morfoLL

Joern Utzon dies at 90

noreply@blogger.com (LL) — Sat, 29 Nov 2008 23:13:00 +0000

Rest in eternal peace, a different man not always understood.
via AP

Software...by Lev Manovich

noreply@blogger.com (LL) — Thu, 27 Nov 2008 22:27:00 +0000

Lev Manovich, mostra-nos neste livro os caminhos pelos quais todos os principios do desenho estão a circular.
Lev Manovich show us with this book where the principles of design are heading to.

free download at Lev Manovich

Student apartments-Ofis Architekti

noreply@blogger.com (LL) — Thu, 27 Nov 2008 21:52:00 +0000

Ofis architects still manage to amazes us with their interpretation of buildings as street interacting objects, like solid landscapes, ready to mix with people and their way of living.

to see in ArchDaily

Temporary chapel for the Deaconesses of St-Loup - Localarchitecture

noreply@blogger.com (LL) — Fri, 21 Nov 2008 16:46:00 +0000

Religion not always as been a simple mater. Neither does architecture. A strict, straight to the edge project, an wonderful intervention on a soulful sourrounding. The project show us that temporary architecture doesn't need to be a degree basic wall to wall system.

vía Arch Daily

Architects: Localarchitecture & Danilo Mondada
Location: Hôpital de St-Loup, Switzerland
Project year: 2008
Structure: IBOIS - Hani Buri, Yves Weinand
Client: Deaconess Community of St-Loup
Photographs: Milo Keller ©2008

In the summer of 2007, Localarchitecture and architect Danilo Mondada were awarded the contract to renovate the mother house of the Deaconess Community of St-Loup. The commission involves the complete renovation of a historic building, including the community's main chapel.

It was immediately apparent the mother house would have to be closed for the duration of the building works, in other words for 18 months starting from the summer of 2008. Instead of settling for a standard solution, like renting a tent or containers, the architects suggested building a temporary chapel to accommodate religious worship during the construction period.

Localarchitecture, which has a special interest in timber construction and new structural solutions, has made its name with several works exploring traditional and contemporary wood construction techniques. In this instance, the architects suggested working in partnership with Hani Buri and Yves Weinand from the IBOIS laboratory at the EPFL (École Polytechnique Fédérale de Lausanne), whose ongoing research into folded structures seemed particularly interesting and appropriate for this project. The team developed a structure using timber panels, which makes it possible to cover large areas with fine sections. The shape was generated using computer software that calculates the load-bearing structure, determines the dimensions and transmits this information to the machine that cuts out the 6-cm thick timber panels.

Built directly on the ground, the new chapel blends subtly and delicately with the landscape. The structure, which lies along the axis of the east-west valley and is open at each end, lets in plenty of natural light. Interpreting the traditional layout of protestant churches with their variations in width and height between transept and nave, the design creates a space whose horizontal and vertical dimensions vary via a series of origami-like folds, which give rhythm to the interior and exterior of the building. The folded volume generates a wide horizontal space at the entrance, before closing in and rising up to become vertical towards the centre of the chapel. Each fold in the facade reflects the light differently and thus emphasizes the progression and elongation of the volume. The structure punctuates the interior space, while creating an atmosphere conducive to reflection.

Transparent plastic panels in the gable side facades, covered with fabric, allow natural light to enter the chapel. The frame of columns and diagonals resembles the structure of a stained-glass window.

The wooden chapel in St-Loup is the first full-scale structure that incorporates design and structural analysis based on computer method of generating novel geometrical forms, but it is also a bright example of the spatial reinterpretation of a traditional religious space in harmony with its environment.

Cooper Union by Morphosis

noreply@blogger.com (LL) — Tue, 18 Nov 2008 22:09:00 +0000

One excellent relation between city and building. The new Cooper Union buildin by Morphosis, explores the relations between interior/exterior and students/pedestrians relation. Through slices, transparencies Thom Mayne builds a space where students can feel the classical feeling of discipline, and at the same time, the wonderful feeling of liberty in the common spaces, atriums and hall and double/triple height spaces were everybody can relax.
to see in: Cooper union

Checking the pulse

noreply@blogger.com (LL) — Wed, 12 Nov 2008 22:59:00 +0000

Archinect is checking the pulse on architecture jobs in a world crisis time.
Archinect está a tomar o pulso à profissão de arquitecto numa fase de "crise" mundial!

Juvet Landscape Hotel

noreply@blogger.com (LL) — Wed, 12 Nov 2008 22:30:00 +0000

Numa altura em que a complexidade reina na arquitectura contemporânea, o Juvet Landscape Hotel , do estudio Jensen & Skodvin Arkitektkontor, mostra-nos que a simplicidade nordica ainda nos faz disfrutar, sonhar e relaxar. Um diálogo de harmonia com a envolvente natural.
In a time in which complexity reigns in architecture, the Juvet Landscape Hotel , from Jensen & Skodvin Arkitektkontor, show's that nordic simplicity can still make us enjoy, dream and relax. One harmonic dialogue with nature, to see in Archdaily

The future is parametric-Patrik Schumacher

noreply@blogger.com (LL) — Sat, 08 Nov 2008 10:03:00 +0000

Um manifesto de Patrik Scumacher (sócio de Zaha Hadid), afirma que a parametrização é o novo grande estilo desde o modernismo.

É realmente algo que nos faz pensar sobre e compreender os últinos trabalhos dos maiores estudios do mundo. As opiniões por certo divergem de personalidade para personalidade, mas vale a pena a discussão.

via BDonline

Manifesto by Patrik Schumacher (partner at Zaha Hadid Architects), in which parametricism shows up as the great new style after modernism.

Something to meditate and talk about. Ideas and reasons may diverge from one another, but is shure a question to be discussed.

We must pursue the parametric design paradigm all the way, penetrating into all corners of the discipline. Systematic, adaptive variation and continuous differentiation (rather than mere variety) concern all architectural design tasks from urbanism to the level of tectonic detail. This implies total fluidity on all scales.

The mass society that was characterised by a single, nearly universal consumption standard has evolved into the heterogenous society of the multitude. Contemporary avant-garde architecture is addressing the demand for an increased level of articulated complexity by means of retooling its methods on the basis of parametric design systems.

The contemporary architectural style that has achieved pervasive hegemony within the contemporary architectural avant-garde can be best understood as a research programme based on the parametric paradigm. We propose to call this style parametricism.

Parametricism is the great new style after modernism. Postmodernism and deconstructivism have been transitional episodes that ushered in this new, long wave of research and innovation.

That the parametric paradigm is becoming pervasive in contemporary architecture and design is evident. There has been talk about versioning, iteration and mass customisation for quite a while within the architectural avant-garde discourse, formulated at the beginning of the 1990s with the slogan of "continuous differentiation". Since then, there has been both a widespread, even hegemonic, dissemination of this tendency, as well as a cumulative build-up of virtuosity, resolution and refinement within it.

This development was facilitated by the attendant development of parametric design tools and script. Parametricism can only exist via sophisticated parametric techniques. Finally, advanced design techniques like scripting (in Mel Script or Rhino Script) and parametric modelling (with tools like GC or DP) are becoming a pervasive reality.

But the parametric design tools by themselves cannot account for this drastic stylistic shift from modernism to parametricism. Late modernist architects use parametric tools to maintain a modernist aesthetic. At Zaha Hadid Architects, our parametricist sensibility pushes in the opposite direction and aims for a maximal emphasis on conspicuous differentiation.

Fields not space

Modernism was founded on the concept of space. Parametricism differentiates fields. Fields are full, as if filled with a fluid medium. Swarms have also served as paradigmatic analogues for the field concept. We would like to think of swarms of buildings that drift across the landscape or of large continuous interiors like big exhibition halls.

Imagine there are no more landmarks to hold on, no axes to follow and no more boundaries to cross. Contemporary architecture aims to construct new logics — the logic of fields — that gear up to organise and articulate the new level of dynamism and complexity of contemporary society.

Confused about parametrics? Try this digested version

Architecture and urbanism should be tackled as a set of linked design criteria which form a complete "system" in a building, from urbanism down to the smallest details.

Parametric design links all this information in a way to similar to a spreadsheet so that a change in one value creates a corresponding change in all other values.

Since computer-controlled tools now allow components to be made in far fewer numbers in order to be economic, there is much greater freedom in the design of construction systems for buildings and equipment within buildings, and for urban landscaping linking buildings.

Digested Digest

Buildings are developed using problem-solving as the driving force rather than by grouping together "architectural objects".

via BDonline

Neil Barrett's new flagship store

noreply@blogger.com (LL) — Fri, 31 Oct 2008 21:38:00 +0000

Flagship store by Zaha Hadid.

A simple design with a lots of "charm"!

in JCreport

Bamboo House

noreply@blogger.com (LL) — Thu, 30 Oct 2008 14:57:00 +0000

How wonderful can simplicity be! And can we learn from ancient forms of folding and fabrication.

via Inhabitat

Ming Tang's beautiful origami-inspired Folded Bamboo Houses are intended to be used as temporary shelters in the aftermath of an earthquake. Brilliant in their simplicity, the geometric shelters are constructed from renewable materials and can be folded into a variety of structurally sound shapes. Their elegant design was recently honored as a notable mention in this year's Re:Construct competition sponsored by San Francisco's Urban Re:Vision

Ming Tang came up with the idea for his Folding Houses after a magnitude 7.9 earthquake struck central China last May, killing 69,000 people. Upon learning that the Chinese government planned to create up to 1.5 million temporary homes, he decided to design a shelter that was easily produced, cheap and environmentally friendly. His geometric folding houses are beautiful, dynamic, and can adapt to respond to the needs of different situations.

The concept utilizes a system of bamboo poles that are pre-assembled into rigid geometric shapes. The geometry of these forms provides each structure's integrity, allowing a range of lightweight modular structures to be quickly assembled in factories and transported to their destination. Once constructed, the shelters are then covered by using post and pre-consumer recycled paper.

+ Folded Bamboo House

+ Re:construct

+ Urban Re:Vision

Hill House

noreply@blogger.com (LL) — Thu, 30 Oct 2008 14:52:00 +0000

Sometimes it´s difficult to put some difference in sucha a homogenic sourroundings, without starting a form/image conflict. That's what Johnston Marklee & Associates just did!

via ArchDaily

Architects: Johnston Marklee & Associates
Location: Pacific Palisades, California, USA
Project year: 2004
Project Architects: Mark Lee, Sharon Johnston AIA, Jeff Adams, Mark Rea Baker
Project team: Diego Arraigada, Brennan Buck, Michelle Cintron, Daveed Kapoor, Anne Rosenberg, Anton Schneider
Developer: Lucas Ma (President, Markee LLC)
Client: Chan Luu
Contractor: Hinerfeld-Ward, Inc.
Structural Engineer: William Koh & Associates
Lighting Consultant: Dan Weinreber
Landscape: DLush Life LA
Photographs: Eric Staudenmaier

Completed in October 2004, the Hill House was designed under challenging conditions generated by modern problems of building on a hillside. Located in Pacific Palisades, California, while the site for the house offers panoramic views from Rustic and Sullivan Canyons to Santa Monica Bay, the irregularly shaped lot is situated on an uneven, downhill slope. With the canonical Eames House nearby, the 3300 square foot Hill House provocatively continues the Case Study House tradition of experimentation and reinvention of Los Angeles lifestyles.

HILLSIDE ZONING

Increasingly in Los Angeles, local hillside ordinances, building codes, coastal regulations, and design review boards have imposed restrictions on hillside construction, with the goal of preserving the profile of the natural hillside terrain by limiting building heights, location and massing. The Hill House sets a new precedent for hillside building by liberating itself from these restraints - not through evasion - but by strategically transforming these stringent criteria into a sculptural and efficient design solution, that seamlessly engages with the surrounding site.

The massing of the Hill House subsequently results from two economically driven development criteria: To maximize the volume allowed by the zoning requirements; and to minimize contact with the natural terrain. Recalling Hugh Ferriss's vision of a Manhattan skyline literally interpreting the zoning laws as building form, the Hill House adopts the maximum zoning envelope as its form. The initial envelope is shaped from a combination of property setbacks in plan and hillside height restrictions in section, and is further refined three-dimensionally according to structural criteria.

PLANNING

Within the building enclosure, individual programmatic components are assembled to fit into the fixed envelope, much like a contortionist, artfully compressing the mass of their body into unique configurations. By eroding all non-structural walls and partitions, the program flows effortlessly between three levels stacked within the exterior skin. An upper semi-private loft space and a more secluded lower bedroom suite sandwich the central public living and dining area. An open, sculptural, steel and glass stair vertically stitches the three levels together. The smooth polished interior skin is shaped and curved selectively to accentuate the geometry of the house and to accommodate storage and mechanical services.

APERTURES

The aperture strategy results from a desire to both minimize the quantity for privacy and efficiency in terms of environmental performance, and to maximize size for views, ventilation and light. With the relationship of the site and building to the street, the conventional rear of the house in essence becomes its front with spectacular views of the canyon and ocean to the north, east, and south. Large sliding glass doors in the living area retract into concealed pockets, erasing boundaries between interior and exterior. Where windows and doors are recessed into the building volume, the exterior material membrane folds into the house to form deep sills and thresholds respectively. The recessed windows of the private rooms frame specific views to the exterior while limiting views into the house. The placement of skylights in both the flat and sloped roofs further blurs the conventional differentiation between roof and wall. Indirect light sources and unanticipated views from these openings further enhance the three-dimensional quality of the space and form.

MATERIALS

To express the continuity of the building skin and minimize the conventional distinctions between roof and wall planes, an elastomeric, cementitious exterior coating material was used requiring no control joints. The embedded lavender color of the coating was sampled from the pigment of eucalyptus bark, prevalent at the site, re-enforcing the house's connection to the site from which its form is derived. The material's iridescent quality results in dramatic color variations with changing light conditions throughout the day. Similar to the monolithic exterior coating, the interior materials are detailed to suggest spatial continuity. Materials in varying shades of white, including polished Carrara marble, smooth Corian countertops, lacquered wood, and enameled steel seamlessly meet throughout occasionally accented by darkly stained walnut flooring and cabinets. A meadow of various native California grasses forms a blanket covering the slope surrounding the house. Highly detailed succulent plants such as aloe and agaves accent the soft grasses and reflect the crisp lines of the house.

STRUCTURE

The structural assembly is composed of concrete, steel, and timber. The foundation, based upon nine 35-foot deep reinforced concrete piles, is anchored into bedrock and tied together by a network of grade beams. Rising up from this foundation, inclined concrete walls project orthogonally to the grade - instead of vertically - taking on the figure of prevented fall. A braced steel frame with timber infill framing emerges out of the concrete base to form the circulation core and cantilevered overhang at the entry.

Dupli.Casa by J. MAYER H.

noreply@blogger.com (LL) — Fri, 24 Oct 2008 21:31:00 +0000

An amazing house, an excellent intervention, a reion oflation between sourroundings, lights, "plasticity" and the imagination of Jurgen Mayer H.

The geometry of the building is based on the footprint of the house that previously was located on the site, originally built in 1984 and with many extensions and modifications since then. The new building echoes the „family archeology" by duplication and rotation. Lifted up, it creates a semi-public space on ground level between two layers of discretion.

Dupli.Casa: Terrace View

The spatial configuration of the villa performs a sophisticated connection between inside and outside and offers spectacular views onto the old town of Marbach and the German national literature archive on the other side of the Neckar valley. The overall envelope is a smooth skin from roof to ground that avoids detailing by homogeneous transitions.

Dupli.Casa: Interior

Dupli.Casa: Skylight

Dupli.Casa: Interior, Dining Room

Dupli.Casa: Interior

Dupli.Casa: Location

Dupli.Casa: Floor Plans

via archinect

Mayne warns Dubai set for ‘ecological disaster’

noreply@blogger.com (LL) — Fri, 24 Oct 2008 21:00:00 +0000

Pritzker Prize winner blames a lack of control by city's political class

Pritzker Prize winner Thom Mayne has predicted that Dubai will become an "ecological disaster" if development there continues in its current direction.

In a dramatic speech delivered on Tuesday to the World Architecture Congress's Cityscape Dubai conference, the US architect said the private sector's dominance in the Gulf state had led to a lack of joined-up planning and that this — combined with the immense speed of development — would lead to a major crisis in the future.

The intervention of Morphosis founder Mayne, who won the Pritzker in 2005, coincided with this week's unveiling of proposals by Dubai's leading developer Nakheel for a 1km-tall skyscraper by international architecture firm Woods Bagot.

"It is not going to work on may levels, from social to infrastructure and ecological"

Thom Mayne

In his speech, Mayne compared Dubai's public transport plans with the development of Los Angeles in the 1960s, claiming the "political class" had no control over the built environment.

"There is no connected tissue," he said. "It might work today, but the prognosis is not good for the future.

"It's not going to work on many levels, from social to infrastructure and ecological. It's going to be a disaster in ecological terms.

"The political class is no longer in charge of cities… which means there is no planning. Los Angeles is a prototype for that. The private sector rules. It takes hours to get downtown in LA as there is no public transport."

Former RIBA president George Ferguson hailed Mayne's intervention.

"Thank God a star architect has spoken out on this issue because too many are willing to pander to Dubai," he said.

"It's a disaster area if all [architects] do is add eco-bling to their buildings instead of dealing with the fundamentals.

"It's a transport nightmare, it's an energy nightmare. It is absolutely bloody terrifying.

But directors at Woods Bagot insisted that it and other similar firms were at the forefront of a radical improvement in Dubai's development.

London-based managing director Stephen Reinke admitted that some "reconstructive surgery" might be needed to fix the mistakes made in the past.

But he added: "Our clients are all embracing good urban design, solid planning principles, and the view that sustainability must be absolutely part and parcel as we approach the design challenges we face.

"Sustainability isn't just about whether you've got a good air-conditioning system that doesn't use a lot of energy, it's also about building communities that can be sustainable.

"We're quite encouraged by the clients and the patrons that we have, and their willingness to embrace these principles."

via BD

Huaxi Urban Centre Tower by EMERGENT

noreply@blogger.com (LL) — Fri, 24 Oct 2008 20:56:00 +0000

Structures of contemporary high-rise buildings, though often limited by material capacities, dynamic lateral forces, and legal constraints, have recently undergone a renaissance of investigation. The list of known structural types such as moment frames, braced frames, trussed tubes, and shear wall systems has been expanded to include new morphologies and materials including non-metric cellular formations, exoskeletal lattices, and next-generation carbon fiber composite networks.

Huaxi Urban Centre Tower

Experimentation in the realm of mechanical systems, however, is far behind. Most high-rise buildings are still outfitted with a hidden and expensive network of metal ducts which are run through structural cores or between structural beams in an ineffectual and often conflictual way. Mechanical systems have become the 'other' of structure, relegated to dark inaccessible spaces, inevitably remaining architecturally inert. At one moment in recent history, however, architects began turning buildings inside-out for the sake of the expression of HVAC systems. That movement in architecture-- Structural Expressionism-- was nevertheless problematic from the start since projects effectively transported known HVAC systems wholesale to the exterior without any productive transformation in terms of form, organization, or atmosphere.

Huaxi Urban Centre Tower at night

This project revisits the problem of architecturalizing tower infrastructural systems. Rather than expressing the literal image of technology, the goal is to create technological ambience. This ambience is defined by translucency, shrouding, and exotic lighting and color effects. But it is also the result of hybridizing mechanical systems with other building systems in a way that cross-wires traditional hierarchies and produces synergetic forms.

Conventional High Rise HVAC vs. Huaxi Urban Center Tower #7

The point of departure for the design was to allow ductwork to migrate out of the central core toward the exterior. The glass envelope begins to take on duct behavior by delaminating to create pleats where air can flow. These pleats branch and run across the building facades, linking to floor plenums on each level at several locations along the perimeter.

Huaxi Tower Pleat Study

A second layer of loose-fitting skin wraps the glass duct-skin, registering the pleats and shrouding the building. This shroud is made of perforated sheet metal. It acts as a sunscreen during the daytime, while nonetheless allowing views through.

At night, the glass ducts glow from behind the shroud, creating elegant color and depth effects, reflections, and silhouettes. Their freeform morphology and variegation begin to create associations with the lush natural terrain of the site.

via archinect

Wooden House

noreply@blogger.com (LL) — Fri, 24 Oct 2008 20:50:00 +0000

I wanted to create an ultimate wooden architecture. I thought through this bungalow, which can be considered as a small and primitive house, it was possible to do a primitive and simultaneously new architecture. 350mm square profile cedar is piled endlessly. At the end of the process appears a prototypical place before architecture became architecture.

Final Wooden House, Sou Fujimoto Architects, 2008

Wood is amazingly versatile. Due to its versatility, wood is used in a conventional wooden architecture by intentional differentiation in various places. Not only in structures, such as columns and beams, but it can also be used in everything else from foundation, exterior wall, interior wall, ceiling, flooring, insulation, furniture, stairs to window frames. I posit that if wood is indeed multifaceted, then conversely it should be possible to create architecture that fulfills all functions by one process, and by one way of using woods. It is an inversion of versatility. From that originates, new architecture that maintains an undifferentiated condition of the harmonized whole before function and role underwent mitosis.

Final Wooden House, Sou Fujimoto Architects, 2008

350mm square profile cedar has an amazing impact. It transcends what we usually call "wood" and becomes "an existence" of an entirely different material. While the dimensions adequately display its materiality as wood, 350mm squared is simultaneously the dimensionality directly corresponding to human body. Thus, three-dimensional space is created out of 350mm increments. This stepped space was a long fascination of mine for couple of years as its defining characteristics are the generation of a sort of spatial relativity and a new sense of various distances unachievable by coplanar floors.

Final Wooden House, Sou Fujimoto Architects, 2008

There are no categorization of floors, walls, and ceilings here. A locality that was thought as a floor transforms into chairs, ceilings, and walls from different perspectives. Floor levels are relative and people reinterpret the spatiality according to where they are. People are three-dimensionally distributed in space and will experience new sensations of depths. Spaces are not divided but is rather produced as a chance occurrence within fusing elements. Inhabitants discover various functions within those undulations. It is a place akin to nebulous landscape. This resonates with the undifferentiated condition of above-mentioned architectonic elements. Both as a constructional methodology and experiential space, this architecture is synthesized by the fusion of various undifferentiated elements. Here, conventional rules of architecture is nullified. There is neither a plan nor a stabilizing point. This is possible purely because the wood is that versatile. Perhaps it is only possible with wood to be simultaneously the insulation and the structure, the finish and also the furniture. By being composed of the wooden blocks instead of slabs, the method of creating the undifferentiated condition was made clear.

Final Wooden House, Sou Fujimoto Architects, 2008

I think this bungalow ceases to be within the domain of wooden architecture. If architecture made from wood is to be considered wooden architecture, then this bungalow is the wood itself that transcends the architectural convention to directly become a place for humans. It is of primordial existence before architecture. That is to say, rather than new architecture, it seeks new conception, a new existence.

via archinect

What about teaching?

noreply@blogger.com (LL) — Mon, 20 Oct 2008 21:27:00 +0000

Some minutes with... Benjamin Aranda

noreply@blogger.com (LL) — Mon, 13 Oct 2008 13:33:00 +0000

Cities without names...Lebbeus Woods

noreply@blogger.com (LL) — Wed, 08 Oct 2008 20:53:00 +0000

"The cities without names as those we see from a distance, often as a glow on the night horizon, but which we cannot approach and enter. Perhaps their distance is maintained because we are only passing by, on our way somewhere else more familiar; or, perhaps, by our desire to keep them in our minds as inviolate and unknown, places for the future and not for now."

An excellent text from Lebbeus Woods, to be read in...LEBBEUS WOODS
Um excelente etxto de Lebbeus Woods a ser lido em...LEBBEUS WOODS

Liz Diller @ Ted Talks

noreply@blogger.com (LL) — Mon, 06 Oct 2008 12:54:00 +0000

The Danish Pavilion EXPO 2010

noreply@blogger.com (LL) — Wed, 24 Sep 2008 21:27:00 +0000

Koolhaas HouseLife - Trailer 2 - www.koolhaashouselife.com

noreply@blogger.com (LL) — Tue, 23 Sep 2008 21:07:00 +0000

Koolhaas HouseLife - Trailer 1 - www.koolhaashouselife.com

noreply@blogger.com (LL) — Tue, 23 Sep 2008 21:06:00 +0000

Documentario de como será um projecto de Rem Koolhaas vivido na pele de uma mulher a dias.
Documentary based on the experience of an household in an Koolhaas project.

Superstar- Mad

noreply@blogger.com (LL) — Mon, 22 Sep 2008 13:18:00 +0000

noreply@blogger.com (LL) — Mon, 22 Sep 2008 13:16:00 +0000

"Superstar: A Mobile China Town, a plan for a "self-sustaining future mobile community" designed by Beijing-based architecture collective MAD. For the 11th Venice Biennale of Architecture, 12 firms were asked to produce disruptive designs for suburban Rome. MAD's response sets a Chinatown within a futuristic station, providing host cities with modern Chinese culture and a unique population solution. Superstar accommodates 15,000 inhabitants with all the necessities of ultramodern life, including lakes for drinking water and a digital cemetery."
in: Artkrush

Portugal @ Expo 2008 Zaragoza

noreply@blogger.com (LL) — Mon, 15 Sep 2008 21:27:00 +0000

entrada

Uma imagem simples, concisa e muito contemporânea, o pavilhão de Portugal foi sem dúvida um dos melhores espaços expositivos da finalizada Expo2008 de Zaragoza. O conceito de partilha e de fluidez, relembrando os trilhos abertos pelos rios que por nós passam, construiram uma unidade entre arquitectura, design e exposição, que com simples linhas não deixavam indiferentes os transeuntes. Através de um rio vermelho de cidadania, o visitante descobria os pontos fortes de uma partilha ibérica, imagens de lugares portugueses inseridas em rios nascidos em Espanha, mostravam a importância da sustentabilidade para o desenvolvimento.

entrada 2

A arquitectura e o design da assinatura de ateliers vários como BAK Gordon Arquitectos, Portugal mostrou não só ter uma consciência para com o elemento água, uma mensagem para o alerta ao desperdicio, mas também que nos podemos orgulhar da qualidade das nossas representações internacionais e que há um grupo de valores em pleno crescimento.

sala alerta

Mais a ver ainda em: Portugal Expo Zaragoza

sala consciência

sala mudança

planta

alçados