspended above the ground as it undulates in its metal cladding.
It reflects the ever-changing daylight that makes the form move and transform. Incessantly.
Inside, the introspective calm of the exhibition spaces contrasts with the movement of the visitors circulating in the enormous void.
Dynamism is taught through Art.
Size doesn't matter, but a Museum must have a Big Soul.

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MoAE - Huamao Museum of Art Education / Álvaro Siza + Carlos Castanheira

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Text by Álvaro Siza - A Convivial Relationship 1.The Museum of Art Education of Ningbo occupies a site located along the North shore of Lake Donqian. Its plan has a triangular form, delineated by continuous walls, with slightly curved rather than angled corners.

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Villa Savoye, Rue de Villiers, Poissy, Fransa

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Villa Savoye, Rue de Villiers, Poissy, Fransa

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Villa Savoye, Rue de Villiers, Poissy, Fransa

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Text description provided by the architects. Situated in Poissy, a small commune outside of Paris, is one of the most significant contributions to modern architecture in the 20th century, Villa Savoye by Le Corbusier. Completed in 1929, Villa Savoye is a modern take on a French country house that celebrates and reacts to the new machine age.

The house single handedly transformed Le Corbusier's career as well as the principles of the International Style; becoming one of the most important architectural precedents in the history. Villa Savoye's detachment from its physical context lends its design to be contextually integrated into the mechanistic/industrial context of the early 20th century, conceptually defining the house as a mechanized entity.

Le Corbusier is famous for stating, "The house is a machine for living." This statement is not simply translated into the design of a human scaled assembly line; rather the design begins to take on innovative qualities and advances found in other fields of industry, in the name of efficiency.

In response to his aspirations and admiration of mechanized design, Le Corbusier established "The Five Points" of architecture, which is simply a list of prescribed elements to be incorporated in design. The Five Points of architecture can be thought of as Le Corbusier's modern interpretation of Vitruvius' Ten Books on Architecture, not literally in the sense of an instructional manual for architects, but rather a checklist of necessary components of design. So much so that Villa Savoye is thoroughly tailored to Corbusier's Five Points.

_Pilotis

_Flat Roof Terrace

_Open Plan

_Ribbon Windows

_Free Façade

At this point in Le Corbusier's career, he became intrigued by the technology and design of steamships. The simplistic, streamlined result born out of innovative engineering techniques and modular design had influenced Corbusier's spatial planning and minimalistic aesthetic.

The pilotis that support the decks, the ribbon windows that run alongside the hull, the ramps providing a moment of egress from deck to deck; all of these aspects served as the foundation of the Five Points of Architecture and are found in the overall composition of Villa Savoye.

Upon entering the site, the house appears to be floating above the forested picturesque background supported by slender pilotis that seem to dissolve among the tree line, as the lower level is also painted green to allude to the perception of a floating volume.

The lower level serves as the maintenance and service programs of the house. One of most interesting aspects of the house is the curved glass façade on the lower level that is formed to match the turning radius of automobiles of 1929 so that when the owner drives underneath the larger volume they can pull into the garage with the ease of a slight turn.

The living quarters, or the upper volume, are fitted with ribbon windows that blend seamlessly into the stark, white façade, which void the façade(s) of any hierarchy. The ribbon windows begin to play with the perception of interior and exterior, which does not fully become expressed until once inside.

However once inside, there becomes a clear understanding of the spatial interplay between public and private spaces. Typically, the living spaces of a house are relatively private, closed off, and rather secluded. Yet, Le Corbusier situates the living spaces around a communal, outdoor terraced that is separated from the living area by a sliding glass wall.

This notion of privatized areas within a larger communal setting is a common thread later on in Le Corbusier's housing projects.

Both the lower level and the upper living quarters are based off an open plan idea that provokes the inhabitant to continuously meander between spaces. As an architectural tour de force, Le Corbusier incorporates a series of ramps moving from the lower level all the way to the rooftop garden, which requires the inhabitant to slow down and experience the movement between spaces.

Villa Savoye is a house designed based on the architectural promenade. Its experience is in the movement through the spaces. It is not until one becomes familiar with the subtle peculiarities that the movement and proportionality of the spaces evokes a sense of monumentality within the Parisian suburb.

Special Thanks to Flavio Bragaia for the photos.

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AD Classics: Villa Savoye / Le Corbusier

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Text description provided by the architects. Situated in Poissy, a small commune outside of Paris, is one of the most significant contributions to modern architecture in the 20th century, Villa Savoye by Le Corbusier. Completed in 1929, Villa Savoye is a modern take on a French country house that celebrates and reacts to the new machine age.

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National Museum of Qatar, Museum Park Street, Doha, Katar

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National Museum of Qatar, Museum Park Street, Doha, Katar

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National Museum of Qatar, Museum Park Street, Doha, Katar

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Text description provided by the architects. The building design is inspired by a mineral formation commonly found in the deserts of the Gulf region. The 'desert rose' is a rock formed when minerals crystallize in the crumbly soil just below the surface of a shallow salt basin. The system of interlocking disks surrounding the historic palace like necklace looks as if it's been propagated organically. It incorporates exhibition spaces that fan out in an elliptical circuit around a central court, the Howsh, where outdoor cultural events will be staged. The desert-rose form evokes the culture and climate of Qatar. It emerges from the ground and merges with it. The shadows created by overhanging elements allow visitors to stroll around outside at the same time as protecting the interior from light and heat. The sand-colored concrete cladding is in harmony with the local environment.

The museum visit follows an elliptical circuit that gently rises and falls, evoking the natural undulations of the landscape. Large openings offer glimpses of the Howsh, the museum's gardens, and Doha Bay. The permanent exhibitions, focusing on the environmental, cultural and political history of Qatar - from time immemorial to the present moment - are on display in eleven galleries. The visitor journey culminates in the old historic palace, one of the jewels of theNMoQ's collections, which has now been restored to its original state.

The museum is surrounded by a landscaped park that reinterprets Qatari landscapes, with alternating low dunes, flooded crops, and gardens inspired by sabkhas and oases. Containing only local plants and trees, the park tells the story of Qatar and how its people lived in and cultivated the harsh environment. It includes a heritage garden of traditional plants and large grassy areas perfect for stretching out on in the evening. A 430-car parking area is seamlessly integrated into the park.

The building is composed of large interlocking disks, spherical in section, and of different diameters and varying curvatures. Some disks are 'horizontal' and rest on other disks. The 'vertical' disks constitute the building's support and transfer the loads of the horizontal planes to the base. Like the exterior, the interior is a landscape of interlocking disks. The finishes are neutral and monochromatic. The floors are sand-colored polished concrete with tiny mineral aggregates. The vertical walls are coated in stuc-pierre, or stone stucco, traditional gypsum and lime-blended plaster that provides a stone look. Ceilings are covered in a microporous acoustic plaster sprayed on mineral wool.

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National Museum of Qatar / Atelier Jean Nouvel

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Text description provided by the architects. The building design is inspired by a mineral formation commonly found in the deserts of the Gulf region. The 'desert rose' is a rock formed when minerals crystallize in the crumbly soil just below the surface of a shallow salt basin.

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Güney Kore, Gyeonggi, Suwon, Yeongtong-gu, Woncheon-dong, Gwanggyojungang-ro, Galleria Gwanggyo

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Güney Kore, Gyeonggi, Suwon, Yeongtong-gu, Woncheon-dong, Gwanggyojungang-ro, Galleria Gwanggyo

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Güney Kore, Gyeonggi, Suwon, Yeongtong-gu, Woncheon-dong, Gwanggyojungang-ro, Galleria Gwanggyo

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Text description provided by the architects. The Galleria is Korea's first and largest upscale department store franchise founded in the 1970s, and has remained at the forefront of the premium retail market in the country since then. The store in Gwanggyo-a new town just south of Seoul-is the sixth branch of Galleria. Located at the center of this young urban development surrounded by tall residential towers, the Galleria's stone-like appearance makes it a natural point of gravity for public life in Gwanggyo.

The store is located between the Suwon Gwanggyo Lake Park and ubiquitous buildings in the city: an intersection between nature and the urban environment. The store has a textured mosaic stone façade that evokes nature of the neighbouring park. Appearing as a sculpted stone emerging from the ground, the store is a visual anchor in the city.

The public route has a multifaceted glass façade that contrasts with the opacity of the stone. Through the glass, retail and cultural activities inside are revealed to the city's passers-by, while visitors in the interior acquire new vantage points to experience Gwanggyo. Formed with a sequence of cascading terraces, the public loop offers spaces for exhibitions and performances.

A place where retail and culture, city and nature collide, Galleria in Gwanggyo offers a get away from the predictability of shopping.

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Text description provided by the architects. The Galleria is Korea's first and largest upscale department store franchise founded in the 1970s, and has remained at the forefront of the premium retail market in the country since then. The store in Gwanggyo-a new town just south of Seoul-is the sixth branch of Galleria.

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Epcot, Epcot Center Drive, Orlando, Florida, Amerika Birleşik Devletleri

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Epcot, Epcot Center Drive, Orlando, Florida, Amerika Birleşik Devletleri

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Epcot, Epcot Center Drive, Orlando, Florida, Amerika Birleşik Devletleri

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experimental prototype community of tomorrow

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EPCOT Theme Park | Walt Disney World Resort

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Enjoy exciting attractions, themed festivals, international cuisine, live entertainment and more at EPCOT, a theme park at Walt Disney World Resort in Florida.

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The Metropolitan Museum of Art, 5th Avenue, New York, Amerika Birleşik Devletleri

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The Metropolitan Museum of Art, 5th Avenue, New York, Amerika Birleşik Devletleri

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The Metropolitan Museum of Art, 5th Avenue, New York, Amerika Birleşik Devletleri

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Over 5,000 years of art from around the world.

Hours: Sunday-Tuesday and Thursday: 10 am-5 pm

Extended Hours: Friday and Saturday: 10 am-9 pm

Closed Thanksgiving Day, December 25, January 1, and the first Monday in May.

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The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.

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Apple Campus

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The City of Cupertino has released Apple's revised campus plans, following the recent news criticizing Steve Job's "sky-high requirements for fit and finish" that have resulted in a "ballooning budget."

Abandoning Apple's classic "white" detailing, architects Foster + Partners have opted to clad the 2.8 million square foot, circular monolith in black - a stylistic remedy that seems to be in line with the overarching campus goal to "provide a serene environment reflecting Apple 's brand values of innovation, ease of use and beauty."
More details after the break...
Working to shave a reported $1 billion from the $5 billion budget, the revised campus plans have removed 300,000 square feet of construction costs by pushing the entire Tantau Development to Phase 2. As explained in the project description, "Phase 2 includes 600,000 square feet of office, research and development buildings for up to 2,200 employees along North Tantau Avenue, providing flexibility to address future business needs. Construction of Phase 2 will follow completion of Phase 1. The Tantau sites will have small satellite plants."

In addition to this, the refined site plan seems to have prioritized its multimodal transportation goals as an expanded section details bicycle access improvements with the integration of "enhanced bike lanes", which lure pedaling commuters with buffered lanes.

Also notable in the plan is a minor increase to parking availability and updates to public improvements, as well as a new section on Public Art that details four locations where the company plans to install art near the campus.

With a primary goal of promoting creativity and collaboration, the 176-acre campus will consolidate the current disjointed assemblage of aging corporate facilities into a single high performance office, research and development building, with supporting facilities, for 14,200 Apple employees.

The campus' centerpiece - the signature 4-story Main Building - is designed to hold 12,000 of those employees. It will offer state-of-the-art meeting and office space, along with a 60,000 square foot dining space whose outdoor terrace will extend into the lush orchard and woodlands of the building's inner courtyard.

Separate facilities to be constructed in Phase 1 include a 100,000 square foot corporate fitness center, a 1,000-seat Corporate Auditorium, and a four-story parking garage near Interstate 280 - which, along with the Main Building's expansive underground parking garage, will accommodate for 10,980 cars.

The campus is set to achieve "net-zero energy" by offsetting energy use with 700,000 square feet of rooftop solar panels (enough to generate 8 megawatts of power), along with additional contracts for solar and wind power and climate responsive window dressings. In addition, the project will replace existing asphalt and hardscape with over 100 acres of landscaped green space reminiscent of the natural California landscape, including the use of native and drought-tolerant vegetation, while a compact land use plan will reduce building and parking footprints. Minimize use of potable water will be achieved through using recycled water, if available as a result of projects now under consideration, and improve runoff by increasing permeable surfaces.

The completion date has been reset to 2016.
via The City of Cupertino, MacRumors

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Updated Plans Released for Foster + Partners' Apple Campus in Cupertino

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The City of Cupertino has released Apple's revised campus plans, following the recent news criticizing Steve Job's "sky-high requirements for fit and finish" that have resulted in a "ballooning budget."

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Vessel, Hudson Yards, New York, Amerika Birleşik Devletleri

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Vessel, Hudson Yards, New York, Amerika Birleşik Devletleri

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Vessel, Hudson Yards, New York, Amerika Birleşik Devletleri

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Text description provided by the architects. Vessel is a new type of public landmark - a 16-storey circular climbing frame, with 2,465 steps, 80 landings and views across the Hudson River and Manhattan. It is the central feature of the main public square in the Hudson Yards development, one of the largest real estate projects in American history, which is transforming a former rail yard in Manhattan's Upper West Side into a completely new neighbourhood, with more than five acres of new public spaces and gardens.

Heatherwick Studio was asked to design a centrepiece for Hudson Yards, something that would welcome visitors into the heart of the district and create a new place to meet in Manhattan. Part of the challenge was to create something memorable that would not be overwhelmed by the surrounding cluster of towers, or the scale of the new public space above the train platform. Exploring different possibilities, the team started to narrow the parameters: it should be a memorable single object, not a series of objects dispersed throughout the space; rather than an inert, static sculpture, it should be a social encounter, which encourages activity and participation - it should be fun.

By opening up voids between the steps to create a three- dimensional lattice, the public square could be stretched upwards, creating more than a mile of routes that could be explored in different ways. To create the continuous geometric pattern of the stepwell, with 154 interconnecting flights of stairs, the object had to be self-supporting - a discreet structural solution was required, which did not need additional columns and beams. This was resolved by inserting a steel spine between each pair of staircases, creating a natural division between 'up' and 'down'. The raw welded steel of this structure is exposed to give the object clarity and integrity, and the underside of the staircases is clad in a deep copper-toned metal, setting them apart from the surrounding architecture.

Every element of the Vessel is bespoke, from the joints to the handrails. The 75 huge steel components were produced in Venice by specialist fabricator Cimolai, before being brought from Italy in six shipments, carried across the Hudson River by barge, and assembled on site in a process that took three years. Yet despite the size of the Vessel, it has been designed at a human scale, to be climbed, explored and enjoyed by New Yorkers and visitors - a simple structure, animated by people and the reflections of the square beneath.

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Vessel Public Landmark / Heatherwick Studio

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Text description provided by the architects. Vessel is a new type of public landmark - a 16-storey circular climbing frame, with 2,465 steps, 80 landings and views across the Hudson River and Manhattan.

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TADAO ANDO

GATE 2011

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Château La Coste · Artists and Architects in Provence

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CHÂTEAU LA COSTE · Learn more about the Artists' and Architects' artwork at Château La Coste in the heart of Provence in Le Puy-Sainte-Réparade

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TADAO ANDO

ART CENTRE 2011

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Château La Coste · Artists and Architects in Provence

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CHÂTEAU LA COSTE · Learn more about the Artists' and Architects' artwork at Château La Coste in the heart of Provence in Le Puy-Sainte-Réparade

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JEAN NOUVEL

CUVERIE 2008

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Château La Coste · Artists and Architects in Provence

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CHÂTEAU LA COSTE · Learn more about the Artists' and Architects' artwork at Château La Coste in the heart of Provence in Le Puy-Sainte-Réparade

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FRANK O. GEHRY

PAVILLON DE MUSIQUE 2008

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Meydan, Selimiye Mosque, Meydan, Mimar Sinan Caddesi, Edirne Merkez/Edirne, Türkiye

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Meydan, Selimiye Mosque, Meydan, Mimar Sinan Caddesi, Edirne Merkez/Edirne, Türkiye

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Meydan, Selimiye Mosque, Meydan, Mimar Sinan Caddesi, Edirne Merkez/Edirne, Türkiye

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Mimar Sinan, Mosque of Selim II, Edirne (article) | Khan Academy

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Text description provided by the architects. In the 1970's architects Renzo Piano and Richard Rogers, both unknown at the time, collaborated and erected one of the most famous and radical buildings of our time, Centre Georges Pompidou. The cultural center in Paris, France turned our world inside out, literally. It all began with Georges Pompidou, President of France from 1969 to 1974, who wanted to construct a cultural center in Paris that would attract visitors and be a monumental aspect of the city. Receiving more than 150 million visitors since is completion thirty three years ago, there is no doubt that Pompidou's vision became a successful reality.

More information on Centre Georges Pompidou after the break.

In order to choose the architects for the project, the president held a competition and many entered, including some of the most famous architects in France at the time. People were astonished, however, when the design of Renzo Piano and Richard Rogers, both not famous at the time, won the competition. Their entry exemplified constructivism and was a high-tech modern cultural center structured with a system gerberettes and trusses unlike anything seen in the architectural world before.

Their concept, depicted in one of their competition drawings as a collage, was portraying the museum itself as movement. The other concept in their design, and perhaps the most obvious, was exposing all of the infrastructure of the building. The skeleton itself engulfs the building from its exterior, showing all of the different mechanical and structure systems not only so that they could be understood but also to maximize the interior space without interruptions.

The different systems on the exterior of the building are painted different colors to distinguish their different roles. The structure and largest ventilation components were painted white, stairs and elevator structures were painted a silver gray, ventilation was painted blue, plumbing and fire control piping painted green, the electrical elements are yellow and orange, and the elevator motor rooms and shafts, or the elements that allow for movement throughout the building, are painted red. One of the "movement" elements that the center is most known for is the escalator (painted red on the bottom) on the west facade, a tube that zigzags up to the top of the building providing visitors with an astonishing view of the city of Paris.

The Centre Pompidou houses the Musée National d'Art Moderne, which is Europe's largest museum for modern art. Also located in the vast open interior is the Bibliothèque publique d'information, a huge public library, and a center for music and acoustic research known as IRCAM. The flat open site upon which it is located is a constant exterior stage for urban events. The centre was officially opened on January 31, 1977 and has since then integrated high-tech architecture and urbanism as a movement and spectacle for the city to experience everyday.

On May 12, 2010 the sister of Centre Georges Pompidou, named Centre Pompidou-Metz, opened its doors in Metz, France. The building was designed by Shigeru Ban and Jean de Gastines. The building is a museum for modern and contemporary art and was designed to resemble a traditional Chinese hat, forcing function to follow form. It incorporates innovative carpentry in its structure composed of sixteen kilometers of glued laminated timber that intersect to form a hexagonal mesh. For more information on the new center visit the Centre Pompidou-Metz official website.

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AD Classics: AD Classics: Centre Georges Pompidou / Renzo Piano Building Workshop + Richard Rogers

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Text description provided by the architects. In the 1970's architects Renzo Piano and Richard Rogers, both unknown at the time, collaborated and erected one of the most famous and radical buildings of our time, Centre Georges Pompidou. The cultural center in Paris, France turned our world inside out, literally.

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Leeza SOHO, Li Ze Lu Fengtai District, Çin

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Leeza SOHO, Li Ze Lu Fengtai District, Çin

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Leeza SOHO, Li Ze Lu Fengtai District, Çin

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Text description provided by the architects. Located on Lize Road in southwest Beijing, Leeza SOHO tower anchors the new Fengtai business district - a growing financial and transport hub between the city centre and the recently opened Beijing Daxing International Airport to the south. The new business district is integral to Beijing 's multi-modal urban plan to accommodate growth without impacting existing infrastructure networks in the centre of the city.

This 45-storey 172,800m² tower responds to demand from small and medium-sized businesses in Beijing for flexible and efficient Grade A office space. Adjacent to the business district's rail station at the intersection of five new lines currently under construction on Beijing 's Subway network, Leeza SOHO's site is diagonally dissected by an underground subway service tunnel.

Straddling this tunnel, the tower's design divides its volume into two halves enclosed by a single facade shell. The emerging space between these two halves extends the full height of the tower, creating the world's tallest atrium at 194.15m which rotates through the building as the tower rises to realign the upper floors with Lize road to the north. This rotation of the atrium intertwines Leeza SOHO's two halves in a dynamic 'pas de deux' with connecting sky bridges on levels 13, 24, 35 and 45; its glazed facade giving panoramic views across the city.

Leeza SOHO's atrium acts as a public square for the new business district, linking all spaces within the tower and providing varying views due to its twisting, sculptural form; creating a fantastic new civic space for Beijing that is directly connected to the city's transport network. The atrium brings natural light deep within the building, acting as a thermal chimney with an integrated ventilation system that maintains positive pressure at low level to limit air ingress and provides an effective clean air filtration process within the tower's internal environment.

Leeza SOHO's double-insulated, unitised glass curtain wall system steps the glazing units on each floor at an angle, providing narrow ventilating registers to draw outside air through operable cavities where required; creating extremely efficient environmental control for each floor. The two halves of the tower shade the atrium's public spaces, while the double-insulated low-e glazing maintains a comfortable indoor environment in Beijing 's extreme weather conditions. With a u-value of 2.0 W/m²K, the glazing has a shading coefficient of 0.4. The tower's overall external envelope u-value is 0.55 W/m²K.

At the forefront of 3D Building Information Modelling (BIM) in design, construction management and building operations, Zaha Hadid Architects and SOHO China have implemented proven technologies to reduce the energy consumption and emissions at each of their four collaborations, totalling 15 million square feet (1.4 million sq. m) of mixed-use urban space in Beijing and Shanghai.

Designed to achieve LEED Gold certification by the US Green Building Council, Leeza SOHO's advanced 3D BIM energy management system monitors real-time environmental control and energy efficiency. These systems also include heat recovery from exhaust air and high-efficiency pumps, fans, chillers boilers, lighting and controls. The tower incorporates water-collection, low-flow rate fixtures and greywater flushing as well as an insulating green roof with photovoltaic array to harvest solar energy.

2,680 bicycle parking spaces, with lockers, shower facilities and dedicated charging spaces for electric and hybrid cars are located below ground; while low volatile organic compound materials are installed throughout Leeza SOHO to minimise interior pollutants and high efficiency filters remove particulates via the air-handling system.

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Text description provided by the architects. Located on Lize Road in southwest Beijing, Leeza SOHO tower anchors the new Fengtai business district - a growing financial and transport hub between the city centre and the recently opened Beijing Daxing International Airport to the south.

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Braun AG Headquarters, Melsungen, Germany

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Braun Headquarters Dossier

Project Name: Braun Headquarters and Industrial Complex

Alternative Name: Office Concept 2010

Architect(s): Michael Wilford

Location: Melsungen, Germany

Address: Carl-Braun-Strabe 1 34212 Melsungen Germany

Building Type: Commercial & Industrial Building

Design/Construction Dates: Design= 1996-1999, Construction= 1997-2001

Completion Date: 2001

Client(s): B.Braun Melsungen AG

Size: 5.303 square feet

Budget/Construction Cost: $10.7million (Pfieffewiesen building)

Collaborators:

ARCHITECT/INTERIOR DESIGNER: Wilford Schupp Architekten, Stuttgart, Germany--Chris

Dyson, Claudia Murin, Charlie Sutherland, Axel Overath, Bori Csicsely, Denis Wolf, Martin Braun,

Frauke Goldammer (project team)

ENGINEERS: Ing. Buero Dr. Meyer (structural); ROM Kassel (M/E/P); PPC (M/E/P); Hosser, Hass + Partner (fire safety)

CONSULTANTS:

IKB Immobilien Management (project management); Veidhoen + Company

(workplace concept); Dr. Manfred Flohrer (building physics); Kurz + Fischer (acoustics); agLicht

(lighting)

II. BACKGROUND/ BRIEF DESCRIPTION OF PROJECT:

The Headquarters for Braun AG completed construction in 1986. It is in Melsungen, Germany. Two of the well-known architects, James Stirling and Michael Wilford, have previously involved in building Braun Headquarters. It took 7 years to complete the building and the construction finished in 1992. One of the most recognized building in the headquarters is Pfieffewiesen. Pfieffewiesen is an administration building. Braun Headquarters is a combination of nature and industrial construction. It is designed based on the land contour around the site. This industrial building has won numerous of awards. It has gained recognition beyond the borders of region. In 2002, B.Braun Melsungen AG's administration building has won RIBA Award for Architecture 2002 under the category of "Commercial Building". (YC)

This Industrial facility is built for medical plastics products. Its architecture communicates the wavering amongst functionalism and memorable affiliation qualities of pass works done by James Sterling and Michael Wilford. It recalls the man-made objects in the landscape of the Roman campagna: via-ducts, bridges, canals, and embankments. The site is located rolling hills outside Melsungen, two hours north east of Frankfurt. The front of the headquarters is a garden with a tree-lined canal and a lake. In the middle, a multi-storey car park which is linked by a long walkway to the staff canteen at one end and the administration building at the other. This sits on a small hill and contains offices with a computer facility in the base. Production takes place in a central building and finishes goods are dispatched at the rear. The large lozenge-shaped building is a general distribution centre for all goods produced in Braun's German factories. (CL)

*III. INTENTIONS OF THE ARCHITECT

Braun Headquarters wanted to increase the effective use of office space from 60% to 80%. Michael Wilford had designed a no open plan office in the triangle plan administration building. The ensembles of spaces consist of public, semi-public and semi-private room. By providing flexibility to the work area, electrical outlets are available at any point. Workers can have electricity supplies at any spaces in the office. Perforated steel ceiling panels were installed so that it can carry lighting features, copper heating, cooling coils, acoustic insulation and fire sprinkles. Instead of 35 linear feet of files per person, each person is limited to 8 feet. By doing so, a space for 130 employees become an area for 240 employees. It has also increased the efficiency of the company. (YC)

As B.Braun is a medical supplier there are many different requirements of hygiene needed in the Braun Headquarters from the manufacturing of plastics medical products to administration facilities, car parking to offices, cafeteria and changing rooms (Messedat 1965, 95). Therefore, the headquarters was designed for the industrial units to be individual buildings and also each building would be individually designed according to its function in its production purpose. Moreover, the land that the Braun Headquarters were build on were very hilly, thus, the layout of every unit were carefully designed to be integrated into the hilly landscape. The curved office building, which act as a beacon across the valley (Frampton 1999, 233). As an example of the integrated consideration of structure and configuration, the conical supports at ground level take full advantage of the geometry of the configuration in being able to reduce the number of supports (Frampton 1999, 233). Another example is the timber bridge which connects the office building, the car park and the manufacturing region. It can be described as the core of the plan. (CL)

IV. Drawings {see moodle for image specifications, web sources unacceptable!, MUST cite sources for images}

Site plan:

Braun Headquarters Roof Plan (Gadocument 1992, 171) (YC)(CL)

Braun Headquarters Upper Level Plan showing pedestrian walkway system (Gadocument 1992, 171) (YC)(CL)

Building plans:

Braun Headquarters Typical Upper Floor Plan of the Administration Building (Gadocument 1992, 172) (YC)(CL)

Sections:

Braun Headquarters Section (Frampton 1998, 233) (YC)(CL)

Elevations:

Renderings (axonometric and/or perspectives):

Braun Headquarters Axonometric (Messedat 2005,99) (YC)(CL)

Braun Headquarters Plan Rendering (Messedat 2005,99) (YC)(CL)

Other (sketches, details, etc.):

*V. PHOTOGRAPHS* FischervonMollard
Exterior: Braun headquarters? (Frampton 1999,233) (CL)(YC) Braun headquarters Administration Building (GAdocument 1992,168) (CL)(YC) Braun Headquarters Bridge (Frampton 1999,232) (CL)(YC) Braun Headquarters Individual forms (Messedat 2005,94) (CL)(YC) Braun Headquarters Landscape (Messedat 2005,95) (CL)(YC) Braun Headquarters Materials on Facade (Messedat 2005,96) (CL)(YC)
Interior: Braun Headquarters Communication Area (Frampton 1999,98) (CL)(YC) Braun Headquarters Foyer (Messedat 2005,97) (CL)(YC) Braun Headquarters Lobby (Pogade 2008,154) (CL)(YC) Braun Headquarters Office (Frampton 1999,98) (CL)(YC) Braun Headquarters Stair Tower (Messedat 2005,97) (CL)(YC) Braun Headquarters Working Space (Messedat 2005,990 (CL)(YC)

VI. CONSTRUCTION
Construction system(s): Braun Headquarters is constructed as different individual buildings, so it can facilitate identification and future extension. A bridge is built across the Braun Headquarters connecting each buildings for easy access. The bridge is constructed using simple timber structure and hold the bridge above the ground. The timber holds the bridge made out of mainly translucent glass and aluminium. The usage of timber is minimum so people can have a clear view from the inside of the bridge to the outside. (YC)

Materials used
a) exterior: Steel corrugated plate, exposed concrete, thick plywood, glass panelling (YC)b) interior: Polished concrete, timber frame, glass panelling, tiles, steel wire mesh for balustrade (YC)

Environmental Systems: VII. HISTORICAL SIGNIFICANCE/ INNOVATIONS INTRODUCED:
[100-200 words per student, add initials after entry] Historiacal Significance:
Due to the location of the site, the building stands out from the whole town. Therefore, James Stirling and Michael Wilford decided to design an industrial commercial building which does not look like the typical type of industrial building in square or boxy geometry. They designed the Braun Headquarters into different buildings connected by bridges. Each building performs different task like administration and production. This design helped to improve the efficiency of the company by not interfering the function of each building.

One of the historical significance of the building by James Stirling and Michael Wilford is they can break through the typical design of an industrial building and improve the efficiency of the company. (YC)
Innovations introduced: This building of Braun Headquarters is built for administration. In accordance with the regulated positioning of the company, where innovation is demanded as the generator in all fields, it was decided to develop innovative strategies for the construction of the new headquarters. Visionary office designs were to be found for a corresponding business culture. "The new "office concept 2010" was develop in cooperation with Michael Wilford and Partners, Manuel Schupp, the IKB Baumanagement from Dusseldorf, and the Dutch Veldhoen and Company." (Frampon, 1999, 233) It was one of the main non-regional office ideas, which was implemented in Germany. The idea needed a certain level of adaptability from all member of staff. Every employee had a chance to pick a working environment which is suited for his or her task undertaking. As there are no work areas which are specifically appointed, employees must "tidy up" every evening. The change from a pre-established working environment has prompted a totally new appearance of the workplace; "where there were rows of cellular offices, there was a flowing space." (Frampon, 1999, 233). This was organised through the furniture and the utilisation of isolation, yet transparent "cockpit". "There is no open-plan office, but an area with a variety of spatial zones with different characteristics." (Frampon, 1999, 233) (CL) VIII. ANALYTIC DIAGRAMS
Parti diagram: (YC) (CL) Program diagram: (YC) (CL) Structure diagram: (YC) (CL) Tectonics diagram: (YC) (CL) Ornament diagram: (YC) (CL) Site/Context diagram: (YC) (CL)IX. ANNOTATED REFERENCES Books: <2 minimum per student, initial after entry> Pogade, Daniela. 2008.Inspiration office: how to design workspaces, Inspiration office : how to design work spaces. Berlin: DOM Publishers.
The book is in German but has usefull photographs of the interior of Braun Headquarters. (YC)
Frampton, Kenneth. 1999. World architecture 1900-2000 : a critical mosaic. China]: China: China Architecture & Building Press.
It describes the functions of each buildings in Braun Headquarters and the geometry of the buildings. (YC)
Messedat, Jons. 2005. Corporate architecture : Entwicklung, Konzepte, Strategien = Development, concepts, strategies, Development, concepts, strategies. Ludwigsburg: AV Edition.
It is about the concept of the design of each building. (YC)

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Braun Headquarters Dossier Project Name: Braun Headquarters and Industrial Complex Alternative Name: Office Concept 2010 Architect(s): Michael Wilford Location: Melsungen, Germany Address: Carl-Braun-Strabe 1 34212 Melsungen Germany Building Type: Commercial & Industrial Building Design/Construction Dates: Design= 1996-1999, Construction= 1997-2001 Completion Date: 2001 Client(s): B.Braun Melsungen AG Size: 5.303 square feet Budget/Construction Cost: $10.7million (Pfieffewiesen building) Collaborators: ARCHITECT/INTERIOR DESIGNER: Wilford Schupp Architekten, Stuttgart, Germany--Chris Dyson, Claudia Murin, Charlie Sutherland, Axel Overath, Bori Csicsely, Denis Wolf, Martin Braun, Frauke Goldammer (project team) ENGINEERS: Ing.

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Château La Coste Art Gallery by Renzo Piano, Le Puy-Sainte-Réparade, Fransa

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Château La Coste Art Gallery by Renzo Piano, Le Puy-Sainte-Réparade, Fransa

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Château La Coste Art Gallery by Renzo Piano, Le Puy-Sainte-Réparade, Fransa

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Text description provided by the architects. The new building designed by RPBW rises in the heart of the grapevines of the prestigious Château La Coste realm.

This 285 sq. meters pavilion aims at both displaying art and preserving wine. Due to the natural topography of the soil, it was decided to carve a 6 meters deep valley in the earth so as to fully incorporate the building into the vineyard. The pure glazed façades and roof contrast with the simple exposed concrete used for both the retaining and the exhibition walls. The partly buried building highlights the roof covered with a sail fastened to thin metal arches. These arches echo the graphical layout of the grapevines, enabling to integrate the sail into the vineyard. As a kite, the sail flies and lands, emphasizing all at once the lightness and horizontalness of the building.

Inside, sculpture and photography exhibitions are displayed into a 160 sq. meters gallery benefiting from natural light. The remaining surface is dedicated to wine preservation. Thus, the exhibition space is surrounded by wine cellars whose scale is evidenced by the alcoves at the entrance of the gallery.

From the reception building, the visitors will follow a path to the RPBW pavilion. At the end of the trail, a slight slope leads the visitors to the exhibition gallery's entrance. At the back of the building, a space dedicated to sculpture is extended by a water mirror that largely reflects the full width of the pavilion.

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Château La Coste Art Gallery / Renzo Piano Building Workshop

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Completed in 2017 in Aix-en-Provence, France. Images by Stephane Aboudaram | WE ARE CONTENT, Maurits Van der Staay. The new building designed by RPBW rises in the heart of the grapevines of the prestigious Château La Coste realm. This 285 sq. meters pavilion aims...

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Şarkiye, Odunpazarı Modern Müze (OMM), Atatürk Bulvarı, Odunpazarı/Eskişehir, Türkiye

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Şarkiye, Odunpazarı Modern Müze (OMM), Atatürk Bulvarı, Odunpazarı/Eskişehir, Türkiye

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Şarkiye, Odunpazarı Modern Müze (OMM), Atatürk Bulvarı, Odunpazarı/Eskişehir, Türkiye

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OMM - Odunpazari Modern Museum, a major new museum and distinctive architectural landmark by Kengo Kuma and Associates celebrates its public opening. Founded by art collector and businessman Erol Tabanca, the museum is the first of its kind in Eskisehir, a university city in north west Turkey.

OMM's innovative design, by the acclaimed Japanese architects behind the new V&A Dundee in the UK, provides a bright and spacious new home for the 1,000-piece collection of modern and contemporary art housed inside the museum. With its stacked timber design, inspired by the surrounding streetscape of Odunpazari and its history as a timber trading market, the 4,500m2 museum stands as a new landmark that reconnects the town with its heritage, and as a progressive cultural development for Eskişehir and the Central Anatolia region at large.

Erol Tabanca , Founder of OMM, said: " Today's opening marks the culmination of a visionary process for everyone involved. We are delighted to reveal this unique building, the collection and our exciting inaugural presentations to the community here in my hometown of Eskisehir and to visitors from around the world."

Kengo Kuma, principle of Kengo Kuma and Associates, and Yuki Ikeguchi , the partner leading the project, said: "The idea for OMM was to use architecture to create a link between people and art. We were deeply inspired by the history, culture, people and streetscape of Odunpazari, and we wanted the building to resonate on many levels. We hope that the museum will breathe new life into Eskisehir and become a central and inviting meeting point for the city."

Idil Tabanca , Chairperson and Creative Director of OMM, said: " The opening of OMM marks the beginning of a new era of collaboration and innovation in the university city of Eskisehir. We are opening up the doors of the iconic new building to create an institution that will be a stepping stone for young artists. I don't see OMM as a museum - it's a platform, a bridge, for young creatives to have their voices heard ."

Largest Installation to date by Bamboo 'Master' Artist Tanabe Chikuunsai IV
At the museum's opening ceremony on Saturday 7 September, which was attended by important international figures including Kengo Kuma and Yuki Ikeguchi, Japanese 'master' bamboo artist Tanabe Chikuunsai IV put the final touches to his ever largest installation, standing at over 6x8 metres. The new commission, which is the most recent piece to join OMM's evolving collection of modern and contemporary art, was deeply inspired by Odunpazari and its inhabitants, who are represented as one of five interwoven strands along with the four elements: Earth, water, air, fire. Renovating an ancient Japanese craft, the work was made entirely from recycled 'Tiger Bamboo' that's unique to one mountain in Kochi, Japan.

Digital Art Brings Home Important Environmental Message
As part of the opening presentation, British digital art collective Marshmallow Laser Feast are showcasing two immersive installations (until 7 December) - Treehugger and In the Eyes of the Animal - both of which carry an important environmental message: that the protection and regeneration of the Earth's ecosystems is fundamental to our collective futures.

Treehugger, recently awarded Tribeca Film Festival's Storyscapes Award for innovation in immersive storytelling, is the first chapter in what MLF plans to become a virtual archive of rare and endangered trees. The ultimate aim of the project is to assist conservation by encouraging people to connect with the natural world and feel compelled to protect it. In the Eyes of the Animal, originally created and set in Grizedale Forest in the Lake District, UK, takes users on a fascinating journey that allows them to embody various animals as they traverse the landscape, flying above the forest canopy and coming face-to-face with high-definition critters.

In an age where technology is said to disconnect people from the natural environment, Marshmallow Laser Feast uses cutting-edge technology such as virtual reality, aerial 360° drone filming, LiDAR and CT scanning to highlight the invisible but fundamental connections and dependence between humans and the natural world.

First Exhibition Puts Turkish Artists in the Spotlight
OMM's ambitious exhibition programme opens with ' Vuslat ', curated by Turkish curator Haldun Dostoğlu, which features a selection of over 100 works by 60 leading artists predominantly from Turkey including Bedri Rahmi Eyüboğlu, Canan Tolon, Erol Akyavaş, İlhan Koman, Ramazan Bayrakoğlu, Sinan Demirtaş and Tayfun Erdoğmuş.

' Vuslat ', which loosely translates as 'The Union', was inspired by three scenes of union: Eskisehir gains its first private modern art museum; Erol Tabanca fulfills his dream of sharing his collection with the public, and the collection - much of which has been behind closed doors for years - is showcased in its entirety for the first time.

Split over three floors, the new museum has a variety of exhibition spaces that will house the permanent collection and host a programme of multidisciplinary exhibitions - many of which will be produced in collaboration with leading curators and creatives. The exhibition programme will be complemented by a dynamic public programme, offering seminars, artist talks and workshops.

Odunpazari Modern Art Museum is to exhibit the owner's collection of Turkish modern art. The Museum is planned in the city of Eskisehir where the owner was born and raised. The project is to realize the owner's ambition to promote Turkish art and to make cultural contribution to the city of Eskisehir. Eskisehir is known as university town where young population is large and the city has lively and active atmosphere.

The site is in the area called Odunpazari. It is situated at the threshold of newly developed urban area and small scale town scape of traditional Ottoman wooden houses. These wooden house, with cantilevered volume at upper level, were built in lines along the meandering small streets that makes the street scape and walk though experience quite unique and unexpected.

We aim to reflect this street scape quality into the new architectural design of the museum that stands in the urban scale. Our design strategy is to make the volume in aggregation; stacking small boxes to create the urban scale architecture. Stacked boxes at the street level is read in the scale of surrounding houses and it grows taller towards the center of the museum to stands in the urban scape that announces itself as new cultural landmark of the area.

The stacked and interlocked boxes are designed in various sizes to create diverse scales of exhibition space inside. Boxes at the ground level offers opportunities for large scale art works and installation. The boxes get smaller at upper levels to exhibit smaller, intimate scale art works. The central atrium, composed with timber blocks, connects each level to let the natural light through skylight above.

The name of this area "Odunpazari" means "wood market" in Turkish. The exterior envelop of the museum is composed with timber in full extent signifying the history and memory of the place that used to function as market in trading wood.

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Odunpazari Modern Museum by Kengo Kuma | Museums

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OMM - Odunpazari Modern Museum, a major new museum and distinctive architectural landmark by Kengo Kuma and Associates celebrates its public opening. Founded by art collector and businessman Erol Tabanca, the museum is the first of its kind in Eskisehir, a university city in north west Turkey.

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Second Home Hollywood, North Saint Andrews Place, Los Angeles, Kaliforniya, Amerika Birleşik Devletleri

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Second Home Hollywood, North Saint Andrews Place, Los Angeles, Kaliforniya, Amerika Birleşik Devletleri

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Second Home Hollywood, North Saint Andrews Place, Los Angeles, Kaliforniya, Amerika Birleşik Devletleri

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Second Home Hollywood Office / Selgascano

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Text description provided by the architects. The new Second Home in Hollywood, holLA, is a collection of several recipes and ingredients of a California Cocktail. HolLA lays in East Hollywood on a 90,800 square feet site with two existing buildings, of which we have to maintain one with two floors, designed in 1964 by Paul Williams, the first recognized African-American architect working in Los Angeles.

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Min Hui Xi Lu, Yinzhou Qu, Ningbo Shi, Zhejiang Sheng, Çin

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+ 17

Text description provided by the architects. In Iwan Baan's website, we found one of the latest works he photographed, the Ningbo Historic Museum designed by Wang Shu, Amateur Architecture Studio.

An amazing stone work, more pictures after the break:

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Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio

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17 Text description provided by the architects. In Iwan Baan's website, we found one of the latest works he photographed, the Ningbo Historic Museum designed by Wang Shu, Amateur Architecture Studio. An amazing stone work, more pictures after the break:

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Airport Boulevard, Jewel Changi Airport, Singapur

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Airport Boulevard, Jewel Changi Airport, Singapur

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Airport Boulevard, Jewel Changi Airport, Singapur

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Text description provided by the architects. Fulfilling its mission as a connector between the existing terminals, Jewel combines two environments-an intense marketplace and a paradise garden-to create a new community-centric typology as the heart, and soul, of Changi Airport. Jewel weaves together an experience of being in nature with culture and leisure facilities, dramatically asserting the idea of the airport as an uplifting and vibrant urban center, and echoing Singapore 's reputation as "the City in the Garden."

The publicly accessible 135,700 sqm center includes facilities for landside airport operations, indoor gardens and leisure attractions, retail offerings, restaurants and cafes, and hotel facilities, all under one roof. Directly connected to Terminal 1 and to Terminals 2 and 3 via pedestrian bridges, Jewel engages both in-transit passengers as well as the public at large. Each of the cardinal axes-north, south, east, and west-are reinforced by gateway gardens that orient the visitors and offer visual connections between the internal program elements of Jewel and the other airport terminals.

At the heart of Jewel is the Forest Valley, a terraced indoor garden that offers many spatial and interactive experiences featuring walking trails, cascading waterfalls, and quiet seating areas. Amid the more than 200 different species of trees and flora, is the world's tallest indoor waterfall -a 'rain vortex'-showering down from an oculus in the domed roof to the Forest Valley garden seven stories below. The waterfall-at peak conditions flowing at more than 10,000 gallons per minute-aids in the cooling of the landscape environment and collects significant rainwater to be re-used in an around the building. Surrounding the gardens is a multi-level retail marketplace on five levels that access the garden via a series of vertical canyons.

The geometry of Jewel is based on a semi-inverted toroidal dome roof. Measuring 200 meters across at the longest span, and supported only intermittently along the rim of the garden, the integrated structure, and the façade system allows for a near column-free interior. Achieving a level of comfort for the diversity of activities, as well as to sustain the vast array of plant life within adequate sunlight, required an integrated system of glazing, static and dynamic shading, and an innovative and efficient displacement ventilation system. Jewel is slated to receive Singapore 's GreenMark Platinum status.

On the fifth level is the Canopy Park, which includes 14,000 sqm of attractions integrated within the garden spaces. These include net structures suspended within the trees, a suspended catenary glass-bottom bridge walk, a planted hedge maze, and mirror maze, and feature installations completed in collaboration with internationally acclaimed artists. Additional features include a topiary walk, horticultural displays, and an event plaza for 1,000 people. With Jewel, the airport has become a destination in its own right.

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Jewel Changi Airport / Safdie Architects

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Completed in 2019 in Singapore, Singapore. Fulfilling its mission as a connector between the existing terminals, Jewel combines two environments-an intense marketplace and a paradise garden-to...

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musée YVES SAINT LAURENT marrakech, Rue Yves Saint Laurent, Marakeş, Fas

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musée YVES SAINT LAURENT marrakech, Rue Yves Saint Laurent, Marakeş, Fas

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musée YVES SAINT LAURENT marrakech, Rue Yves Saint Laurent, Marakeş, Fas

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Text description provided by the architects. Dedicated to the work of the legendary French fashion designer, the Musée Yves Saint Laurent Marrakech (mYSLm) opened its doors in autumn 2017. It houses an important selection from the Fondation Pierre Bergé - Yves Saint Laurent's impressive collection, which comprises 5,000 items of clothing, 15,000 haute couture accessories as well as tens of thousands of sketches and assorted objects.

The building has been designed by the French architecture firm Studio KO, founded by architects Olivier Marty and Karl Fournier. Situated on Rue Yves Saint Laurent, adjacent to the famous Jardin Majorelle, the new building spans over 4,000 m2 and is more than just a museum. It features a 400 m2 permanent exhibition space, showcasing Yves Saint Laurent's work within an original scenography designed by Christophe Martin; a 150 m2 temporary exhibition space, a 130-seat auditorium, a bookshop, a café-restaurant with a terrace and a research library housing 5,000 books.

The library's collection includes books on Arabic and Andalusian history, geography, literature, and poetry, as well as numerous volumes related to botany, Berber culture, Yves Saint Laurent's oeuvre and the world of fashion. While researching the designer's archives in Paris, Studio KO was intrigued by the duality between curves and straight lines, and the succession of loose and clean cuts. From the outside, the building is composed of cubic forms adorned with bricks which create a pattern resembling threads of fabric. The inside is markedly different, like the lining of a luxurious couture jacket: luminous, velvety and smooth.

Built of terracotta, concrete and an earthen coloured terrazzo with Moroccan stone fragments, the building blends harmoniously with its surroundings. The terracotta bricks that embellish the facade are made from Moroccan earth and produced by a local supplier. The terrazzo used for the floor and facade is made using a combination of local stone and marble.

Exceptionally precise methods for conserving textiles have been put in place by the Fondation Pierre Bergé - Yves Saint Laurent, which has worked for over a decade towards the archiving of the late designer's work. In collaboration with X-Art, specialists in preventative conservation, the Marrakech museum features an air conditioning system complete with temperature and moisture control to ensure that each item, be it a couture dress from the collection on show in the exhibition space or a rare book in the basement archives, remains preserved in perfect archival condition.

The auditorium's state-of-the-art acoustics were designed by the architects in collaboration with Theatre Projects Consultant. This allows for the programming of concerts, film screenings, and conferences in a separate and soundproof space. After a thorough study, the lighting engineers I.C.O.N installed the lighting of the external spaces surrounding the museum, the museum's interior, and the atmospheric lighting for the exhibition space.

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Musée Yves Saint Laurent Marrakech / Studio KO

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Text description provided by the architects. Dedicated to the work of the legendary French fashion designer, the Musée Yves Saint Laurent Marrakech (mYSLm) opened its doors in autumn 2017. It houses an important selection from the Fondation Pierre Bergé - Yves Saint Laurent's impressive collection, which comprises 5,000 items of clothing, 15,000 haute couture accessories as well as tens of thousands of sketches and assorted objects.

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Project Team: Alberto Cumerlato, Aleksander Wadas, Alexander Codda, Alexander Ejsing, Alexandra Gustafsson, Alina Tamosiunaite, Armor Gutierrez, Anders Hjortnæs, Andreas Klok Pedersen, Annette Jensen, Ariel Wallner, Ask Andersen, Balaj IIulian, Blake Smith, Borko Nikolic, Brygida Zawadzka, Buster Christensen, Chris Falla, Chris Zhongtian Yuan, Daniel Selensky, Dennis Rasmussen, Espen Vik, Finn Nørkjær, Franck Fdida, Gonzalo Castro, Gül Ertekin, George Abraham, Helen Chen, Henrick Poulsen, Henrik Rømer Kania, Horia Spirescu, Jakob Ohm Laursen, Jelena Vucic, Jeppe Ecklon, Ji-young Yoon, Jing Xu, Joanna Jakubowska, Johanna Nenander, Kamilla Heskje, Katarzyna Siedlecka, Krzysztof Marciszewski, Laura Wätte, Liang Wang, Lise Jessen, Long Zuo, Maciej Zawadzki, Mads Enggaard Stidsen, Marcelina Kolasinska, Marcos Bano, Maren Allen, Mathias Bank, Matti Nørgaard, Michael Andersen, Narisara Ladawal Schröder, Niklas A. Rasch, Nynne Madsen, Øssur Nolsø, Pero Vukovic, Richard Howis, Ryohei Koike, Se Hyeon Kim, Simon Masson, Sunming Lee, Toni Mateu, Xing Xiong, Zoltan David Kalaszi, Tore Banke, Yehezkiel Wiliardy

Partners In Charge: Bjarke Ingels, David Zahle, Jakob Lange, Brian Yang

Project Leaders: Jesper Boye Andersen, Claus Hermansen, Nanna Gyldholm Møller

Text description provided by the architects. CopenHill, also known as Amager Bakke, opens as a new breed of waste-to-energy plant topped with a ski slope, hiking trail and climbing wall, embodying the notion of hedonistic sustainability while aligning with Copenhagen 's goal of becoming the world's first carbon-neutral city by 2025. CopenHill is a 41,000m2 waste-to-energy plant with an urban recreation center and environmental education hub, turning social infrastructure into an architectural landmark.

CopenHill is conceived as a public infrastructure with intended social side-effects from day one. Replacing the adjacent 50-year old waste-to-energy plant with Amager Ressourcecenter (ARC), CopenHill's new waste incinerating facilities integrate the latest technologies in waste treatment and energy production. Due to its location on the industrial waterfront of Amager, where raw industrial facilities have become the site for extreme sports from wakeboarding to go-kart racing, the new power plant adds skiing, hiking and rock climbing to thrill-seekers' wish lists.

The internal volumes of the power plant are determined by the precise positioning and organization of its machinery in height order, creating an efficient, sloping rooftop fit for a 9,000m2 ski terrain. At the top, experts can glide down the artificial ski slope with the same length as an Olympic half-pipe, test the freestyle park or try the timed slalom course, while beginners and kids practice on the lower slopes. Skiers ascend the park from the platter lift, carpet lifts or glass elevator for a glimpse inside the 24-hour operations of a waste incinerator.

Recreation buffs and visitors reaching the summit of CopenHill will feel the novelty of a mountain in an otherwise-flat country. Non-skiers can enjoy the rooftop bar, cross-fit area, climbing wall or highest viewing plateau in the city before descending the 490m tree-lined hiking and running trail within a lush, mountainous terrain designed by Danish Landscape Architects SLA. Meanwhile, the 10,000m2 green roof addresses the challenging micro-climate of an 85m high park, rewilding a biodiverse landscape while absorbing heat, removing air particulates and minimizing stormwater runoff.

Beneath the slopes, whirring furnaces, steam, and turbines convert 440,000 tons of waste annually into enough clean energy to deliver electricity and district heating for 150,000 homes. The necessities of the power plant to complete this task, from ventilation shafts to air-intakes, help create the varied topography of a mountain; a man-made landscape created in the encounter between the needs from below and the desires from above. Ten floors of administrative space are occupied by the ARC team, including a 600m2 education center for academic tours, workshops and sustainability conferences.

Rather than consider ARC as an isolated architectural object, the building envelope is conceived as an opportunity for the local context while forming a destination and a reflection on the progressive vision of the company. CopenHill's continuous façade comprises 1.2m tall and 3.3m wide aluminum bricks stacked like gigantic bricks overlapping with each other. In-between, glazed windows allow daylight to reach deep inside the facility, while larger openings on the southwest façade illuminate workstations on the administrative floors. On the longest vertical façade, an 85m climbing wall is installed to be the tallest artificial climbing wall in the world for new world records to be broken with views inside the factory. At the bottom of the ski slope, a 600m2 après-ski bar welcomes locals and visitors to wind down once the boots are off. Formerly a piece of infrastructure in an industrial zone, CopenHill becomes the new destination for families, friends and celebration, one that is economically, environmentally and socially profitable.

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CopenHill Energy Plant and Urban Recreation Center / BIG

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Completed in 2019 in Copenhagen, Denmark. Images by Aldo Amoretti, Laurian Ghinitoiu, Rasmus Hjortshoj, Soren Aagaard, Dragoer Luftfoto. CopenHill, also known as Amager Bakke, opens as a new breed of waste-to-energy plant topped with a ski slope, hiking trail and climbing wall,...

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The Great Pyramid of Giza, Al Haram, Nazlet El-Semman, Al Giza Desert, Mısır

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The Great Pyramid of Giza, Al Haram, Nazlet El-Semman, Al Giza Desert, Mısır

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The Great Pyramid of Giza, Al Haram, Nazlet El-Semman, Al Giza Desert, Mısır

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designboom | architecture & design magazine

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scientists have found that the shape of the great pyramid of giza focuses electromagnetic energy such as radio waves within its hidden chambers. now the team want to recreate the concentrating effect on a nanoscale size, building tiny molecules with a similar shape with the hope that they will harness the same power to focus waves. if successfully demonstrated, these particles could be used as solar cells or even sensors, researchers claim.

image courtesy of ITMO university

header image courtesy of @adambichler

in a statement, ITMO university, russia, wrote: 'while egyptian pyramids are surrounded by many myths and legends, we have little scientifically reliable information about their physical properties.' together with scientists from the laser zentrum hannover, the group of researchers looked at how the great pyramid would interact with electromagnetic waves of a proportional length. the results showed that the pyramid could concentrate electromagnetic energy in its internal chambers as well as under its base, where the third unfinished chamber is located.

image courtesy of ITMO university

led by the university, the group created a model of the great pyramid of giza to accurately measure it electromagnetic response. they estimated that resonances in the pyramid can be induced by radio waves with a length ranging from 200 to 600 meters. the results signify the power of the pyramid shape in its ability to concentrate electromagnetic energy, a quirk in the design not realised when they were built 4,400 years ago.

image courtesy of @ahmadajmi

'egyptian pyramids have always attracted great attention. we as scientists were interested in them as well, so we decided to look at the great pyramid as a particle dissipating radio waves resonantly', says dr. sc. andrey evlyukhin, scientific supervisor and coordinator of the research. ' due to the lack of information about the physical properties of the pyramid, we had to use some assumptions. For example, we assumed that there are no unknown cavities inside, and the building material with the properties of an ordinary limestone is evenly distributed in and out of the pyramid. With these assumptions made, we obtained interesting results that can find important practical applications.'

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scientists discover the great pyramid of giza's shape can focus electromagnetic energy

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scientists have found that the shape of the great pyramid of giza focuses electromagnetic energy such as radio waves within its hidden chambers. now the team want to recreate the concentrating effect on a nanoscale size, building tiny molecules with a similar shape with the hope that they will harness the same power to focus waves.

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RACV Cape Schanck Resort, Boneo Road, Cape Schanck Victoria, Avustralya

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RACV Cape Schanck Resort, Boneo Road, Cape Schanck Victoria, Avustralya

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RACV Cape Schanck Resort, Boneo Road, Cape Schanck Victoria, Avustralya

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Text description provided by the architects. Positioned within a natural saddle adjacent to the Bass Strait, RACV Cape Schanck Resort rests amongst Mornington Peninsula's rugged landscape, offering a robust architectural outcome that celebrates the rolling dunes and untamed nature of its site. Wood Marsh has drawn from both the topography and the corrosive nature of the coastline to inform the sculptural geometry and material selection. The brief called for an architectural landmark that was to entice guests and accommodate a diverse range of existing and new user groups whilst delivering significant social, economic, and environmental benefits to the region. RACV offers a world-class 120 room hotel, gym, luxury day spa, restaurants, golf club, and golf course.

The design offers an elegant and functional response whilst catering to larger conferencing and events previously lacking from the region. Carefully positioned on a previously disturbed site, the design team endeavoured to regenerate the setting, an initiative that underpinned the entire design process. Sitting sensitively within the dune system as to not disturb the surrounding landscape, the development was carefully managed to preserve the habitat of the local lizard and orchard species indigenous to the area. From afar, the building presents as a monolith, a landform eroded from the coast over time.

The cellular grid of the curvaceous weathering steel-clad upper levels, reminiscent of pockmarked sea cliffs is secondary to the building's anchor, a robust hand-built locally sourced stone plinth, symbolic of the project's focus on craftsmanship. With an entire floor partially buried within the site, the scale of the structure is reduced, remaining sensitive to surrounding residences. The geometry itself plays with perspective, extending to form a three-lobed figure reaching North from Port Phillip Bay to the Bass Strait in the south, with the full scale of the building never revealed. Internally, the layout creates a series of impressive public and private spaces oriented to key views.

Recreation, golf and café facilities at ground open directly to the outdoor recreation area, whilst the 25-metre indoor pool, sauna, gymnasium, and luxury day spa with treatment rooms and plunge baths cater to both guests and private members. Directly above sits the entry-level, a structurally glazed podium that reflects the landscape, creating a visual break between the plinth's solidity and the sweeping weathering steel arcs.

This level is set back with a large protective overhang, surrounded by terraces with conference facilities, restaurants, lounges, and generous accommodation above, all capitalizing on the panoramic views. The public benefits of RACV Cape Schanck, particularly to the local community, are abundant. The development provides state-of-the-art facilities, with the project filling the current gap in the tourism offer in the region.

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Text description provided by the architects. Positioned within a natural saddle adjacent to the Bass Strait, RACV Cape Schanck Resort rests amongst Mornington Peninsula's rugged landscape, offering a robust architectural outcome that celebrates the rolling dunes and untamed nature of its site.

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Dutch studio Casanova + Hernandez has completed a landscaping project in the Albanian village of Shiroka, comprising a waterfront plaza and streetscape that uses granite stones to replicate a traditional carpet pattern.

The Rotterdam-based studio was commissioned by the Albanian Development Fund to oversee the redevelopment of the waterfront on the shores of Shkodra Lake, which is near the border with Montenegro.

The area had been occupied by private houses, restaurants and parking areas that were constructed illegally in the years following the fall of communism in Albania in the early 1990s.

The Albanian Carpet project involved demolishing the existing structures to create Shiroka Square, a 20,000-square-metre public space from which citizens can enjoy views across the lake.

"The project not only aims to physically and functionally restore Shiroka waterfront but also to rebuild the feeling of belonging and attachment to the public space," Casanova + Hernandez claimed.

The entire square, as well as the pavements, street and seating were constructed using black and white granite blocks laid in a pattern typical of Albanian carpets.

According to the architects, the decision to use a design based on traditional carpets was intended to lend the public space "a unique and domestic identity".

As well as being informed by carpets, the landscaping was designed to evoke the feeling of a house consisting of rooms with specific functions, the architects said.

The layout of the open-air zones is influenced by a kind of room called an oda, which is common in traditional Albanian homes. These rooms are typically used to entertain guests and feature low benches lining the space on three sides.

Casanova + Hernandez reinterpreted the oda by introducing U-shaped benches to the waterfront plaza that partly enclose areas dedicated to different uses.

"These rooms open the views over the lake and stimulate citizens' interactions with different uses such as a playground room, picnic room, lounge room, amphitheatre and the fishermen's room," the architects added.

The benches are made from wood, which was also used for picnic tables and other street furniture nearby. At the apex of each seating area, the stone paving forms steps that can be used for seating to turn the central plaza into a space for performances or events.

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Several existing trees around the edges of the square were integrated into the design and are joined by younger trees that will provide shade where it is required.

Shiroka Square forms part of a wider regeneration of the village's waterfront, which focuses on improving pedestrian access and minimising traffic.

A parking area has been created at the village's entrance to encourage visitors to walk rather than drive to the various amenities.

A further phase of the project will see the construction of the Museum of Shkodra Lake on a promontory that will extend out into the water from the square. This will advance the Albanian Development Fund's objective to turn Shiroka into an important recreational, cultural and tourist centre.

Casanova + Hernandez previously transformed an old government building in the nearby city of Shkodra into the Marubi National Photomuseum, adding a two-storey extension with a gridded glass facade to an existing historic building.

Photography is by Ergys Zhabjaku unless stated.

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Casanova + Hernandez models patterned public square on Albanian carpet

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Dutch studio Casanova + Hernandez has completed a landscaping project in the Albanian village of Shiroka, comprising a waterfront plaza and streetscape that uses granite stones to replicate a traditional carpet pattern. The Rotterdam-based studio was commissioned by the Albanian Development Fund to oversee the redevelopment of the waterfront on the shores of Shkodra Lake, which is near the border with Montenegro.

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Skien Bibliotek, Skistredet, Skien, Norveç

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Skien Bibliotek, Skistredet, Skien, Norveç

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Skien Bibliotek, Skistredet, Skien, Norveç

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Kengo Kuma and Associates has collaborated with Mad Arkitekter on the design of a library that will curve around existing trees in a small urban park in Skien, Norway.

Named Ibsen Library, the building will become a cultural hub to exhibit the literature of Henrik Ibsen - a 19th-century playwright who was born in the Norwegian city.

Kengo Kuma and Associates and Mad Arkitekter's design, developed with Buro Happold Engineering, was the winning entry of a recent competition.

It will be built on a small park in central Skien alongside the Ibsenhuset - the city's cultural centre and concert hall that is also named after the playwright.

The library's design is intended to preserve and celebrate its parkland setting while maximising its potential as a public space.

The building's curved form will be formed around the existing trees, while a new outdoor amphitheatre and multiple access points will help to connect the building with the park.

"The selected site at the cultural quarter for the Ibsen Library offers a great potential to create a new cultural core in the city of Skien," explained Yuki Ikeguchi, a partner in charge at Kengo Kuma and Associates

"Currently the park is rather quiet and hidden but in integration with the new space of the library it will be fully activated with a spontaneous flow of people and spilling out of the indoor activities."

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To maximise this connection to surrounding trees and parkland, the design utilises a natural material palette dominated by tactile, warm woods.

Large areas of glazing will also be introduced along one edge of the building to create the feeling of "seamless outdoor and indoor space", according to Ikeguchi.

Externally, one of the most notable features of the Ibsen Library will be its softly curving, staggered roof, which lowers towards the park.

It will also feature deep eaves that will shelter entrances to the library and double as covered outdoor spaces and seating areas.

According to the studios, this roof will be covered in wood shingles, designed to echo the shapes and scale of the leaves on the surrounding trees.

Porous versions of these shingles will be placed over skylights to create dappled light effects inside that evoke walking below a tree canopy while emitting a soft outward glow at night and in dark seasons.

Set to be built on a sloping site, Ibsen Library will have two storeys above ground and two embedded in the hillside. The majority of spaces are expected to be open in plan and free of fixed partitions, with bookcases used as dividers instead.

"The project departs from the conventional idea of the library with the space to focus on research, reading and study, but our proposal for this new library is the full integration of special and daily activity," explained Ikeguchi.

Among its ground-floor spaces will be a cafe and children's area, lined with timber and earthy-hued render to maximise their connection to the park.

The underground floors will be designed predominantly for adults, with a cosy atmosphere that Ikeguchi describes as being "submerged, protected, and nested under the earth".

A notable feature of the basement will be its sloping floor, lined with a series of wide steps with bookshelves that will double as seating for visitors.

Other recent projects by Kengo Kuma and Associates, the eponymous studio of Japanese architect Kengo Kuma, include a circular pavilion made from timber with Australian artist Geoff Nees and a blackened-wood chicken coop at Casa Wabi artist retreat.

It also recently revealed it was developing The Red Sea Project tourism development on an archipelago of Saudi Arabian islands, alongside Foster + Partners.

Visuals are by Mir unless stated.
Project credits:
Lead architect: Kengo Kuma & Associates
Principal: Kengo Kuma
Partner in charge: Yuki Ikeguchi
Chief project manager: Marc Moukarzel
Design team: Jagoda Krawczyk, Nicolas Guichard, Asger Taarnberg, Carlos Roig Gimenez, Italo Mazzoleni, Hiromichi Kamiya, Tomohiro Matsunaga, Benan Ataulusoy, Aglaia Danai Devetzoglou
Associate architect: Mad Arkitekter
Mad Arkitekter team: Torkel Njå, Jens Walter, Monica Bellika Esaiassen, Léo Lesage
Engineering design: Buro Happold
Buro Happold team: Max Doelling, Peter Konnerup, Jose Allerhand, Daniya Doelling

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Kengo Kuma and Associates designs timber library dedicated to Norwegian playwright Henrik Ibsen

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Kengo Kuma and Associates has collaborated with Mad Arkitekter on the design of a library that will curve around existing trees in a small urban park in Skien, Norway. Named Ibsen Library, the building will become a cultural hub to exhibit the literature of Henrik Ibsen - a 19th-century playwright who was born in the Norwegian city.