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KONUT CEPHE ÖRNEĞİ - Young & Ayata + Michan Arch. DL1310

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KONUT CEPHE ÖRNEĞİ - Young & Ayata + Michan Arch. DL1310

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Cephe tasarımı ve plana yansımalarını incele.

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Text description provided by the architects. This project is a residential building in Mexico City consisting of seven 1-2 bedroom apartments with basement parking. It was decided from the beginning that the construction system would be cast-in-place concrete, that the unit types would be simple and direct, and that the building would maximize the site footprint and allowed height. These were limitations that satisfied the client's desires and allowed us to focus our efforts on an interesting opportunity in the project: the openings.

The site strategy led the two side elevations towards the lot lines, making standard windows undesirable. To allow light, views, and ventilation on all sides of the building, a scheme was developed to manipulate the windows into something familiar but subtly different. Rectangular windows rotate on the building's façade, resulting in two ruled surfaces at the top and bottom and transforming the window into an inverted trapezoidal bay.

As the windows rotate inward, the slabs appear to pull at the head and sill. This results in a façade that is extremely forceful in its flatness and also a dynamic bas-relief of soft, undulating shadows. These windows also produced different interior moments as the changing façade matched the design of the standardized unit. Views from the interior became small events of forced oblique perspective as one looked both outward and to the street at the same time, making each unit unique as it approached the enclosure.

The design process for the openings was guided by both iterative digital models and research into the history of ruled concrete surfaces in Latin American architecture. Several large-scale models allowed us to find a tectonic articulation that used board-formed concrete as an integral expression of the opening concept.

The final methodology used traditional construction techniques combined with reusable fiberglass casting modules to produce an alternative expression between digital technology and construction traditions. The lot constraints, typical of this urban neighborhood, drove the initial design decisions. The sloped, mid-block site is sandwiched between two existing single-family homes, both with the potential for accommodating vertical construction in the future.

With this in mind, Young & Ayata + Michan Architecture made the decision to reduce the building footprint and side walls of the lot, leaving space for windows on all four sides. Additionally, with the distance of the building to the property lines, an additional level could be added, as a variation to the code, thus maximizing the square footage and number of apartments.

This slightly reduced footprint allowed for the use of recessed or punched windows, which became the feature of the building: 22 rectangular openings in five different sizes rotate on the facade, resulting in a mosaic of inverted and regulated trapezoids on all sides. From the interior, these windows create a variety of views and perspectives as the changing facade blends with standardized unit designs. This opening strategy determined the main building material: cast-in-place concrete, which produces a regulated and striated effect. The textured exterior, in dark gray, contrasts with a brighter and softer interior palette, where wood floors and polished limestone join white-painted walls, white fixtures, and daylight entry. The undulating openings create a fluid and floating bridge between the two ends.

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DL1310 Building / Young & Ayata + Michan Architecture

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Completed in 2020 in Ciudad de México, Mexico. Images by Rafael Buzali, Alexandra Bové, Rafael Gamo. This project is a residential building in Mexico City consisting of seven 1-2 bedroom apartments with basement parking. It was decided from the...

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10 Most Creative Adaptive Reuse Projects - Rethinking The Future

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Adaptive reuse, or adaptive re-use in architecture, is the process of repurposing buildings that have outlived their original purposes for different reasons and adapting them to receive new different uses or functions while at the same time retaining and emphasizing their historic features.

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çatı tasarımı kubbeye gönderme yapabilir

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çatı tasarımı kubbeye gönderme yapabilir

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14 Adaptive Reuse Projects from 2020 Show Great Design Doesn’t Mean New Construction - Metropolis

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As architects, designers, and the real estate industry get wise to embodied carbon and the benefits of adaptive reuse, projects that transform existing buildings are taking off.

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TAK ÇIKAR SİSTEM

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Habitat 67 (Expo 1967) / Moshe Safdie - Arkitektuel

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Expo 67 fuarı için Kanadalı mimar Moshe Safdie tarafından Kanada Pavyonu olarak tasarlanan Habitat 67, fuarın en önemli eserlerinden biri haline gelmiştir.

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ÇATI TASARIMA BAK

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Heatherwick Studio breaks ground on undulating plant-covered development in the heart of Tokyo

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London-based design practice Heatherwick Studio has launched construction on a stunning redevelopment project in Toranomon-Azabudai for a mixed-use development.

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Köşe birleşime bak

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Heatherwick Studio | Design & Architecture

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Construction has begun on an innovative redevelopment of the Toranomon-Azabudai district of Tokyo. A ground-breaking ceremony was held on August 5 2019 and the project is due to complete in March 2023. It is Heatherwick Studio's first project in Japan to go into construction.

Situated in the Minato City of Tokyo, the studio has designed the public realm and lower-level podium architecture, landscaping and retail for the site which includes a generous 6,000m² central landscaped square. Overall, the scheme includes a mix of office, residential, retail, a school and a temple, all set within a new vibrant piece of urban topography to achieve Mori Building Company's ambition of creating an exceptional public district for the city. Around twenty-five to thirty million people per year are expected to visit the area.

Thomas Heatherwick, Founder of Heatherwick Studio, said:

"It's been very exciting working on the Toranomon-Azabudai project and much of our effort has been focused on designing the public spaces that everyone will experience when they spend time in this new area. As many new developments around the world can be harsh and sterile we wondered if we could provide a more human-centred alternative by integrating surprisingly intense quantities of planting and greenery."

Read the full press release here.

Image: Pergola structure, landscape and podium architecture by Heatherwick Studio with towers by PCP.
Render © DBOX for Mori Building Co.

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Heatherwick Studio | Design & Architecture | News | Heatherwick Studio launches Toranomon-Azabudai in the heart of Tokyo

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Construction has begun on an innovative redevelopment of the Toranomon-Azabudai district of Tokyo. A ground-breaking ceremony was held on August 5 2019 and the project is due to complete in March 2023. It is Heatherwick Studio's first project in Japan to go into construction.

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Gaudi, İspanya'da Art Nouveau akımının öncüsü olan ünlü Katalan mimardır. Barselona'nın en ünlü mimari eserlerinin yaratıcısıdır.

25 Haziran 1852'de Katalonya'nın Reus kentinde doğan Gaudi, bir bakır ustasının oğludur. 1869'da başladığı mimari eğitimi, askerlik hizmeti ve çeşitli nedenlerle sekiz yıl sürmüştür. 1878'de eğitimini tamamladığı Barselona kenti, tüm sanatsal etkinliklerinin merkezi olmuş ve kişiliğinin gelişiminde büyük yer tutmuştur. O dönem, Barselona'da özellikle tekstil endüstrisinin gelişmesiyle orta sınıfın güçlendiği, zenginliğin ve şehirsel gelişimin arttığı bir dönemdi. Gaudí, Fransız mimar Eugene Viollet-le-Duc ve " süsleme, mimarinin kaynağıdır" diyen İngiliz düşünür John Ruskin'in fikirlerinden etkilenmiştir. Zamanla 19. yüzyılın baskın tarihi stillerinin ötesine geçerek, kendi sınıflandırılması güç estetiğini yaratmıştır.

Antoni Gaudi, bir etkiler toplamını son derece kişisel ve kategorileşmeye meydan okuyan görkemli bir üslupta sentezledi. Art Nouveau'ya paralel olan, bu üslubun organik formlarını birleştiren ve Katalan Modernizminin bir parçası olan yapıtları onun Gotik Canlandırmacı (Revivalist) eğitimi ve Akdeniz mimarlığına duyduğu sevgi bağlamındm gelişti. John Ruskin ve Eugene Viollet-le-Duc (s. 348) gibi Erken Modernist hocalarını yeniden yorumlayan Gaudi strüktürü düşsel formların taşımanın bir yöntemi olarak inceledi. Sonuçta Gaudi'nin mimarlığı derin Katolik inancının, Katalan kültürüne kendini adamasının ve doğanın yapısal mantığına ilişkin saplantısının ürünüydü.

İlk önemli eseri, Vicens ailesi için 1883-1888 tarihleri arasında yaptığı Barselona'daki Casa Vicens adlı yazlık ev idi. Daha sonra Eusebi Güell adlı sanayici ile güçlü bir ilişki kurarak bu aile için yaptığı eserlerle Barselona'da prestij edinmiştir. Bu eserler, Güell Pavilyonu, Güell Sarayı, Güell Mahzeni, Colonia Güell Türbesi ve Güell Parkıdır. Diğer önemli eserleri arasında Teresano Koleji, kendisine yılın binası ödülünü kazandıran Celvet Evi, Bellesgurad Villası, Battlo Evi ve La Pedrera adıyla bilinen Casa Milà bulunur.

En ünlü eseri ise hayatını adadığı, yapımı halen süren La Sagrada Familia bazilikasıdır. Gaudí, 1882'de Francesco de Paula Villar y Lozano tarafından yapımına başlanan bu kiliseyi tamamlama işini 1883'de üzerine aldı. Gittikçe daha fazla zamanını bu esere ayıran Gaudí, 1908'de başka proje almayı bıraktı ve 1926'daki ölümüne kadar sadece La Sagrada Familia ile uğraştı. Gaudi, tüm mimari bilgisini karmaşık semboller sistemi ve inancın gizemlerine ilişkin görsel açıklamalarla birleştirerek bir 20. yüzyıl katedrali yaratmayı arzuluyordu. Sadece tüm enerjisini esere ayırmakla kalmadı, stüdyosunu da inşaata taşıdı. 7 Temmuz 1926'da, 74 yaşında bir trafik kazası sonucu projesini tamamlayamadan öldü ve La Sagrada Familia'ya gömüldü.

Gaudí, koyu bir Katolik ve ateşli bir Katalan milliyetçisiydi. Katalanca konuşmanın yasalara aykırı olduğu bir dönemde, Katalanca konuştuğu için tutuklandığı bilinir. İlerleyen yaşında kendini tamamen dini bir yapıya adaması da dindarlığından kaynaklanır.

Gaudí, bir dahi olarak kabul edilmekle birlikte renk körü olduğuna dair bir iddia vardır. Bu iddiaya göre, eserlerini yardımcısı Joseph Maria Jujol olmadan yaratması mümkün değildi.

Gaudí'nin eserlerinin sekiz tanesi UNESCO Dünya Mirası Listesi'nde yer alır. Park Güell, Palau Güell ve Casa Milà 1984'te, La Sagrada Familia'nın "İsa'nın Doğuşu" cephesi ile yeraltı türbesi, Casa Vicens, Casa Battlo ve Colonia Güell Türbesi 2005'de UNESCO Dünya Mirası Listesi'ne girmiştir.

Gaudí, 1908'de iki Amerikalı girişimciden New York'ta bir otel yapma önerisi almış ve 300 metre yüksekliğinde bir bina tasarlamıştı. Ancak bu proje Gaudí'nin 1901-1910 arasında sanatçıyı halsiz düşüren uzun süreli hastalığı nedeniyle gerçekleşmemiştir. Gaudí'nin projesinin, 11 Eylül 2001'de yıkılan Dünya Ticaret Merkezi yerine yapılacak bina için uygulanması önerilmişti.

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Gaudi, İspanya'da Art Nouveau akımının öncüsü olan ünlü Katalan mimardır. Barselona'nın en ünlü mimari eserlerinin yaratıcısıdır. 25 Haziran 1852'de Katalonya'nın Reus kentinde doğan Gaudi, bir bakır ustasının oğludur. 1869'da başladığı mimari eğitimi, askerlik hizmeti ve çeşitli nedenlerle sekiz yıl sürmüştür. 1878'de eğitimini tamamladığı Barselona kenti, tüm sanatsal etkinliklerinin merkezi olmuş ve kişiliğinin gelişiminde büyük yer tutmuştur.

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yeşil ofiss

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Inside, the building contains the 6,000m2 offices of the LAD headquarters on its upper levels, where there are views to both the lake in the north and the park in the south, and 9,000m2 of labs and co-working offices below. On the first and second floor, the building incorporates an adjustable auditorium and exhibition space, while the ground floor has small retail outlets around its perimeter, and includes three entrances - a public entrance at the courtyard, and separate entrances for the rentable offices and LAD HQ - connected by an "exhibition street". In its two basement levels, the building has a canteen and parking, but the "agricultural oasis" concept even extends below ground thanks to a number of voids which allow light, fresh air, and greenery to make their presence felt.

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The Lankuaikei Agriculture Development (LAD) Headquarters in Shanghai, an 11-storey terraced office building that brings together both high- and low-tech sustainability strategies under a swooping technological roof to create a showcase for the agriculture technology company. Located near the lake ...

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Ohrstrom Library - Robert A.M. Stern Architects 

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Ohrstrom Library - Robert A.M. Stern Architects 

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Eski bir yerleşim yerine yapılan yeni yapıda modern üslup dışında eski dil kullanılmış.

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1991

In 1985-86, Robert A.M. Stern Architects studied ways to add on to the St. Paul's School's existing Sheldon Library, designed for the school by Ernest Flagg in 1901. The proposal for the addition would have expanded Sheldon to twice its original size while maintaining its inherent spatial and formal qualities.

When the school's trustees subsequently decided to build a new library, a prominent site at the center of the village-like campus was selected. This design for the Ohrstrom Library forms the boundary wall for two quadrangles: to the south it joins a residential group to create an intimate courtyard; to the north it is the edge of a larger space that is both the symbolic and the actual center of the campus, serving as a counterpoint across time and space to the school's original chapel (1859) and Henry Vaughan's masterly essay in the Gothic, the Chapel of St. Peter and St. Paul (1888).

While H. H. Richardson's Crane Library, Quincy, Massachusetts (1880-82), inspired the plan and the handling of the red brick and Briar Hill stone used for the exterior, the synthesis between traditional form and modern abstraction in the library C. R. Mackintosh designed for the Glasgow School of Art (1907-09) was also an influence. This is apparent in the tall oriel windows, the abstraction of detail, and the mediation between the small scale of the residential buildings and the buttressed structure of the Chapel of St. Peter and St. Paul.

On the inside, the principal point of reference was James Gamble Rogers' School House (1937), until Ohrstrom the last building in St. Paul's chain of Gothic-inspired buildings. Ohrstrom Library incorporates the most up-to-date computerized information retrieval technology into traditional reading rooms and more intimately scaled niches that provide a variety of places for quiet individual or group study within easy reach of the bookstacks. The nave-like plan is entered at the crossing that separates the stacks from the specialized reading rooms, the primary one being a two-storey-high vaulted room that opens to a view of Lower School Pond.

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Ohrstrom Library - Robert A.M. Stern Architects, LLP

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In 1985-86, Robert A.M. Stern Architects studied ways to add on to the St. Paul's School's existing Sheldon Library, designed for the school by Ernest Flagg in 1901. The proposal for the addition would have expanded Sheldon to twice its original size ...

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Organik iç mekan dizaynı.

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Text description provided by the architects. Located in the old Penny Savings Bank, Banq is a restaurant located at the base of the old banking hall. Divided into two segments, the front area on Washington Street is programmed as a bar, while the larger hall behind serves as the dining area. The design of the space, however, is conceptualized around another division, on the z axis, between the ceiling and the ground. If the ground needs to remain flexible as a result of fluctuating activities of the restaurant space-- two seaters, fours, and sixes, among a range of other organizations related to parties and other events-- then, the ceiling contains fixed programs that are part of the building's infrastructure-- the structure, drainage, mechanical equipment, sprinkler system, lighting, and other the acoustic systems.

To that end, we have developed a striated wood-slatted system that conceals the view of the mechanical, plumbing, and lighting systems on the longitudinal axis, while offering a virtual canopy under which to dine. The geometry of the wood slats conform to each equipment above, but are also radiused in order to smoothen the relationship between other adjoining equipment, creating a seamless landscape. The columns and the wine storage, in the middle of the hall, serve to uphold the fiction, and appear to be suspended from the ceiling. if the longitudinal axis emphasizes the seamless surface, then lateral views offer striated glimpses into the service space above, and demystify the illusion. To underline this strategy, certain areas of the ceiling "drip" and "slump", acknowledging the location of to place exit signs, lighting features, and other details.

Below the ceiling, the functional aspects of a dining space are fabricated with warm woods and relaminated bamboo amplifying the striping affect already at play throughout the space. Striations of the ground, the furnishings, and the ceiling all conspire to create a total effect, embedding the diners into the grain of the restaurant.

Acknowledging the historical setting of the building, the ceiling hovers away from all interior walls and instead finds its support in suspension from above. Nearly running the entire width of the space, each rib of the undulated ceiling is made from unique pieces of three-quarter-inch birch plywood adhered together in a scenario that likens to a puzzle; only one possible location for each unit, formulating the continuous member. These continuous members are fastened to the main structural ribs running perpendicular to the lattice, tracing both the overall ceiling topography and the steel supports of the base building. Spacing between the visible ceiling ribs is variable; compressing and releasing to maintain visual densities of the overall surface as seen from different angles.

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Text description provided by the architects. Located in the old Penny Savings Bank, Banq is a restaurant located at the base of the old banking hall. Divided into two segments, the front area on Washington Street is programmed as a bar, while the larger hall behind serves as the dining area.

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Çelik sistem incelenmeli.

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What is ShipBuilding Steel Plate

Shipbuilding steel plate refers to hot-rolled steel for the manufacture of ship structures produced in accordance with the requirements of the construction society. Often used as a special steel ordering, scheduling, sales, a ship including ship plates, steel and so on.

Shipbuilding Steel Plate Development

Shipbuilding requires large quantities of structural steel plate to build to ship hull. Ship steel has developed into 2 series: high strength and corrosion resistant steels for modern shipbuilding, which can reduce the ship weight as well as maintenance cost. AGICO is able to supply high strength steel plate for Large container ships construction.

Shipbuilding traditionally uses structural steel plate to fabricate ship hulls. Modern steel plates have much higher tensile strengths than their predecessors, making them much better suited to the efficient construction of large container ships. Here are the Advantages of Shipbuilding Plates High corrosion resistant steel plate is perfect steel type for oil tanks, and when used in shipbuilding, ship weight is less for the same capacity ships, fuel cost and CO2 emission can be reduced.

These shipbuilding steel can also be used for offshore structures, if you are looking for shipbuilding steel plate or offshore structure steel plate, Contact ANSON now for the latest quotation.

Grade and Chemical Composition (%)

Shipbuilding Steel Plate Mechanical Properties:

Shipbuilding Plate Available Dimensions:

Shipbuilding Steel Theoretical Weight

Dimensional Deviation

nominal thickness（mm）

minus deviation (mm)

The thickness deviation with following width (mm)

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Shipbuilding steel plate refers to hot-rolled steel for the manufacture of ship structures produced in accordance with the requirements of the construction society. Often used as a special steel ordering, scheduling, sales, a ship including ship plates, steel and so on. Shipbuilding requires large quantities of structural steel plate to build to ship hull.

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Glass-Glass module designs are an old technology that utilises a glass layer on the back of modules in place of traditional polymer backsheets. They were heavy and expensive allowing for the lighter polymer backsheets to gain the majority of the market share at the time. However, despite these disadvantages, the ITRPV[2] predict an increase in market share of about 30% by 2029. This is based on the increase in market share of bifacial modules as well as an increase in utility-scale PV installation, which prefer more durable module designs such as glass-glass.

Figure 1 - Market share of different back cover materials for modules. Source [2]: ITRPV Fig 16b

Double-glass modules boast increased reliability, especially for utility scale PV projects. These include better resistance to higher temperatures, humidity and UV conditions and have better mechanical stability, reducing the risk of microcracks during installation and operation. These are particularly important in utility-scale PV sites and for the expected lifetime of modules. Due to an increased reliability of the double-glass module design, they are expected to only degrade 0.45% per year as opposed to the traditional polymer backsheet at 0.7% p.a. Therefore. over a 30 year lifetime it can be expected to still operate at 85% of the nameplate capacity.

The weight of glass-glass modules are still an issue, with current designs using 2 mm thick glass on each side for framed modules, the weight is about 22 kg, while 2.5 mm on each side will increase the module's weight to 23 kg. Compared to traditional glass-foil modules, which are about 18 kg, this is a 20% increase in weight. Although there is no standard on glass thickness, in general it is a more complex and expensive process to produce very thin, tempered glass. However, 2.5 mm glass thickness does allow for frameless designs, which can reduce costs dramatically.

Figure 2 - Market share of different front glass thicknesses for modules, where majority front-glass only modules use 3.2mm thickness. This shows how immature very thin glass currently is. Source [2]: ITRPV Fig 10

Furthermore, glass-glass modules lose the CTM gains associated with reflecting light that had originally passed through the spaces between the cells. Traditional backsheets are often highly reflective, allowing more light to be captured or "totalled internally reflected" if they are not first absorbed when entering the front of the module. In double-glass modules, this effect is lost due to transparency of the back glass layer.

Another major change that is also incorporated for glass-glass modules is swapping EVA for polyolefins as an encapsulant. This is due to the free radicals produced during the cross-linking lamination process of EVA. While traditional backsheets are somewhat permeable to the free radicals, the double-glass module is not. The same can be said about moisture, which can enter from the sides of the module and trapped by the double-glass design. Therefore, the non-permeability to these degrading factors is a major argument against glass-glass since the it will trap both free radicals and moisture inside the module, potentially reducing their lifetime in the field. The issue of trapped moisture is actually a major argument against double-glass modules, often used by tedlar backsheet developers. However, polyolefins are used as an encapsulant instead, solving the free radical challenge.

Despite the challenges of the glass-glass modules design, the increased reliability, subsequent 30 year warranty and transparent back enabled bifacial technology to exist. Similarly, the glass-glass design is used in conjunction with a number of higher efficiency solar cell and module designs, especially since some advanced architectures such as HJT are naturally bifacial.

References:

[1] - Shravan K. Chunduri, Michael Schmela, "Surprising Developments Leading to Significantly Higher Power Ratings of Solar Modules", TaiyangNews report on Advanced Module Technologies, 2019. Available: http://taiyangnews.info/reports/advanced-module-technologies-2019/

[2] - International Technology Roadmap for Photovoltaics, 10th Edition, 2019, fig. 16b, fig. 10. Available: https://itrpv.vdma.org/

[3] - Screenshot from SolarWatt website, "Layout of SOLARWATT glass-glass module design". Available: https://www.solarwatt.com/solar-panels/glass-glass

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Glass-Glass module designs are an old technology that utilises a glass layer on the back of modules in place of traditional polymer backsheets. They were heavy and expensive allowing for the lighter polymer backsheets to gain the majority of the market share at the time.

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Building Integrated Photovoltaic Projects - Glass for BIPV

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Onyx Solar has completed more of 150 projects of photovoltaic glass over the world.

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Anish Kapoor's largest sculpture

North of Auckland, in a stretch of land called Gibbs Farms, sits Anish Kapoor's Dismemberment, Site 1 (2009). The scale of this sculpture is frighteningly extraordinary and is the largest one that Kapoor has ever created; it is the height of an 8 story building.

How the work makes you feel

Unsurprisingly, the sculpture makes little effort to blend in with the expansive landscape; however, it does a great job of complementing it. The sculpture imposes itself on you, and it draws you in, dominating the area in which it sits, so much so that the sculpture appears to have always been there. This speaks to the work that went into the sculpture's construction and design.

Video of Dismemberment, Site 1, 2009

The sculpture transforms into a trumpet

Kapoor had to create a free-standing sculpture that would last for long, which is why the monumental sculpture was created using Serge Ferrari textile that is set up to survive harsh winds and severe weather conditions. The sculpture elicits various visual sensations and interpretations from the scores of people that arrive daily at Gibbs's farm. At first sight, the Dismemberment sculpture looks like a swollen ear whose primary purpose is to capture the sounds and the spirit of the landscape. However, with every winding turn that you take, the sculpture transforms into a large external trumpet that appears to be signaling and calling travelers from distant lands.

0984, 2421 Kaipara Coast Hwy, Makarau 0984, New Zealand
Official website of Gibbs Farm

Open monthly by prior appointment only to artists, educational institutions, charities and the public. Booking form
There is no fee for visiting Gibbs Farm.

In a way, it bears a resemblance to the trumpet that Joshua used to spy on the town of Jericho in the Bible. Like with every art installation, the audience reserves the right to interpret a masterpiece depending on the feelings that the piece evokes. Some people have interpreted the sculpture and found it to represent a large-sized vulva, while others think that it represents the head and nucleus of a large bright flower.

Conclusion

Kapoor created the sculpture as a way of connecting the body to the sky. The tubular red structure symbolizes colostomy bags, and the red color represents the insides of the human body. The red is internal, but it externalizes itself in various ways. The sculpture also suggests that it may be a motherly creature brought forth by the earth. The tube represents flesh, skin, or a dismembered artery bleeding on the ground, possibly feeding and rejuvenating the soil it rests on. From within, the sculpture is intimate and private. However, from inside it, the landscape emerges, paving the way to new life on a fragile earth.

Video: Anish Kapoor speaks about his works

Photos of Dismemberment, Site 1

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Scale of Anish Kapoor's sculpture is frighteningly extraordinary

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Anish Kapoor's largest sculpture North of Auckland, in a stretch of land called Gibbs Farms, sits Anish Kapoor's Dismemberment, Site 1 (2009). The scale of this sculpture is frighteningly extraordinary and is the largest one that Kapoor has ever created; it is the height of an 8 story building.

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Kürenin tasarımı ve bağlantıları incelenmeli. Detaylar ve tespit biçimleri önemli. Gemi strüktürüyle bir benzerliği bulunuyor.

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Its sheer size means that the sculpture can't be grasped at a single glance, challenging the perception with its elusive nature and the multiplicity of views and interpretations that are possible.

This process of fragmentary visions of space and emptiness, volume and materiality, described by Kapoor as creating 'mental sculptures', is implemented in his other works, too, for example 'Marsyas' (Tate Modern, London, 2002) or 'Sky Mirror' (Rockefeller Centre, New York, 2006).

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Its sheer size means that the sculpture can't be grasped at a single glance, challenging the perception with its elusive nature and the multiplicity of views and interpretations that are possible.

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Tamamen ahşap tasarım bir oditoryum. Formu ve işleyişi açısından incelenmeli.

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Starring:Martin Rajniš, David Kubík,

Photographer:Petr Kralik,

City: Prague,

Section: Auditorium, Architecture and Culture, Theater,

Materials: Plastic, Steel, Wood,

A literary auditorium made of wood, steel and plexiglass in the shape of an airship rises over DOX Centre for Contemporary Art in Prague.
The intention of museum curator Leoš Válka was to create a place that would add character to the austere existing concrete building, which has a regular, unattractive appearance, with something unexpected. When he appointed architect Martin Rajniš, the idea took shape day by day until it was given concrete form in a plan for an airship sitting diagonally on the roof of the museum.
The intention was to create a space that would allow writers' imaginations to take off, right in the place where they would be reading their literary works. Building an elegant sort of airship seemed ideal, as it would carry guests away on the wings of their imaginations.
The architects designed a finely wrought 72-metre-long fuselage, the steel structure of which achieves the feat of joining the wood in a structure made up of long, thin rods with a square section which are in turn rigidified by rings of different diameters. Here every part is fastened by bolts and held rigid by taut cables, so that all the wooden components work by compression and the metal ones by traction. The entire structure is further improved by a staircase, the horizontal parts of which collaborate in and perfect the static model.
The points on which the big volume rests are even more interesting, as most of the structure rests on the roof, with the remaining part hooked to a steel cable that releases its weight onto supports on the concrete building. All this is because the architects did not want the fuselage to be cantilevered, to keep the size of its structural components slender and give people the sensation of flying. They have certainly achieved their goal!
The structure is made to look for all intents and purposes like an airship, with a steel strut hinged onto the tip of the niche in the fuselage, inspired by the tow hooks on real airships, playing the static role of absorbing horizontal thrust that could compromise its stability.
In this project it is exciting to come into contact with the building's structural parts, which are not normally open to the view; here they are brightly lit by the daylight filtering between the beams protected by curved plexiglass floating on the roof.

Fabrizio Orsini

Name of building: GULLIVER
Address: Poupětova 1, 170 00 Praha 7
Authors: Leoš Válka, Martin Rajniš, David Kubík
Co-author: Zbyněk Šrůtek
Collaboration: Zbyněk Šrůtek, Pavel Kocourek, Eva Fajkusová, Dvořák & partneři
Investor: Centrum současného umění DOX
Building costs: 25 mil Kč
Built up area: 322 m2 (loadbearing wooden structure), 161 m2 (area of utilisable interior)
Built up volume: 2050 m3 (loadbearing wooden structure),
General contractor: STYLBAU, s.r.o.
Main contractors: TIMBER DESIGN s.r.o. - loadbearing wooden structure, facade, roofing - ELEKTRO MOSEV spol. s r.o. - steel construction (pillars + interior reinforcing frame)
Project: 2014 - 2015
Opened: 2016
Awards: Building of the year 2017 - Prize of ČKAIT

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Prague's Gulliver Auditorium of wood steel and plexiglass | Floornature

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Starring:Martin Rajniš, David Kubík, Photographer:Petr Kralik, City: Prague, Section: Auditorium, Architecture and Culture, Theater, Materials: Plastic, Steel, Wood, A literary auditorium made of wood, steel and plexiglass in the shape of an airship rises over DOX Centre for Contemporary Art in Prague.

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Yapılan tavan sistemiyle su tasvir edilmiş. Zemin katta yürümek denizin altında yürüme hissi yaratmakta.

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Text description provided by the architects. Cutty Sark epitomises the great age of sail; she is the last surviving tea clipper. Herre markable story is tangible evidence of the centuries long importance of sea-trade to this country and to the growth of London as theworld's pre-eminent port and trading centre.

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The Bean Sculpture | Anish Kapoor-Luftwerk

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The Bean Sculpture | Anish Kapoor-Luftwerk

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The art of reflection. The luminous filed acts as a public sculpture that reflects people's movement in the space around them. Accompanied with the neon lights used in form of geometric shapes or grids on the ground and the music, that mix creates an interesting space for the public and especially for the children where they move play and interact.

This whole atmosphere is art as it takes you to a whole new world of fantasies that you can see in front of your eyes. It shows the space around you, the city skyline from a newer perspective.

The beauty in this still sculpture is that it makes people express themselves, explore, discover and make their own art. The distortion effect resulting from the shape and the material of the bean- like sculpture develops a kind of an entertaining visual experience.

So, instead of going to the cinema to watch a science fiction movie, you can make your own in front of this sculpture.

Courtesy of Anish Kapoor-Luftwerk

Courtesy of Anish Kapoor-Luftwerk

Courtesy of Anish Kapoor-Luftwerk

Courtesy of Anish Kapoor-Luftwerk

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The Bean Sculpture | Anish Kapoor-Luftwerk - Arch2O.com

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The art of reflection. The luminous filed acts as a public sculpture that reflects people's movement in the space around them. Accompanied with the neon lights used in form of geometric shapes or grids on the ground and the music, that mix creates an interesting space for the public and especially for the children where they move play and interact.

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Cephede paramedik dizayn incelenmeye değer. -Chicago

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Text description provided by the architects. The skyline of Chicago can be seen as the timeline of skyscraper history, which started in 1885 with the Home Insurance Building.

The new Aqua Tower by Studio Gang is a highlight along this timeline, not just because of its height (250m tall) but also because of its sculptural condition.

The design was inspired by the striated limestone outcroppings common in the Great Lakes area (see photo below). But this sinuous shape is not just a mere formal gesture, but it is also a strategy to extend the views and maximize solar shading. And by looking at the plans we see a rational structure, true to the Mies legacy in the city.

I discovered Studio Gang in a lecture by Jeanne Gang at the 2009 AIA Convention, and I was impressed by her work. You can see our previous coverage of Studio Gang projects in ArchDaily, such as the Bengt Sjostrom Starlight Theatre.

- 82-story mixed-use residential tower (819 ft, 250 m tall):

- 215 hotels rooms (floors 1-18)

- 476 rental residential units (floors 19-52)

- 263 condominium units & Penthouses (floors 53-80)

- 55,000 square feet (5,100 m2) of retail and office space

- 6 levels of underground parking.

- 8-story base (140,000 sqf, 13,000m2) with a a 82,550 sq ft (7,669 m2) terrace with gardens, gazebos, pools, hot tubs, a walking/running track and fire pit.

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Text description provided by the architects. The skyline of Chicago can be seen as the timeline of skyscraper history, which started in 1885 with the Home Insurance Building. The new Aqua Tower by Studio Gang is a highlight along this timeline, not just because of its height (250m tall) but also because of its sculptural condition.

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Endüstriyel Yapılarda Oldukça Kullanışlı

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Ürün Bilgileri

Bu paneller, endüstriyel binalar gibi gün ışığına ihtiyaç duyulan yerlerde gün ışığından en iyi şekilde yararlanmanın ideal yoludur. Kaplamaya gelebilecek olası bir zarar çok tehlikeli ve maliyetli olabilir, ancak Rainbow Çatı Paneli, dolu tanelerine, hor kullanmaya ve kazara verilen zararlara karşı mükemmel bir koruma sağlar. Camdan 125 kata kadar daha dayanıklıdır. Bu özellik, geniş bir sıcaklık aralığında ve uzatılmış hizmet ömrü boyunca devam edecektir. Rainbow Çatı Paneli, aşırı derecedeki hava koşullarında bile fiziksel özelliklerini kaybetmez ve bu özelliği, onu dünya çapında kullanılan ideal bir kaplama sistemi haline getirir. Bu panel, -40 °C ve 100 °C gibi uç noktalardaki sıcaklıklara uzun süreli dayanabilir; aynı zamanda kısa süreli de olsa 130 °C'ye kadar da dayanıklıdır. Başka hiçbir kaplama malzemesinde, bu darbe direnci ve geniş çalışma sıcaklığı aralığını bir arada bulamazsınız.

Rainbow Çatı Paneli'nin yüksek performanslı bir UV (Ultraviyole ışın) emici tabakası vardır ve panelin dış yüzeyinde kalıptan birlikte çekilmiştir. Bu koruyucu tabaka, zararlı UV radyasyonunun levhaya uzun süre erişmesini önler ve bu sayede, görsel berraklığın ve mekanik gücün korunmasını sağlar. Berrak paneller için %52'lik bir ışık iletimi ve 1,60 W/mq°K'lik düşük yalıtım değeriyle, Rainbow Çatı Paneli doğal ışık enerjisinin kullanımını en üst seviyelere çıkarır. Panelin oldukça yüksek yalıtım özellikli yapısı, daha etkili bir ısıtma ve soğutma sistemi için dâhili sıcaklığın düzenlenmesine yardım eder. Bununla birlikte panel, doğal ışığın binaya girmesini sağlar ve yapay ışığa olan ihtiyacı da azaltır. Doğal ışıkların bu kullanımı CO2 emilimlerini ve bir binanın çevresel etkilerini azaltır. Polikarbonatın birçok kimyasala (solvent ve alkalikler dışında) karşı iyi bir direnci vardır, bu nedenle sert şartlarda kullanılması genellikle uygundur. Rainbow Çatı Paneli, mükemmel bir yangın performansına sahiptir, herhangi bir yangın durumunda gevşeyip açılacak ve dumanın, sıcaklığın ve ateşle ortaya çıkan gazların dışarı atılmasını sağlayacaktır. Bu hava tahliyesini sağlayan özellik, binaların içindeki zararın belli bir noktada durdurulabileceği anlamına gelmektedir.

Teknik Bilgiler

Rainbow Çatı Paneli, yüksek seviyeli bir mekanik, optik ve ısıl özellikleri birleştiren eşsiz bir mühendislik termoplastiğiidir. Kalibreli yan kanatlarla çok katmanlı levha şeklinde kalıptan geçirildiğinde, özellikle kendi optik ve darbe özellikleri, bu paneli yalıtılmış, kıvrımlı, metal endüstriyel binalara yapılacak çatı kaplamaları için mükemmel bir örnek haline getirmiştir. Rainbow Çatı Paneli, her yalıtkan kıvrımlı metal panele uyan kalibreli çok şekilli yan kanatlarla darbelere karşı dirençlidir, enerji tasarrufu sağlar ve çok katmanlı saydam levha olma özelliği gösterir. Mükemmel ısıl yalıtım sağlayan dört katman yapısı.

Özellikler

1. UV korumalı yüzey

2. Uzun süreli hava koşullarına dayanıklılık

3. Yüsek direnç gücü

4. Üyü ışık iletimi ve ışık difüzyon özellikleri

5. Oldukça yüksek sertlik

6. Kolay ve hızlı kurulum

Fotoğraf Galerisi

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Ürün Bilgileri Bu paneller, endüstriyel binalar gibi gün ışığına ihtiyaç duyulan yerlerde gün ışığından en iyi şekilde yararlanmanın ideal yoludur. Kaplamaya gelebilecek olası bir zarar çok tehlikeli ve maliyetli olabilir, ancak Rainbow Çatı Paneli, dolu tanelerine, hor kullanmaya ve kazara verilen zararlara karşı mükemmel bir koruma sağlar. Camdan 125 kata kadar daha dayanıklıdır.

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Gordon Matta-Clark is celebrated in a major show at Marian Goodman Gallery, Paris, the first in over two decades. A range of disciplines, such as his continued experimentation in photography, collages, drawings and film, provide a testament to the diverse career of a 1970s-avant-garde pioneer.

Matta-Clark's training as an architect had a defining influence on his practice. Foundational knowledge from previous design backgrounds inspired a rethinking of space, to reflect on the perception of structure and to consider each place as an object. Building-cuts allowed a reimagining of conventional views, to question the function of the practitioner in the public sphere and ultimately to create an ephemeral piece of work without constructing or adding any elements.

Images, illustrations and investigation into film all informed by a unique conceptual vision infused with architectural notions. Meanwhile, drawing is an element of the collection that is often neglected, despite being a constant throughout his career. Notebooks recovered after his death in 1978 reveal rapidly executed sketches pursing a recurrent motif reminiscent of the Surrealist method of automatic drawings. Arrows, Energy Formsand Energy Rooms provide a unique documentation of directions, flows of energy and circulations of space.

Two of Matta-Clark's iconic projects occupy a central place in the exhibit. Conical Insect(1975) conceived for the Paris Biennale in the same year, consisted of adjacent 17th century buildings which were to be demolished. Over the course of several weeks, a cone four meters in diameter was hollowed out, descending into the centre of the structure. Sous-sols de Paris(1977) represents a shift in the artist's interests, focusing on foundations and subterranean spaces which he claimed captured the collective imagination. Six photographic prints form a visual narrative of different archaeological and architectural strata across the French city which provided a great deal of inspiration, as well as new York.

Graffiti Photoglyph (1973) and Walls(1972), alongside films such as Days' End(1975) and City Silvers(1976) provide further demonstrations of the metropolitan landscape as cultural influence and ventures into other creative practices.

Galerie Marian Goodman, Paris, until 19 January. Visit: www.mariangoodman.com

For contemporary arts and culture, follow us @Aestheticamag
Credits
1. Gordon Matta Clark Conical Insect (1975). Courtesy of Galerie Marian Goodman Gallery.
Posted on 15 December 2016

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Aesthetica Magazine - Gordon Matta-Clark: Anarchitecture

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Gordon Matta-Clark is celebrated in a major show at Marian Goodman Gallery, Paris, the first in over two decades. A range of disciplines, such as his continued experimentation in photography, collages, drawings and film, provide a testament to the diverse career of a 1970s-avant-garde pioneer.

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Royal Welsh College of Music & Drama - BFLS

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Royal Welsh College of Music & Drama - BFLS

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Text description provided by the architects. The Royal Welsh College of Music & Drama is Wales' national music and drama conservatoire. Our newly completed scheme, won in international competition in 2007, radically transforms the original college building. The scheme now comprises an acoustically excellent 450-seat chamber concert hall (the 'Dora Stoutzker Hall'), a 180-seat theatre (the 'Richard Burton Theatre'), four rehearsal studios, an exhibition gallery (the 'Linbury Gallery') as well as generous foyer areas, a terrace overlooking Bute Park and a new Café Bar.

The £22.5m project is funded by a grant from the Welsh Government, loan finance and £4m of philanthropic donations. The scheme has been designed to be BREEAM 'excellent'. The new buildings are situated within the Grade I listed Bute Park. Directly across the road from the new building is Cathays Park, the civic centre of Cardiff, consisting of a number of important listed buildings.

BFLS' approach was two -fold, to design the internal performance spaces from the 'inside out', looking at their acoustic and theatrical functionality as major drivers, whilst in parallel designing from the 'outside in', thinking about the civic presence of the building in its urban context. The new buildings are situated inside the Grade I listed Bute Park. Directly across the road from the new building is Cathays Park, the civic centre of Cardiff, consisting of a number of important listed buildings.

The design focuses on the core needs of the College community, namely an acoustically impressive sequence of performance and learning spaces which will encourage and inspire the College's students. The client was very specific from the outset that the new buildings should act as a catalyst for positive cultural change and easier department cross-fertilisation.

Although the building appears to be a single structure it is in fact three separate new buildings and a renovated existing structure. Each performance space has been conceived separately, the individual components of the building united under a single floating roof, its height determined by the theatre fly-tower. The drama building forms a new façade on North Road while the concert recital hall, clad with a timber screen consisting of light-colored cedar wood slats, sits amongst the park's mature trees. Finishes of stone and timber create a sequence of warm and tactile interior spaces.

The new entrance to the college opens out on to Bute Park and a treble-height arcade forms a new spine between the new and old accommodation, linking the constituent elements, functioning as exhibition space for the Design & Costume Department and also acting as the 'lungs' for the scheme, creating a natural stack effect, which ventilates the public spaces.

Text provided by BFLS

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Royal Welsh College of Music & Drama / BFLS

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Text description provided by the architects. The Royal Welsh College of Music & Drama is Wales' national music and drama conservatoire. Our newly completed scheme, won in international competition in 2007, radically transforms the original college building.

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U-Profil Cam Duvar Sistemleri / Linit

Cam Duvar Blokları
Linit Profilit (U-Profil) cam duvar sistemleri doğrama gereksinimi duymayan, derz dolgu yapılmayan, 7m'ye kadar uzun boylar halinde eksiz uygulanabilen, yatayda sınırsız genişlikte doğrama ve kayıt gerektirmeden montajı yapılabilen, çift taraflı uygulamada 60mm ila 83mm arası kalınlıklar elde edilebilen iç bölmelerde ve dış cephelerde kullanılabilen, profil yapısı sayesinde eğrisel de uygulanabilen bir cam duvar ve bölme sistemidir.

LINIT U-profilli cam boyutları U-profilinden değişik olan yedi temel türde üretilmektedir. Buna ek olarak dört farklı yüzey cilası bulunmaktadır. Farklı kalınlık, ağ genişliği, flanş yüksekliklerindeki LINIT özel camları, belirli bir sipariş büyüklüğünde özel tasarım gerekliliklerine göre, özel olarak üretilebilir .

Ürün Özellikleri
- İç ve Dış cephelerde uygulanabilir
- Profil yapısı sayesinde eğrisel de uygulanabilen bir cam duvar ve bölme sistemidir.
- Yüksek statik güce sahiptir.
- Genellikle yan desteklere ihtiyaç duyulmaz.
- Daha çok cam, daha az çerçeve profili sağlar.
- LINIT U-profilli cam boyutları U-profilinden değişik olan yedi temel türde üretilmektedir.
- Kesitli yapıda olduğundan düz cam tabakalara oranlar yüksek yük taşıma kapasitesine sahiptir.
- 7 m.ye kadar enine destekleme olmadan takılabilir.
- Dört farklı yüzey cilası bulunmaktadır.
- Özel tasarım gerekliliklerine göre, özel olarak üretilebilir

Üretimi
LINIT U-profilli cam; yüksek kaliteli erimiş cam şeridi olarak çıkmak üzere, modern bilgisayar kontrollü oksijen yakan cam fırınlarından geçen kum, kireç, soda ve dikkatli bir şekilde geri dönüştürülmüş cam malzemesinin birleştirilmesi ile üretilmektedir. Dünyanın ilk oksijen yakan dökme cam fırını, Lamberts camının şu anda dünyadaki en çevre dostu cam olmasını sağlamaktadır. Erimiş cam şeridi, belirli kesitsel boyutlara ve cilaya sahip sürekli bir cam kanalı oluşturmak için özel olarak tasarlanmış bir dizi çelik merdane arasından geçirilmektedir. U-profilli camın sonsuz şeridi, daha sonra son kalite kontrolünden ve varacağı yere gönderilmek üzere paketlenmeden önce itinayla soğutulur ve kesilir

Uygulama Alanları
İç bölmelerde transparan bölücü duvar olarak, dış cephelerde ise transparan ve izolasyonlu cam duvar olarak uygulanabilir.

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U-Profil Cam Duvar Sistemleri / Linit Cam Duvar Blokları Linit Profilit (U-Profil) cam duvar sistemleri doğrama gereksinimi duymayan, derz dolgu yapılmayan, 7m'ye kadar uzun boylar halinde eksiz uygulanabilen, yatayda sınırsız genişlikte doğrama ve kayıt gerektirmeden montajı yapılabilen, çift taraflı uygulamada 60mm ila 83mm arası kalınlıklar elde edilebilen iç bölmelerde ve dış cephelerde kullanılabilen, profil yapısı sayesinde eğrisel de uygulanabilen bir cam duvar ve bölme sistemidir.

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Overview

Pilkington Profilit™ is a U-shaped profiled glass. It is annealed glass, fitted with longitudinal wire reinforcement. This highly durable product allows light to enter buildings whilst presenting a translucent external appearance. A wide range of fitting options provides considerable flexibility.

For further information contact our UK Distributors:

Glass Profile Solutions Limited
3 Badenheath Place,
Westfield Park,
Cumbernauld.
G68 9HX
Contact: Bill McBride
E-mail: wam@glass-profiled-solutions.co.uk
Telephone: 0141 370 5685
Mobile: 07818 002578
Website: glass-profiled-solutions.co.uk

Benefits

Provides high light diffusion

Can be attained in large curtain walling sizes

Allows the construction of curved walls

Rapid and easy maintenance and replacement

Can be fitted in single or double walls

Available in several colours

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Pilkington Profilit™ is a U-shaped profiled glass. It is annealed glass, fitted with longitudinal wire reinforcement. This highly durable product allows light to enter buildings whilst presenting a translucent external appearance. A wide range of fitting options provides considerable flexibility. For further information contact our UK Distributors: Glass Profile Solutions Limited 3 Badenheath Place, Westfield Park, Cumbernauld.

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Garaj kapısı gibi ama tasarım açısında eğimli olmasıyla bir mimari dil yakalanmış.

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SNAKE RANCH - onsomething: onsomething Santiago Calatrava +...

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onsomething: "onsomething " Santiago Calatrava + Fabio Reinhardt + Bruno Reichlin | Loading bay doors. Warehouse of Ernstings factory, 1983-1985 Coesfeld-Lette "These bay doors were the first...

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Camların kat döşemelerindeki U profillere oturuşunu incelemek lazım. Kaliteli ve temiz bir duruş sağlıyor.

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Tadao Ando has unveiled his first New York building. An "ultra-luxury" condominium project known as 152 Elizabeth Street, the 32,000-square-foot building will replace an existing parking lot with a concrete structure comprised of seven residences - all of which will be "treated as custom homes" and "individually configured."

"Part concrete, part jewel box, the building makes a strong yet quiet statement with a façade comprised of voluminous glass, galvanized steel and flanked by poured in-place concrete and a living green wall that rises the height of the building," says the architects. The green wall, measuring 55-feet-high and 99-feet-wide and spanning the entire southern façade, is expected to be one of the largest in New York and will be designed by landscaping firm M. Paul Friedberg and Partners.

"One of the building's signature design features is found in its vestibule, a floor-to ceiling water wall with grooved glass panels that is naturally backlit by diffused natural light," said the architects, commenting on the building's design which will reference four primary elements - light, sound, air, and water. "Residents and visitors immediately experience the tension between light and shadow, with light piercing through slits in the walls, animating the room's architectural concrete surfaces."

"Complementing the water wall in the front vestibule, the lobby will host another design feature with atmospheric quality and elemental presence. Carved within the exterior concrete wall parallel to the East elevation of the lobby will be a dynamic fog and light installation that interacts with the natural environment. The ever-changing installation will transition naturally depending on the time of day, night, weather conditions and season. Paired with the ambient noise from the water wall, the volume of illuminated mist furthers the sensory experience, creating a sanctuary from the bustling city immediately upon entering the building. The accessibility of these environmental features in the building's public spaces serve to provide a cohesive sense of pleasure and visual stimulation."

152 Elizabeth Street will be developed in Nolita by Sumaida + Khurana. Ando will collaborate with Michael Gabellini on the building's interiors.

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Images Released of Tadao Ando's First NYC Building

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Tadao Ando has unveiled his first New York building. An "ultra-luxury" condominium project known as 152 Elizabeth Street, the 32,000-square-foot building will replace an existing parking lot with a concrete structure comprised of seven residences - all of which will be "treated as custom homes" and "individually configured."

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Polikarbonat buzlu cam havası yaratıyor.

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Composed of microcell panels, polycarbonate offers various solutions for the use of natural lighting in architectural enclosures. Whether applied to facades, interior spaces or roofs, the benefits of polycarbonate, such as lightness, clean lines, colored panels, and light effects, offer a wide range of design freedom. Microcell panel technology reduces the need for artificial light and favors uniformity in the diffusion of natural light, achieving energy efficient facades and the illusion of spaciousness in interior spaces. Below, we've selected 10 projects that have used polycarbonate as a wrapping material.

The lower half of the facade of this house is composed of polycarbonate panels. It uses a metal frame that is aligned with the profiles of its windows. Its use allows the entry of diffused light and spaciousness inside the house.

Both the rear enclosure and the second floor of this maintenance center consists of microcell panels. The lines of the panels give a vertical texture that works with the wooden structure proposed by the architects.

The expansion of this brewery proposes two volumes: a dark one that perches on the base plane and another of white polycarbonate that acts as a lamp, as a symbol of cooking.

Polycarbonate translucent honeycombs are used on the terrace decks and in skylights to allow the entry of diffused and harmonious zenithal light.

The architects of the project describe it as "a closed pavilion that conserves the sensations of playing outdoors: enjoy natural light, views, and a dilution of the interior-exterior border."

Casa da Musica uses compact polycarbonate in enclosures of openings and interior spaces. This treatment allows for total transparency by acquiring a glass appearance, high flexibility, and ease of bending.

This building aims to reflect the changing conditions of society and the environment. To achieve this, it uses energy-efficient polycarbonate as a wrapping material. In winter, the outer skin is permeable to sunlight, and in winter, opaque as a lattice effect.

The roof of the BBVA stadium is an impressive, 50 meters. The last twelve meters of this flight are covered in polycarbonate, creating a transition of light between the light and dark parts of the interior of the enclosure.

The main circulations of this school are accompanied by polycarbonate covers. The idea is to shelter both children and parents in an illuminated yet weather-resistant way.

This nursery uses materials that evoke warmth, welcome, and transparency. The facade is a combination of transparent glass with a polycarbonate sheet that is illuminated from the inside.

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Polycarbonate in Architecture: 10 Translucent Solutions

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Composed of microcell panels, polycarbonate offers various solutions for the use of natural lighting in architectural enclosures. Whether applied to facades, interior spaces or roofs, the benefits of polycarbonate, such as lightness, clean lines, colored panels, and light effects, offer a wide range of design freedom.

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Skylight sistem :***

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French firm LAN (Local Architecture Network) won the competition of restructuring the iconic Grand Palais back in 2014. Updates have been released on the firm's plans for this historic Paris venue, a space which was built in 1900 for the World's Fair.

Grand Palais, Mediation space simulation. Image: LAN.

Grand Palais, entrée de la Rue des Palais simulation. Image: LAN.

Among the updated features are six new galleries and a Chanel-sponsored entrance. The $570 million renovation also includes a new entrance from Square Jean Perrin into refurbished science museum, and a new internal walkway linking all parts of the massive complex.

Grand Palais, Curved Galleries simulation. Image: LAN.

LAN describes the undertaking, "For us, the Grand Palais represents modernity both in its design and in its symbolism. It is a hybrid building in terms of its architecture, its use and its history."

Grand Palais, Main Galleries simulation. Image: LAN.

Grand Palais, reception area simulation. Image: LAN.

The Grand Palais will be completely closed starting in December 2020 and will reopen a portion of its space in the spring of 2023. The venue is scheduled to host the 2024 summer Olympics fencing and taekwondo events.

Grand Palais, the terrace simulation. Image: LAN.

Grand Palais, pont de la Rue des Palais simulation. Image: LAN.

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New renderings of LAN's Grand Palais redevelopment in Paris

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French firm LAN (Local Architecture Network) won the competition of restructuring the iconic Grand Palais back in 2014. Updates have been released on the firm's plans for this historic Paris venue, a space which was built in 1900 for the World's Fair. Grand Palais, Mediation space simulation...

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Not: u- glass 7 metreye kadar tek seferde geçebiliyor.

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“Bolle” Distileri / Massimiliano Fuksas ve Doriana

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“Bolle” Distileri / Massimiliano Fuksas ve Doriana

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Farklı bir üst ördü ve yapı içindeki işlevlerin incelenebileceği, üzerinde uzun süre düşünülmüş bir proje.

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Bir kapı düşünün ve açıldığında hiçbir şekilde görüntüyü kesecek bir kayıt gözükmüyor.

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Bir kapı düşünün ve açıldığında hiçbir şekilde görüntüyü kesecek bir kayıt gözükmüyor.

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Vitrocsa Australia Cavity Guillotine Door

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Cephedeki çıkmala yapı içersinde özel alanlar yaratıyor. Hem içerside hem de dışarıda olmak hissiyatı ile daha özelleşmiş bir alanda çalışma hissiyatı yaratılmış.

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The Chungha building had become a rotten tooth in a fast changing streetscape; dominated by single brand stores, this building contained a collection of brands in one. On the previous façade, a motley collection of fonts competed for the attention of passersby. The sober building's beige natural stone façade was ruined by commercial messages. The ground floor was occupied by French leather accessories label Louis Quatorze, the floors above held a wedding planners' office, the clients' maintenance society and two plastic surgery practices. The discretion required by clients of the plastic surgeries also had implications for the building. The windows of these floors were hermetically sealed, adding to the worn out feel of the structure.

The new façade concept is convincingly simple: Chungha is a multiple identity building which was transformed into a collection of shop windows so each commercial venture imposed onto the façade would have a fitting canvas for its display. The building's façade becomes more advertisement and less architecture, and in that sense, paradoxically more honest.

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Just before a Korean pop-song became a global success on YouTube for the first time in history, MVRDV was commissioned by Woon Nam Management Ltd. to redefine a building on Gangnam’s chic Apgujung Road. Even though the Chungha building was completed in the 1980’s it was already outdated...

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A LECTURE BY WOLF D. PRIX OF COOP HIMMELB(L)AU ORGANIZED BY THE ASSOCIATION OF SIAMESE ARCHITECTS WILL BE HELD ON SATURDAY, AUG 2OTH.

On Saturday the 20th of August 2016, the Association of Siamese Architects under Royal Patronage will proudly present a lecture by Wolf D. Prix, a world-renowned architect. The lecture will take place at the Siam Society under Royal Patronage.

Wolf D. Prix, born in 1942 in Vienna, is the Co-founder, Design Principal and CEO of COOP HIMMELB(L)AU. He studied architecture at the Vienna University of Technology, the Architectural Association of London and the Southern California Institute of Architecture (SCI-Arc) in Los Angeles.

Amongst others, Wolf D. Prix is a member of the Österreichische Bundeskammer der Architekten und Ingenieurkonsulenten, the Bund Deutscher Architekten, Germany (BDA), the Royal Institute of British Architects (RIBA), the Architectural Association Santa Clara, Cuba, as well as a Fellow of the American Institute of Architecture (FAIA). Wolf D. Prix has received numerous awards including the Great Austrian State Award and the Austrian Decoration of Honor for Science and Art. He is a permanent member of the Austrian Art Senate and the European Academy of Sciences and Arts. Two Universities have conferred him the Doctorate Honoris Causa: The Universidad de Palermo, Buenos Aires, Argentina (2001) and the "Ion Mincu" University of Architecture and Urbanism, Bucharest, Romania (2014).

Wolf D. Prix is counted among the originators of the deconstructivist architecture movement. COOP HIMMELB(L)AU had its international breakthrough with the invitation to the exhibition "Deconstructivist Architecture" at MoMA New York in 1988. Over the years Wolf D. Prix / COOP HIMMELB(L)AU has been awarded with numerous international architecture awards.

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WOLF D. PRIX OF COOP HIMMELB(L)AU LECTURE - art4d

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A LECTURE BY WOLF D. PRIX OF COOP HIMMELB(L)AU ORGANIZED BY THE ASSOCIATION OF SIAMESE ARCHITECTS WILL BE HELD ON SATURDAY, AUG 2OTH. On Saturday the 20th of August 2016, the Association of Siamese Architects under Royal Patronage will proudly present a lecture by Wolf D. Prix, a world-renowned architect.

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İnziva çıkmaları ve cephe dili incelenmeye değer. İçeride de bu çıkmalar takip edilmiş. MVRDV'nin Cungha Building projesiyle benzer dilleri var.

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The metaphor of a tree house was invoked from the onset of design conceptualization to create an environment for learning via a journey of discovery and play. The use of skylights, trellises and colored glass transforms incoming daylight into a myriad of shades and colours, creating an intriguing dappled light quality within the library that simulates light filtered through the foliage of trees. 'Pods' cantilevered off the main building façade exude a distinctive charisma on the exterior and create suspended alcoves at an intimate scale from the building interior. The library is raised above the anonymity of its mixed used neighborhood and sets out to stir the curiosity of the community.

Conflicting requirements - view orientation, solar control and regulation of unprotected openings mandated by the statutory fire safety code - were satisfied by a highly rationalised spatial strategy. An internal atrium was incorporated to introduce natural daylight deep into the main circulation zone, as well as most of the library floors, and the back-of-house was concentrated as a solid core on the western elevation that also serves to shield the building from the harsh evening sun. A gently sloping ramp leads people from the street level up to the collection zone through the atrium and also acts as an efficient discharge route for large crowds.

Responding to a highly constricted urban site amidst a mature satellite town, the design answers demands for an efficient construction method that minimises impact on its surroundings. Insitu concrete structure comprising four typical floor slabs over a basement are linked by a common lift and staircase core, and internal columns are kept to a minimum through the use of post-tensioned floor slabs, effectively maximising floor area and increasing flexibility of collection storage. Exploiting its potential of noise segregation, the basement was designed to house the children's section, defining a subterranean cavern-like realm where imagination can run free.

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The metaphor of a tree house was invoked from the onset of design conceptualization to create an environment for learning via a journey of discovery and play. The use of skylights, trellises and colored glass transforms incoming daylight into a myriad of shades and colours, creating an intriguing dappled light quality within the library that simulates light filtered through the foliage of trees.

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Tarihi bir yapı üzerine inşaa edilmiş damlayan bir sıvı küresini andıran farklı bir ekleme yapıllmiş ve içerisi toplantı işlevinde kullanılıyor. Eklenen bu parçanın yapıdaki atriumdan aşağı kotlarda hissedilmesi farklı bir duygu ve tecrübe olsa gerek.

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The offices for ING Bank and insurance company Nationale Nederlanden are located on Andrássy Street in the centre of Budapest. The eclectic Neo-Renaissance building of 1882 has been painstakingly restored and extended with persuasive contemporary elements making it one of the first buildings to juxtapose an uncompromising modernism with intuitive organic shapes to achieve what might be called "Modern Baroque". An organically shaped volume housing a conference room, nicknamed the "Whale", hovers over the courtyard, penetrating the new fully transparent climate roof. Whilst never fully visible from anywhere in the original building, the Whale's presence is evident throughout. Though unique, the existing building is representative of many high quality courtyard buildings that have survived the remarkable changes undergone by the city of Budapest. The completed project can be seen as an optimistic sign of a city that is open to innovation and revitalization, whilst respecting its historic fabric. Aware of its position as a prominent business building in modern Budapest, it offers solace by creating an architecture that combines intelligence with emotional sensitivity.

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Offices for ING & NNH | Erick van Egeraat

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The offices for ING Bank and insurance company Nationale Nederlanden are located on Andrássy Street in the centre of Budapest. The eclectic Neo-Renaissance building of 1882 has been painstakingly restored and extended with persuasive contemporary elements making it one of the first buildings to juxtapose an uncompromising modernism with intuitive organic shapes to achieve what might be called "Modern Baroque".

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Rooftop Remodeling Falkestrasse - COOP HIMMELBLAU

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Rooftop Remodeling Falkestrasse - COOP HIMMELBLAU

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Bir çatı mimarisi. Viyana'da tarihi bir bina çatısına 1988 yılında inşaa edilmiş. Himmelblau'nun farklı formları mimaride denemiş olması çok dikkat çekici.

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The loft conversion in the Falkestrasse in the inner City of Vienna was the first realized deconstructivist building in the world and gained international attention for this new kind of architecture.

The law firm Schuppich, Sporn, Winischhofer wanted to extend their office upwards. The attention was focussed on a large meeting room. Adjacent to it several smaller office units were to be designed. The project constitutes two storeys with a height of 7.80 m, with a flat area of 400 m². The spacial layout consists of a 90 m² meeting room, three office units include an office space, a reception area and adjacent rooms. It would also be possible to use the office as an apartment.

The preliminary design of 1983 depicts the corner solution. (If there really is such a thing as a solution in architecture.) There are no alcoves or turrets on the roof, no context of proportions, materials or colors but, instead, a visualized line of energy which, coming from the street spans the project, thus breaking the existing roof and thereby opening it.

This space-creating taut arc - an element of Coop Himmelb(l)au's architecture that since 1980 has progressively become more important - is both the steel backbone of the project and its posture. The open, glazed surfaces and the closed, folded or linear surfaces of the outer shell control the light and allow or restrict the view.

Both directions of view, that from outside and that from within, define the complexity of the spacial relations. The differentiated and differentiating constructional system, which is a cross between a bridge and an airplane, translates the spacial energy into constructional reality.

The planning and the construction took one year each. On December 23rd, 1988 along with the Rooftop Remodeling Falkestrasse the first deconstructivist building was opened.

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Rooftop Remodeling Falkestrasse | COOP HIMMELB(L)AU | Archello

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The loft conversion in the Falkestrasse in the inner City of Vienna was the first realized deconstructivist building in the world and gained international attention for this new kind of architecture. The law firm Schuppich, Sporn, Winischhofer wanted to extend their office upwards. The attention was focussed on a large meeting room.

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Spanish Pavilion Expo Zaragoza 2008 - Francisco Mangado

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Spanish Pavilion Expo Zaragoza 2008 - Francisco Mangado

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Strüktürün mimari bir dil ifade ettiği bir yapı. Burada kolonlar taşıyıcı için bir gereklilik olmaktan ziyade tsarıma dahil edilmiş. Francisco Mangado strüktürün mimari dilinibaya dikkate alıyor gibi.

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The task at hand was to raise a building that would represent our country while addressing the Expo theme: water and its environmental implications.

Evoking the space of a forest, or of a cluster of bamboos on a surface of water, was the project's underlying idea. On one hand was a desire to create a building mechanism that could create incredible possibilities from the point of view of energy logic and environmental awareness, an essential and symbolic aspiration for the future Spanish Pavilion at the International Exposition of Zaragoza. But on the other hand, one of the most attractive spaces one can possibly deal with, in terms of both matter and light, would be transferred to the field of architecture. Forests are changing spaces, full of hints and nuances, where concepts like verticality and depth play a key role.

Can something natural be artificially reproduced? In this case the geometric strength of the forest metaphor acts in our favor, and the image suggested gives the proposal a symbolic charge that is necessary in the case of a pavilion. The metaphorical allusion, in which water is present through the landscape referred to, therefore comes forth strong and clear.

The criteria that have guided and inspired the construction of the pavilion were in a way already present in the project itself. The choice of modest materials (terracotta, cork...) was part of an endeavor to make the pavilion the built formal expression of an adequate relationship between means and ends, as well as an attempt to give the pavilion a certain degree of independence from the immediate economic context imposed by the Expo itself. The final result was a very dry, Meccano-like construction that guaranteed the aforementioned independence as well as faster construction.

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Spanish Pavilion Expo Zaragoza 2008 / Francisco Mangado

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The task at hand was to raise a building that would represent our country while addressing the Expo theme: water and its environmental implications. Evoking the space of a forest, or of a cluster of bamboos on a surface of water, was the project's underlying idea.

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Center for New Technologies ( Avila) - Francisco Mangado

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Center for New Technologies ( Avila) - Francisco Mangado

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Tavandaki çelik kirişlerin her biri farklı şekilde tasarlanmış. Paramedik bir yapı. Strüktür farklı bir mimari dil oluşturuyor ve tsarıma dahil edilmiş halde. İncelenmesi gereken bir yapı.

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Text description provided by the architects. The proposal for the Center for New Technologies of Santiago de Compostela is based on two essential ideas. The first one springs from the conception of the place and its process of topographic adaptation, and the second entails a sense of efficiency. Efficiency having to do in this case both with the speed in which the project must be executed and with the fact, strictly functional, that the resulting building may need to undergo variations in program over the years.

The building is laid out in two parallel pieces separated by a large glazed courtyard.

The first piece rests on the higher area of the site, more dense and solid, and to a certain extent is transformed into an element that retains the topographical unevenness and houses the access as well as all the uses which may be considered 'complementary' to the academic and other general activities of the building (control, administration and installations).

The second piece goes up on the lower area of the terrain, oriented towards the south, light and modular, orderly and smoothly gathering all the classrooms and workshops in such a way that these can be subdivided or brought together in accordance with the different needs and circumstances.

Both pieces are connected by a series of bridges, more or less wide, which hover over a landscaped surface filled with trees. A wider piece (supported off by the two prisms and located next to the entry to provide direct access from the exterior) accommodates the assembly hall. The surrounding terrain thereby manages to sneak into the building in the form of an interior garden; taking on an essential role as organizational point of reference, ordering all the circulations within the complex, and ensuring, especially from the upper levels, views over the nearby monastery of Gonxo.

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Center for New Technologies / Francisco Mangado

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Text description provided by the architects. The proposal for the Center for New Technologies of Santiago de Compostela is based on two essential ideas. The first one springs from the conception of the place and its process of topographic adaptation, and the second entails a sense of efficiency.

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Pencereler ayrı bir mekan hissi yaratıyor.

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Yenilenen cephe çalışmasında alt katlardaki şeffaflığa geçiş ve ara geçişler çok etkileyici. En alt katta şeffaflık sağlanarak da vitrinlerin iyi gözlemlenmesi sağlanmış.
MÜTHİŞİŞŞ

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The entirely transparent façade of a high-end flagship store on Amsterdam’s upmarket shopping street, PC Hooftstraat, uses glass bricks, glass windows frames and glass architraves in a way to evoke the vernacular of the area with the goal to maintain the character of the site. The 620m...

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Cam cephe tasarımında cam bombelerindeki hareketlilik etkileyiciliğini arttırıyor.

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Prada Store (Epicenter)
5-2-6 Minami-Aoyama
Minato-ku
Tokyo
Japan

Herzog and de Meuron 2003

Prada's Tokyo "epicenter", in the fashionable Aoyama district, is the company's second radical approach to fashion-store architecture, following Rem Koolhaas' flagship store in New York. The intent is "to reshape both the concept and function of shopping, pleasure and communication, to encourage the meshing of consumption and culture."

The Tokyo store is a strikingly unconventional 6-story glass crystal that is soft despite its sharp angles - as a result of its five-sided shape, the smooth curves throughout its interior, and its signature diamond-shaped glass panes, which vary between flat, concave and convex "bubbles".

Jacques Herzog describes these glass panes as "an interactive optical device. Because some of the glass is curved, it seems to move as you walk around it. That creates awareness of both the merchandise and the city-there's an intense dialogue between actors. Also, the grid brings a human scale to the architecture, like display windows. It's almost old-fashioned."

At Prada Aoyama the glass walls are not the usual transparent curtain-walling (as at Renzo Piano's Maison Hermes, across town in the Ginza district), but a transparent, structural shell. Within, the structural cores and tubes morph seamlessly into elevators, stairs, fitting rooms and display shelves, giving a sense of continuous shopping space, very much integrated into the architecture.

The Prada building sits in a corner of its site, creating a small entrance plaza - an effective gesture of restraint from an otherwise rather unrestrained building. Herzog comments on the rarity of this locally: "Tokyo is a city where not a single building relates to its neighborhood, and every building fills its whole site. We took a chance in creating a little space outdoors, like in European cities. We also reversed the typical Japanese emphasis on looking inward by giving importance to the view."

Simon Glynn 2005 (updated 2011)

Additional photography Sam Glynn 2005

How to visit

The Prada store is two minutes' walk from Omotesando subway station, in Minami-Aoyama (southwest of central Tokyo). Take exit A5 from the subway station, and follow Omotesando Avenue towards the southeast. You will immediately see the Prada store on your right.

The store is open daily (including Sundays) from 11am to 8pm. For more information and to check opening times please call +81 3 6418 0400.

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Prada Store Tokyo by Herzog and de Meuron

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Prada Store (Epicenter) 5-2-6 Minami-Aoyama Minato-ku Tokyo Japan Herzog and de Meuron 2003 Prada's Tokyo "epicenter", in the fashionable Aoyama district, is the company's second radical approach to fashion-store architecture, following Rem Koolhaas' flagship store in New York. The intent is "to reshape both the concept and function of shopping, pleasure and communication, to encourage the meshing of consumption and culture."

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SANAA'S - Redevelopment of La Samaritaine - 2

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SANAA'S - Redevelopment of La Samaritaine - 2

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Fifteen years and 280 French companies have taken part in the reconstruction, reshaping, and renovation of La Samaritaine in Paris. The history of this department store dates back to 1870, when Ernest Cognacq opened at the junction of Pont-Neuf and Monnaie streets a small shop that over the years and, with his wife Marie-Louise Jaÿ, became a 70.000m² block combining Art Nouveau and Art Déco styles of the late 19th century. The Japanese studio SANAA has added to it a new futuristic facade of rippling glass that marks the entrance to the department store of 20.000 square meters, a Cheval Blanc hotel, offices, housing, and a kindergarten.

The refurbishment of the Parisian department store creates a passageway that crosses the urban block linking three courtyards and establishing a connection between the historic facade towards the Seine and a new wavy one towards Rue de Rivoli.

The Jourdain building was completed in 1910, the Sauvage one in 1928, and the interiors of the store underwent several transformations over the years, so 1932 was set as date of reference for the restoration of existing heritage elements.

The large glass roof of 1907, with an area of 37 x 20 meters and sloping sections laid out in two levels, has been restored to show the original design by Frantz Jourdain. It has been covered with smart glass that changes color when light passes through.

The glass ceilings of the courtyards designed to filter light deep into the unit forced the closure of the building because of their low fire resistance. Now 2,300 glass panels have been replaced, restoring the building's safety and grandeur.

The Art Nouveau ornamental elements of the facades - the glazed lava rock surfaces or the cast iron signs - and of the interior spaces - the stately staircase, paintings, and railings - have been restored to their original design.
AV Proyectos 102: La Samaritaine, in contruccion

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Fifteen years and 280 French companies have taken part in the reconstruction, reshaping, and renovation of La Samaritaine in Paris. The history of this department store dates back to 1870, when Ernest Cognacq opened at the junction of Pont-Neuf and Monnaie streets a small shop that over the years and, with his wife Marie-Louise Jaÿ, became a 70.000m² block combining Art Nouveau and Art Déco styles of the late 19th century.

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SANAA’s -  Redevelopment of La Samaritaine

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SANAA’s -  Redevelopment of La Samaritaine

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Düşey taşıyıcı yerine ovallikle taşınmış. Karşı sokak silüetinin Yapı üzerindeki yansıması çok değerli.

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After surpassing many hurdles, SANAA's renovation of La Samaritaine Department Store is set to open its doors to the public. The redesign of the Parisian retail institution reinstates its historical value while bringing a contemporary contribution to its architecture.

Founded in 1870, La Samaritaine is an icon of Paris, emblematic of the Second Empire's era and the emergence of this new architectural typology that would revolutionise retail- the department store. What started as a small shop expanded to a series of buildings occupying two urban blocks at one end of Pont Neuf. The architectural monument is the site of an interplay of Art Nouveau and Art Deco elements.

The department store closed in 2005 due to building safety reasons, and the general redevelopment project was assigned to world-renowned architecture practice SANAA. The scheme involved an extensive remodelling of the early 20th century buildings and a programmatic reinvention of the urban island. Aside from the retail area, the project comprises a 5-star hotel, 96 social housing units, offices and a nursery.
Images via Simón García
The new retail area is distributed across three floors along a central circulation axis connecting buildings at both ends of the site. On Rue Rivoli, SANAA brings a contemporary architectural gesture to mark the rebirth of the Samaritaine, writing a new page in the history of this emblematic place for Paris. The new wavy glass façade is, in fact, a continuation of the avant-garde spirit and research on glass that characterised the work of La Samaritaine's original architects, Frantz Jourdain and Henri Sauvage. Kazuyo Sejima and Ryue Nishizawa describe their intervention as a negotiation with the building's monumental scale and the strong border of the Rue Rivoli. The double-skin façade reflects the ornaments of the surrounding architecture and brings about a movement that invites the public to explore the urban block.

However, one of the central undertakings was the restoration project. The iconic Art Nouveau elements of the façade and its coloured enamel tiles have been restored, together with the grand staircase and the glass skylight of the department store's atrium. In addition, the 17th-century apartment block on the Rivoli section is being refurbished into social housing by architect François Brugel, while Edouard François was in charge of transforming the building on the Seine riverside into a hotel.

The design faced a series of challenges as work was halted several times due to court rulings, resulting from strong opposition from several heritage groups. Now almost a decade in the making, the project was set to open its doors last spring, but the pandemic delayed the event to this year.

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SANAA's Redevelopment of La Samaritaine to Open its Doors This Year

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After surpassing many hurdles, SANAA's renovation of La Samaritaine Department Store is set to open its doors to the public. The redesign of the Parisian retail institution reinstates its historical value while bringing a contemporary contribution to its architecture.

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The architecture of the Museum of Image and Sound takes Copacabana Beach as its inspiration: its coastline, its wraparound building wall, its mountains, and its distinctive beach promenade designed by Roberto Burle Marx. The promenade captures the key element of the beach-a space of the public in motion-on foot, bicycle and automobile. The building is conceived as an extension of that boulevard, stretched vertically into the museum. The "Vertical Boulevard" gestures toward inclusiveness: it gently traverses indoor and outdoor spaces and branches to make galleries, education programs, spaces of public leisure and entertainment. The building inherits the DNA of Burle Marx but radically reorients his public surface upward into a thickened façade for the new museum. The vertical circulation sequence connects the street with the building's entertainment programs. The building is also conceived as an instrument to observe the city in a new way. The panoramic view before it, overexposed to tourists in the hotels and restaurants of Copacabana Beach while restricted for many residents, is perhaps the central image at stake. Through framing strategies, the skin of the MIS curates this view for the visitor moving through the gallery sequence.

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The architecture of the Museum of Image and Sound takes Copacabana Beach as its inspiration: its coastline, its wraparound building wall, its mountains, and its distinctive beach promenade designed by Roberto Burle Marx. The promenade captures the key element of the beach-a space of the public in motion-on foot, bicycle and automobile.

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As one of the founding members of Archigram, the avant-garde neo-futurist architecture group of the 1960s, the British architect, professor, and writer Sir Peter Cook (born 22 October 1936) has been a pivotal figure within the global architectural world for over half a century; one of his most significant works from his time with Archigram, The Plug-In City, still invokes debates on technology and society, challenging standards of architectural discourse today.

Though Cook gained significant international recognition for his unbuilt works with Archigram, he has now also been recognized for his built works around the world. His recent works, including the construction of his Art Museum in Graz, Austria (Kunsthaus) has brought his radical ideas to a wider public audience. He currently practices with Gavin Robotham as part of CRAB Studio (Cook Robotham Architectural Bureau).
AD Interviews: Peter Cook / CRAB Studio
With a love for the slithering, the swarming and the spooky, Cook has also continued to teach the next generation of architects; he has been chair of architecture at the University College London's Bartlett School of Architecture, and he continues to hold a number of positions as a professor and lecture around the world.
THIS WAS OUR UTOPIANISM! : An Interview with Peter Cook "Creative Cynic" Peter Cook Explains Why Archigram Designs Were Always Meant to Be Built Peter Cook's Advice For Young Architects: "Get Out and Look!" Peter Cook is Concerned By Contemporary Drawing Culture, And Here's Why Peter Cook on How Drawing Enables Architects to Learn, Communicate and Experiment
In his own words, his architecture is " lyrical technical mechanical, even slightly gothic."

In 2004, Cook and other members of Archigram were awarded the Royal Gold Medal by the Royal Institute of British Architects. In 2010 he curated the London Eight, and has curated the British Pavilion at the Venice Architecture Biennale. Cook is currently a Senior Fellow of the Royal College of Art, London. His professorships include those of the Royal Academy, University College London and the Hochschule fur Bildende Kunste (Staedelschule) in Frankfurt-Main, Germany.

CRAB Studio, the firm cofounded by Cook and Gavin Robotham, recently received planning approval for a new Innovation Studio to be constructed at the Arts University Bournemouth in Poole, England. The design packs a characteristic punch of color and energy into the small structure, punctuating the otherwise monochromatic blocks either side with a ray of sunshine. The building is expected to reach completion in 2019.

See all of Peter Cook's works featured on ArchDaily via the thumbnails below, and more coverage at the links beneath them:

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As one of the founding members of Archigram, the avant-garde neo-futurist architecture group of the 1960s, the British architect, professor, and writer Sir Peter Cook (born 22 October 1936) has been a pivotal figure within the global architectural world for over half a century; one of his most significant works from his time with Archigram, The Plug-In City, still invokes debates on technology and society, challenging standards of architectural discourse today.

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Strasbourg Railway Station - AREP – Aménagement Recherche Poles d’Echanges - Strazburg, France

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Strasbourg Railway Station - AREP – Aménagement Recherche Poles d’Echanges - Strazburg, France

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Strasbourg Railway Station, France

Like a giant cocoon, the new glass shell of Strasbourg Railway Station wraps around the historic station building. In collaboration with the engineering firm RFR, Jean-Marie Duthilleul, the architect for the French company (SNCF), designed a glass hall, which runs above the landmarked building for a length of 120m, while seeming never to make contact with it. An oversized, 25m high "winter garden" serves as the entrance building and as the link between train tracks and trains, trams, buses, taxis as well as the underground.

The new station hall will also make history - as a pioneering project in the building of glass structures. Cold-formed LSG panes were used for the first time on this project, which involved a surface area of nearly 6,000sqm. The primary steel supporting frame is made up of 16 main arches spaced at nine-metre intervals and horizontal secondary supports suspended in between (lattice 'Fink' beam elements), spaced at a 4.5m radial interval. Resting on this frame are vertically positioned steel T-profiles with aluminium supports on which the glass panes are fixed with compression moulding in the vertical lines. The horizontal fittings are only wet jointed, giving the glass hall a vertical structure.

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Strasbourg Railway Station, France Like a giant cocoon, the new glass shell of Strasbourg Railway Station wraps around the historic station building. In collaboration with the engineering firm RFR, Jean-Marie Duthilleul, the architect for the French company (SNCF), designed a glass hall, which runs above the landmarked building for a length of 120m, while seeming never to make contact with it.

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Museum of Military History - Daniel Libeskind - Dresden, Almanya

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Museum of Military History - Daniel Libeskind - Dresden, Almanya

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Yeniden işlevlendirmede yapıya müdahalede çok ikonik bir ekleme yapılmış. Kesinlikle incelemeye deüer.

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The complications of war and violence demanded a bold piece of architecture to provoke the public's understanding of the impact it had on Germany. Daniel Libeskind chooses to engage with such events in his extension to Dresden's Military History Museum, by crashing a huge steel and concrete structure through the neoclassical facade, tearing apart the symmetry of the original building. Photographer Alexandra Timpau has captured the sharp edges and harsh angles of the museum's extension that convey the pain and the stark reality of war Libeskind and the museum refer to.

I wanted to create a bold interruption, a fundamental dislocation, to penetrate the historic arsenal and create a new experience - Daniel Libeskind 2011.

In her photographs, Timpau plays with the materiality as natural light bleeds down the cast concrete interior from small slits in the building's face and studies the details that Libeskind has minutely considered over the last decade since first winning the commission in 2001.

Built in 1897, the Military History Museum has lived many lives as a Saxon armory, a Nazi museum, a Soviet museum and an East German museum, finally being deserted in 1989 until the government saw potential in a museum for the military history of a united and democratic Germany. The new extension shines a new light on violence whilst taking an anthropological approach, considering the human causes and effects.

Protruding out from the main body of the building, the 200-ton extension holds a 99ft viewing platform that offers views across the historic city. The 21,000 square feet exhibition space makes it Germany's largest museum, holding the title of the official central museum of the German Armed Forces. A survivor of war, the building avoided any damage during the allied bombing of World War Two thanks to its location on the outskirts of Dresden, it is an ode to the past as a veteran that has experienced the events of violence itself.

27 Text description provided by the architects. Daniel Libeskind's Military History Museum opens today in Dresden. "I wanted to create a bold interruption, a fundamental dislocation, to penetrate the historic arsenal ..." - Daniel Libeskind, 2011 "It was not my intention to preserve the museum's facade and just add an invisible extension in the back.

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Studio Libeskind's Military Museum Through the Lens of Alexandra Timpau

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The complications of war and violence demanded a bold piece of architecture to provoke the public's understanding of the impact it had on Germany. Daniel Libeskind chooses to engage with such events in his extension to Dresden's Military History Museum, by crashing a huge steel and concrete structure through the neoclassical facade, tearing apart the symmetry of the original building.

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Le Grand Louvre - I.M. Pei - Paris, France

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Le Grand Louvre - I.M. Pei - Paris, France

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In 1981, the newly elected French president, Francois Mitterrand, launched a campaign to renovate cultural institutions throughout France. One of the most advantageous of those projects was the renovation and reorganization of the Louvre.

In 1983 after touring Europe and the United States, President Mitterrand commissioned the Chinese American architect, I.M. Pei. It was the first time that a foreign architect was enlisted to work on the Louvre museum.

Completed in 1989, I.M. Pei's renovation redesigned Cour Napoleon, the main court of the Louvre, in order to alleviate the congestion from the thousands of daily visitors. A new grand entrance provided a convenient, central lobby space separate from the galleries, which provided focal point for the cyclical process of one's experience through the museum.

In addition to providing a new entrance to the Louvre, Pei's design featured a new underground system of galleries, storage, and preservation laboratories, as well as a connection between the wings of the museum. The addition and relocation of the supporting spaces of the museum allowed for the Louvre to expand its collection and place more work on exhibit.

Pei's design of the Louvre addition implemented a large glass and steel pyramid that is surrounded by three smaller triangles that provide light to the space below Cour Napoleon. For Pei, the glass pyramid provided a symbolic entry that had historical and figural importance that reinforced the main entry.

"Formally, it is the most compatible with the architecture of the Louvre..., it is also one of the most structurally stable of forms, which assures its transparency, as it is constructed of glass and steel, it signifies a break with the architectural traditions of the past. It is a work of our time." - I.M. Pei

The monumental appearance of the glass and steel pyramid fixed in the middle of the court provides a central focal point that compliments the scale and design of the Louvre.

The scale of the large pyramid, which is designed to the same proportions of the famous Pyramid of Giza, does not detract from the historical nature of the museum rather the juxtaposition of the modern structure and the French Renaissance architectural style of the museum creates a complimentary effect that enhances each of the design's details and beauty. So much so that the sloping glass walls of the pyramid begin to pay homage to the mansard roofs of the museum, and the opaque, heavy qualities of the Louvre's façade exaggerate the transparency of Pei's design.

With the history of the Louvre dating back to the 12th Century, one could imagine that the modern design implemented by Pei would not be fully accepted by the historically enamored Parisian's. The site of the Louvre was originally a dungeon and fortress for Philippe Auguste, which was later transformed into a palace under King Francis I in 1546. It wasn't until 1793 that Louis XVI had turned the Louvre into a museum. The Louvre has been deeply rooted in the history and culture of the Parisian people.

Much of the criticism surrounding the renovation was not because of the addition to the museum itself, but more of an issue of styles. Most felt that Pei's modern design aesthetic would clash with the Louvre's Classical architecture; appearing as an alien form.

However, as the decades have passed and Paris has modernized Pei's design has become embedded in the Parisian culture. It is regarded with similar significance to that of the Eiffel Tower becoming an icon for the people of Paris, as well as the world. Pei's design has become synonymous with the image of the Louvre marking it as an inseparable entity from the museum and of Paris.

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In 1981, the newly elected French president, Francois Mitterrand, launched a campaign to renovate cultural institutions throughout France. One of the most advantageous of those projects was the renovation and reorganization of the Louvre. In 1983 after touring Europe and the United States, President Mitterrand commissioned the Chinese American architect, I.M.

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Pompidou Center -  Renzo Piano Building Workshop + Richard Rogers - Paris, France

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Pompidou Center -  Renzo Piano Building Workshop + Richard Rogers - Paris, France

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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.

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.

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

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Completed in 1977 in Paris, France. 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...

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AD Classics: Vitra Design Museum - Gehry Partners - Weil Am Rhein, Almanya

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AD Classics: Vitra Design Museum - Gehry Partners - Weil Am Rhein, Almanya

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This article was originally published on April 27, 2017. To read the stories behind other celebrated architecture projects, visit our AD Classics section.

Even at the Vitra Campus in Weil-am-Rhein-a collection of furniture factories, offices, showrooms, and galleries, many of which are the products of iconic architects-the Vitra Design Museum stands out as exceptional. With its sculptural form composed of interconnected curving volumes, the museum is the unmistakable work of Frank Gehry - an architect who has built a legacy for himself upon such structures. What may not be immediately apparent is the crossroads that this serene white building represents: it was in this project at the southwestern corner of Germany (close to the Swiss border) that Gehry first realized a structure in the vein of his now signature style.

As with a number of great works of architecture, the Vitra Design Museum's story began with a fire. One night in 1981, a single bolt of lightning struck the Vitra Campus setting off an inferno which reduced half of the campus to smoldering ruins by morning. In the wake of the devastation, Vitra would commission a number of notable architects from around the world-including Tadao Ando, Alvaro Siza, and Zaha Hadid-to contribute designs for buildings to replace those lost in the blaze, curating a sequence of projects by some of the late 20th Century's most celebrated designers.[1]

Gehry's contribution to the campus came in the late 1980s. Over its (then) three decades in business, Vitra had accumulated a sizable collection of chairs and other pieces of domestic furniture. The company initially planned to house these articles in a simple shed-like structure, providing both public exhibition and storage facilities. During the design process, however, this simple mandate grew more ambitious; what had been envisioned as a display space for a private collection evolved into the Vitra Design Museum, an independent organization dedicated to the research, dissemination and popularization of design.[2]

By the 1980s, the Canadian-American Gehry had already made a name for himself as a "Deconstructivist" architect. His body of work by the time rejected the cold monumentality of Modernism, instead seeking integrity with its surroundings and creating spaces that related more clearly to human scale. This philosophy was perhaps best exemplified by his own home in Venice, California, with its jagged, oblique protrusions of chain link and glass. In fact, his early work was almost exclusively composed of straight lines and angles, a far cry from the undulating, sculptural style he has since adopted. It was only with the Vitra Design Museum, his first realized building in Europe, that Gehry's now signature style began to emerge.[3,4]
References
Designed in collaboration with German architect Günter Pfeifer, the Design Museum is a clear transition between Gehry's smaller-scale Deconstructivist projects and the grander, sleeker aesthetic for which he is better known. It is neither fully angular nor fully curved but a mixture, with volumes of either nature intersecting at shallow angles throughout the structure. The sloping curves, finished in white plaster, are likely a reference to Le Corbusier's Notre Dame du Haut, located nearby across the French border. The zinc alloy plating which covers the roof and some wall planes, meanwhile, not only references a nearby factory building by Nicholas Grimshaw, but calls forward to Gehry's later works, which would be sheathed entirely in polished metals.[5]

The interior of the building comprises four main display galleries, production areas, a test laboratory, cafeteria, multi-purpose room, and offices. It is the functional requirements of these spaces that helped to dictate the size of the volumetric towers, bridges, and cubes that compose the form of the building, but their arrangement was evidently dictated by a desire to create a sense of spatial intrigue.[6] The inclusion of curves, beyond referencing Notre Dame du Haut, may also be inspired by the nearby Vitra factory: the focal elements being gentle, sweeping curves. This, perhaps, was meant to imply the feeling of a collective movement, fitting for a place of industrial manufacturing.[7]

Despite its 8,000 square feet (743 square meters) of exhibition space being relatively modest for a museum, the Vitra Design Museum is nonetheless one of the world's leading institutions dedicated to design. The display areas occupy two floors of the building, consisting of a series of exhibition halls (two of which connected by a dramatic spiral stairway). A large cross is cut into the roof above, bathing the exhibition spaces in light. The main furniture collection, originally consisting solely of Vitra CEO Rolf Fehlbaum's approximately 200 Modern and contemporary chairs, has since grown to over 6,000 objects including chairs, cutlery, consumer electronics, and architectural prototypes.[8,9,10]

The Vitra Design Museum opened its doors to the public in 1989 and has enjoyed widespread acclaim in the almost three decades since. Its fluid, dynamic composition of interconnected volumes made an instant and lasting impression; architectural writer and critic Paul Heyer lauded the building, describing it as "a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions. As a totality it resolves itself into an entwined coherent display."[11] For Gehry himself, the Vitra Design Museum represented a life-altering epiphany: "I love the shaping I can do when I'm sketching and it never occurred to me that I would do it in a building. The first thing I built of anything like that is Vitra in Germany."[12] Whatever stance one takes on Gehry's unique architectural style, it cannot be denied that it has become a global sensation - a sensation which was born in a modestly-sized museum in a factory campus in a discreet corner of Germany.

[1] Fiederer, Luke. "AD Classics: Vitra Fire Station / Zaha Hadid." ArchDaily. April 21, 2016. [access].
[2] "Campus Architektur - Vitra Design Museum." Vitra. Accessed March 19, 2017. [access].
[3] "Frank Gehry." Encyclopædia Britannica. November 23, 2016. [access].
[4] "Vitra International Manufacturing Facility and Design Museum." Guggenheim Museum. Accessed March 18, 2017. [access].
[5] Parvin, Nami. "Vitra Design Museum and Factory | Frank Gehry." Arch2O. February 20, 2017. [access].
[6] Parvin.
[7] "Vitra International Manufacturing Facility and Design Museum."
[8] "About Us." The Vitra Design Museum. Accessed March 18, 2017. [access].
[9] "Vitra International Manufacturing Facility and Design Museum."
[10] Santana, Saida. "Vitra Design Museum: A Vital Space for Design and Architecture." Azureazure. Accessed March 19, 2017. [access].
[11] Parvin.

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AD Classics: Vitra Design Museum / Gehry Partners

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This article was originally published on April 27, 2017. To read the stories behind other celebrated architecture projects, visit our AD Classics section. Even at the Vitra Campus in Weil-am-Rhein-a collection of furniture factories, offices, showrooms, and galleries, many of which are the products of iconic architects-the Vitra Design Museum stands out as exceptional.

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Hotel Fouquet Barrière - Edouard François - Paris, France

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Hotel Fouquet Barrière - Edouard François - Paris, France

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Bir yeniden işlevlendirme yapısının otele dönüşmesinin örneğidir. Camların cephelerde nasıl randol olarak çıkarıldığını ve iç çalışmaları incelemeye değer. Yeniden işlevlendirmenin farklı bir bakış açısıyla ele alınmış halidir.

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Text description provided by the architects. French architect and landscape designer Edouard François was encharged of the renovation and façade design of the Fouquet's Barrière Hotel in Paris, which is located in one block facing Avenue des Champs Elysées. The architect mission was the general plan of the whole hotel, including courtyards, administration offices and a spa service, spread on different plots of the "golden triangle", and the design of new facades for extensions.

The surrounding area is the most elegant and expensive of the whole metropolis, and very significant in terms of architecture and relation with the context.

The project key-word and practical operation is "COPY - EDIT". Through this operation, the building declares its belonging to the 21st century keeping strong connection with the Haussmann epoque, as a bridge between two centuries. The new façade stands on the corner of the back street, and it is showing off also in different points of the block.

The decision to reproduce the typical Haussmann façade which stands on Champs Elysées, with his characteristic windows, basement, roof and decorations, in grey concrete panels, is more significant than a simple imitation: it's a re-interpretation of the "old" through nowadays industrial technology. The dimensions of the concrete panels are not the same as the typical stone blocks of Paris, but the composition of tones of grey remind them clearly. Beside the accuracy of the reproducing work, at first sight the façade seems to belong to that Hausmann époque: here is the "COPY" work.

At the same time, the opening of clean windows, rectangular, horizontally orientated and sharply framed, together with the closure of the "old" windows, makes clear that the façade has been softly and firmly modified by a new force. As the interior distribution does not correspond anymore to the façade levels, the new window boxes are just shown off on their proper position.

The new windows, sticking out randomly on the elevations, can be considered as the aggression of the "old" façade by the contemporary intervention, as transition from the renovated interior towards the outside.

This is the "EDIT" work.

Furthermore, new relevance is given to the old Haussmann façade, by the moment it has been re-built: new architecture seems to need a basis coming from the past as a support to propose its presence, even though that one is clearly fake. The value of this project consists in the originality of the basic operation, which opens to multiple interpretations about the relation of contemporary architecture with the past heritage.

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Hotel Fouquet Barrière / Edouard François

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Text description provided by the architects. French architect and landscape designer Edouard François was encharged of the renovation and façade design of the Fouquet's Barrière Hotel in Paris, which is located in one block facing Avenue des Champs Elysées.

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Wilhelm-Leuschner-Platz Metro -  Max Dudler Architecture - Leipzig, Almanya

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Wilhelm-Leuschner-Platz Metro -  Max Dudler Architecture - Leipzig, Almanya

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Cam tuğla kullanımına güzel bir örnek. Strüktürü net bir şekilde ifade ederken
sağladığı açıklık dikkat çekici.

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This new metro station in Leipzig, Germany, by Swiss architect Max Dudler comprises a 140 metre-long tunnel made up of illuminated glass blocks.

The Wilhelm-Leuschner-Platz S-Bahn station is one of four stops along the new Leipzig City Tunnel railway line that has been under construction for over ten years and is set to open next month, creating a new link between some of the city's major stations.

Swiss architect Max Dudler, whose previous projects include a glowing library and a castle visitor centre, won a competition to design the station in 1997 with his proposal for a glowing tunnel with a gently curved concourse and raw concrete details.

Back-lit glass blocks are arranged in groups within a concrete framework to create large glowing squares across the entire length of the walls and ceiling.

"The seemingly endless repetition of the same element in the course of the slightly curved, light-filled hall increases the sensation of the dimensions of this already large structure," said the studio.

The station platform is covered in pale terrazzo and interspersed with concrete volumes that form seating areas and signage boards.

"All station furnishings of the station are arranged as geometric concrete sculptures," added the studio.

Entrances are positioned at the north and south ends of the platform, where solid concrete staircases are sandwiched between escalators. At street level, these entrances are contained within rectilinear structures that were also constructed using glass blocks.

Photography is by Stefan Müller.

Here's a project description from the design team:
Wilhelm-Leuschner-Platz Station
S-Bahn trains will cross beneath the centre of Leipzig from December 2013. This is when the 5.3 kilometre long city tunnel Leipzig, a joint development of Deutsche Bahn AG and the Free State of Saxony, will be completed. Wilhelm-Leuschner-Platz / Platz der Friedlichen revolution station on the southern end of the historic city centre is one of four stations of the major project that is currently one of the largest inner-city infrastructure projects in Europe.

The design of the station is based on architect Max Dudler's successful competition entry from 1997. The Swiss architect's impressive 140 metre long and 20 metre wide station concourse has just recently been awarded the city of Leipzig's architecture award.

The station concourse, with a rectangular section and a slight longitudinal curve, is situated 20 metres below ground. Walls and ceilings of the elongated, column-free hall are clad with large, backlit prefabricated glass blocks set into a framework of fair-faced precast concrete. This gives the station concourse a bright and spacious feel. Extreme repetition of one and the same motif makes its actual dimensions almost intangible for passengers.

The light-coloured, jointless terrazzo flooring of the insular platform acts as a quiet counterpoint to the seemingly endless pattern of the walls. All necessary station furniture is arranged on the platform in the shape of geometrical concrete sculptures, all functions such as seating, timetables and ticket machines having in a sense been subtracted from or carved out of the concrete cubes.

The station concourse's supporting structure of precast reinforced concrete is not visible behind the glass block cladding. The wall elements of the glass block envelope are anchored to a steel substructure on the tunnel wall. The ceiling elements are suspended from the building shell.

Passengers access the station through the entrances on the north and south ends of the station that are fitted with solid staircases, escalators and elevators. The architectural design of the two entrances is in deliberate contrast to the filigree, seemingly transparent station concourse. As soon as they dip beneath the surface of the square, the staircases and their inner casings are made entirely of fair-faced concrete. The minimalist, almost coarse design conveys an impression of descending towards the interior of the earth, as if it was tunnelled directly into the rock.

The stairs and the platform combine seamlessly into a monolithic ribbon. Similar to the station concourse, the aboveground entrance buildings have also been fitted with glass block components. They will help bring the square to life when illuminated at night.

Wilhelm Leuschner was a social democrat politician and part of the resistance against National Socialism. Formerly known as Königsplatz, this square in Leipzig was renamed Wilhelm-Leuschner-Platz in his honour in 1945. In 2013 it was finally renamed "Platz der Friedlichen Revolution" to honour the important role it played during German reunification.

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Wilhelm-Leuschner-Platz metro station with glass blocks by Max Dudler

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This new metro station in Leipzig, Germany, by Swiss architect Max Dudler comprises a 140 metre-long tunnel made up of illuminated glass blocks. The Wilhelm-Leuschner-Platz S-Bahn station is one of four stops along the new Leipzig City Tunnel railway line that has been under construction for over ten years and is set to open next month, creating a new link between some of the city's major stations.

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Op-Art optik art sanatının önemli sanatçılarından. Mimari yapılara yaptığı sanatsal müdehaleler var. İncelenmesi gerekiyor.

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Monumenta 2012. Daniel Buren. "Excentrique(s), travail in situ".

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Every year, Monumenta invites an internationally-renowned contemporary artist to produce a monumental work for display in the Grand Palais. Daniel Buren, one of France's greatest artists, will be rising to this challenge during the fifth Monumenta event.

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daniel buren - l'observatoire de la lumière

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daniel buren - l'observatoire de la lumière

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Daniel Buren'in Frank Gary'nin yapısına yaptığı müdehale

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"Daniel Buren. L'Observatoire de la lumière"

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Konser Sahnesi
Kilise içerisine yerleştirilmiş bir sahne. Orkestra sahnesi ortada, seyirciler kenarlarda bulunuyor. Renzo Piano'nun ilk eserlerinden biridir.

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Architectural Drawings, Models, Photos, etc...

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Architectural Drawings, Models, Photos, etc...

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archimodels: "© renzo piano - prometeo musical space - venice and milan, italy - 1983 "

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Cavernous holes in the courtyard of three museum buildings in Graz, Austria, lead underground into a new, shared entrance by Spanish architects Nieto Sobejano and local firm eep architekten (photographs by Roland Halbe).

The extension adds a conference hall, reading areas and an archive to the Joanneum Museum complex, which comprises a regional library, an art gallery and a natural history museum.

Glass surrounds the conical openings and each one tunnels down through one or two storeys to bring diffused natural light into the underground rooms.

Visitors enter the building via an outdoor elevator into the largest cone.

Nieto Sobejano Arquitectos have completed a few museums this year - see them all here, including another one that tunnels underground.

Here's some further explanation from Nieto Sobejano Arquitectos:

Joanneum Museum extension and refurbishment
International Competition 1st Prize 2006

Surface and Depth

The ground surface, the horizontal platform upon which most of our movements in the city occur, is very rarely the generating argument or the spatial support of a project. Perhaps as a result of that yearn for an identity that every new intervention seems to demand, architecture has tended to express itself throughout history by means of objects, volumes that have often established a difficult relationship with the scale of the urban environment in which they were inserted. In contrast, the extension of the Joanneum Museum emerged from the intention of acting within the strict limits of the horizontal plane of the city, offering a new public space based on an architectural proposal that is paradoxically simple in its depth and complex in its surface.

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The Joanneumsviertel of Graz is formed of three buildings of different periods and uses that up to now gave their back to one another and towards a residual rear courtyard: the Museum of Natural History - from the 18th century -, the Regional Library of Styria and New Gallery of Contemporary Art, the latter built at the end of the 19th century. As organisms belonging to the same institution, the project set out the need to endow the complex with a common access, welcoming spaces, conference hall, reading areas and services, aside from a lower level for archives and storage. Instead of falling into the temptation of developing an iconic intervention, as has often happened in recent extensions of existing museums, the project meant, however, a unique opportunity to carry out an at once urban and architectural transformation.

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If the historic center of Graz is known for its expressive roofscape, our proposal develops entirely below ground: we simply define a new pavement that as a large carpet takes up the whole exterior space between buildings and conceals below ground the spaces that house the required program. This decision allows acknowledging the value of the existing historical constructions - carrying out a refurbishment that is respectful towards their architectural characteristics - which acts only punctually in some interior areas without affecting the original exterior image and volume. The horizontal continuous surface of the new square is marked by a combinatorial series of circular patios that bring natural light into the underground spaces and house the entrance, the lobby and shared areas of museums and library, a gathering place from which to reach each one of them.

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The geometric abstraction implicit in every architectural work appears in the proposal with the boldness of a contemporary installation in the public space, transformed into an apparently random sequence of conical intersections derived from a single, virtual three-dimensional figure. Curved glass surfaces with a continuous silkscreen print filter light towards the interior and, inversely, illuminate the square with artificial light at night. A cultural institution like the Joanneum Museum, on which the Kunsthaus Graz is dependent, thus expresses the changing relationship between art and city.

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The square that centralizes the access to the museums is an unusual intervention in the urban space: a bet on the common action between plastic arts and architecture that will incorporate specific installations in collaboration with contemporary artists. The new extension goes almost unnoticed, concealed beneath the pavement that connects the historical buildings, as a materialization of a perforated horizon that expresses, and not only literally, that the depth of an architectural work can reside, unexpectedly, on its surface.

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Location: Graz (Austria)
Client: Government of Steiermark (Austria)
Architects: Nieto Sobejano Arquitectos, eep architekten

Project: Fuensanta Nieto, Enrique Sobejano, Gerhard Eder
Collaborators: Dirk Landt, Christian Egger,Bernd Priesching, Daniel Schilp, Michele Görhardt, Udo Brunner, Anja Stachelscheid, Sebastián Sasse, Nik Wenzke, Ana-Maria Osorio, Michael Fenske
Structure: zt-büro dipl.-ing. Petschnigg
Mechanical Engineers: Pechmann GmbH, Ingenieurbüro f. Haustechnik
Models: Juan de Dios Hernández - Jesús Rey
Project: 2007-2008
Construction: 2009-2011

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Joanneum Museum extension by Nieto Sobejano Arquitectos and eep architekten

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Cavernous holes in the courtyard of three museum buildings in Graz, Austria, lead underground into a new, shared entrance by Spanish architects Nieto Sobejano and local firm eep architekten (photographs by Roland Halbe). The extension adds a conference hall, reading areas and an archive to the Joanneum Museum complex, which comprises a regional library, an art gallery and a natural history museum.

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bakır merdivenler

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The Experimentarium is a much-loved science centre that has been in its current location since 1991, with a mission to 'stimulate interest in science and to increase awareness of methods and results' within the discipline. Less than 10 km north of the Danish capital, the educational attraction is located in a small town which is counted amongst the wealthiest areas in the country. Architecture firm CEBRA has recently completed a three-year renovation of the former Tuborg bottling plant, designed in 1923, during which time the museum moved to a temporary address in warehouses situated by Copenhagen harbour.

The firm has doubled the size of the centre with an intervention that resembles a series of stacked boxes, offset at different heights and cantilevers, which opens up to the surroundings with large glass windows, making the building's different functional areas obvious from the exterior. Primarily built using prefabricated elements, the new addition was built on new foundations set inside of the existing building, with the lightweight façade of perforated aluminium panels anchored to the underlying construction.

'We preserved the building's original brickwork to emphasize the contrast of the old and the new,' describes founding partner Kolja Nielsen. 'We specifically wanted to stress the meeting between the existing and modern architecture, as it complements the radical change of the Experimentarium's architectural design from an introverted building to now appearing as an engaging and vibrant attraction.'

The architect makes visitors feel like wide-eyed magpies, subliminally attracted to the large, shiny structure in the entrance hall. Students are taught the general rule that 'spiral staircases take up too much room' but the project's helical flight of fancy fully owns the building, as if the external structure was built around it merely to try and contain it. The lavish copper staircase - set in a hall clad with reflective aluminium composite panels - is a beacon for sparking curiosity. It is a stunning spectacle that welcomes visitors into the building and is intended to let them know right away that they have 'entered a world of science'.

'In the competition phase, our proposal included a coiled, tendril-shaped staircase. During the design development, we decided to create two flows of circulation: one to lead visitors to paid-exhibition areas and the other to lead guests to the restaurant, the conference centre and to a rooftop café,' Nielsen explains. 'To further qualify the concept, we held a workshop with Professor Jakob Bohr, who inspired us to look at the staircase as an abstract version of the structure of DNA. This unites the two flows and, at the same time, communicates the scientific content of the building.'

cebraarchitecture.dk
Location Tuborg Havnevej 7, Hellerup, Denmark

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CEBRA's lavish copper staircase is a beacon for sparking curiosity

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The Experimentarium is a much-loved science centre that has been in its current location since 1991, with a mission to 'stimulate interest in science and to increase awareness of methods and results' within the discipline. Less than 10 km north of the Danish capital, the educational attraction is located in a small town which is counted amongst the wealthiest areas in the country.