Le Copertine di Europaconcorsi

spazio maria calderara - architetti berselli cassina associati

Fri, 08 Apr 2011 10:37:40 GMT

Per anni uno degli spazi di riferimento del mondo artistico milanese, questo grande loft nel cuore di Porta Venezia ritrova la sua originaria dimensione espositivo-culturale nel nome della moda associato a Maria Calderaia, stilista e disegnatrice di gioielli che fa della manualità una scelta professionale. L’intervento, che porta a compimento la sistemazione del quartiere generale della stilista, è consistito essenzialmente in un’operazione di restauro valorizzando l’originaria struttura industriale del primo Novecento del grande loft galleria, segnato da colonne di ghisa, travature di ferro e copertura di vetro, e in un adeguamento delle parti di servizio gravitanti intorno alla galleria. Tre nuove colonne a sostegno del preesistente soppalco rendono più funzionale la scansione degli ambienti e la nuova vetrata del soppalco tamponata da un doppio cristallo acidaro, con una feritoia alla sommità che consente la visione della sottostante galleria. La scelta di materiali chiari, come il legno biondo e il cemento, abbinata al bianco dominante crea un’atmosfera omogenea, condizione ideale per valorizzare le collezioni della stilista.

loft in milano - architetti berselli cassina associati

Fri, 08 Apr 2011 10:36:40 GMT

Nel cuore di Milano, nel cortile di un palazzo dei primi del ‘900, uno spazio originariamente di servizio condominiale o probabilmente in uso come magazzino ai negozi adiacenti, è stato oggetto di recupero a scopi residenziali. La struttura dello spazio, una stecca di circa 5x20 metri lineari, originariamente totalmente soppalcata e con annesso interrato, è stata completamente rivisitata. Un risanamento e consolidamento delle strutture è andato di pari passo ad una nuova disposizione planimetrica interna, più consona alla nuova destinazione abitativa. Il soppalco ridimensionato è destinato alla zona notte, permette ora una lettura immediata del volume in tutta altezza. I materiali costitutivi il progetto sono ridotti ai minimi termini mettendo così in evidenza gli originali: il legno, il mattone, la pietra. Inserendo il cemento e il legno per le pavimentazioni ed impiegando il ferro ed il vetro per i collegamenti verticali e per i parapetti si è ottenuta una chiara lettura del contesto, permettendo in questo modo di percepire a pieno la struttura originaria contrappuntandola e mettendola in risalto con gli interventi progettuali.

Baños Árabes de Baza - Ibáñez Arquitectos

Fri, 08 Apr 2011 08:36:01 GMT

La puesta en valor del monumento se ha basado en cuatro aspectos sustanciales.
La “escala” del objeto, en sí mismo y en relación con la trama y escena urbana.
La luz, como clave de la percepción de los espacios interiores.
El agua, como elemento caracterizador del propio baño y sus salas, como material intangible y evocado.
La materialidad de la construcción medieval, caracterizada por el espesor y lo masivo de sus sistemas constructivos. En relación con la escala, la nueva arquitectura del barrio y la acumulación de rellenos a lo largo de siglos dejaban los baños soterrados y descontextualizados. Era necesario recomponer las proporciones de los cuerpos construidos de cara al exterior, volviendo a configurar las callejuelas y relaciones de llenos y vacíos. Por ello se proyectó un volumen neutro, facilitando el acceso al nivel actual de la calle. Esto permite contemplar todo el conjunto y sus cubiertas bajo un nuevo espacio protegido, recreando una atmósfera que sirve de transición entre el exterior contempóraneo y los baños de hace más de seis siglos. En relación con la luz era imprescindible, en los propios baños, adoptar las soluciones necesarias para que las cualidades espaciales de las salas se perciban de acuerdo con su estado original y, externamente a ellas, utilizándola como elemento esencial del proyecto, facilitando la gradual adaptación de un interior , ya muy descontextualizado, al pasado que atesora su interior. En relación con el agua, descubriendo o insinuando su relevante papel en el mundo de los baños, como causante de complejas infraestructuras y reflejos y reverberaciones. Su presencia, real o evocada, deberá permitir explicar (y entender) las estructuras y restos que se conservan y visitan. El nuevo edificio se inspira, por tanto, en las cualidades espaciales de un baño árabe, en el que la luz, el agua, la penumbra y el vapor recrean una atmósfera especial.
Se eligen solo tres materiales contemporáneos acusando el contraste entre lo nuevo y lo viejo (el masivo hormigón como réplica de la materialidad de la construcción medieval, el acero y el vidrio). Su sencilla organización funcional permite recuperar el perdido patio del “maslaj”. Para el acceso se diseña una puerta que provoca la entrada en recodo por el mismo lugar que la original. Esta puerta, la estructura de cubierta (forjado de “Serlio”), el discreto rótulo y el diseño de los tiradores son las únicos referencias a la arquitectura y modos decorativos árabes. El proceso de restauración implicó una primera fase de investigación arquológica y supresión de construcciones contemporáneas. Para llegar al estado en el que se puede contemplar el baño, una vez acabadas las excavaciones y eliminadas las estructuras y restos de época más reciente, se procedió a la limpieza y consolidación de los muros, apeos y protección de los elementos medievales. Se instalaron estructuras provisionales para poder ejecutar la nueva edificación que permitiría su conservación y puesta en valor.

Los criterios aplicados en la restauración fueron del máximo respeto a los elementos originales, dejando algunas huellas del paso de la historia, como las tinajas de la bodega. Solo se procedió a restituir los elementos estructurales imprescindibles para garantizar la estabilidad y comprensión espacial de los ámbitos afectados por las severas reformas que habían sufrido a lo largo de más de quinientos años. Las bóvedas afectadas por la vivienda que se construyó sobre ellos, se rehicieron con las mismas técnicas y materiales originales y los arcos y pasos, de los que quedaban huellas precisas en sus arranques, así como los perdidos pavimentos, siguiendo las referencias conocidas tras la investigación arqueológica.

Baños Árabes de Baza - Ibáñez Arquitectos

Fri, 08 Apr 2011 08:35:03 GMT

Baños Árabes de Baza - Ibáñez Arquitectos

Fri, 08 Apr 2011 08:34:17 GMT

Nuovo Palazzetto dello Sport. Oristano - 3TI Progetti Italia Ingegneria Integrata SPA, VPS Architetti, Rossella Sanna

Fri, 08 Apr 2011 07:46:15 GMT

Il progetto è stato impostato tenendo conto della sua interazione non solo con l’area sportiva, ma anche con il contesto più ampio. Invece di puntare sull’accentuazione della grande dimensione, é stata scelta una soluzione capace di mitigare l’impatto volumetrico dell’intervento facilitando la sua integrazione con le aree urbane e a verde circostanti. Per quanto riguarda l’impostazione planimetrica è stato proposto un complesso formato da un corpo centrale, destinato ai campi da gioco e al pubblico, e da due corpi lineari trasversali posti alle estremità est e ovest, destinati alle funzioni accessorie. Questi ultimi, di dimensioni più contenute, permettono, non solo un migliore inserimento, ma anche un uso articolato e flessibile della struttura. Per quanto riguarda l’impostazione in sezione, la natura del sottosuolo - caratterizzata da strati di argilla e falde freatiche superficiali - avrebbe portato a realizzare un edificio completamente fuori terra, di conseguenza si é scelto di caratterizzare l’attacco al suolo dell’edificio attraverso un sistema di lievi pendenze che nascondono parzialmente il volume, soluzione peraltro già adottata con successo nella vicina piscina. In particolare, i prospetti dei lati lunghi sono coperti per più di un terzo del loro sviluppo in altezza in modo da far percepire dall’esterno innanzitutto la dimensione orizzontale della grande campata che copre gli spazi destinati al gioco e le gradinate. I due corpi trasversali, portali di ingresso rispettivamente per il pubblico nel lato ovest e per gli atleti in quello est, risultano invece in gran parte incassati nelle nuove sistemazioni esterne e presentano un accesso apparentemente ipogeico. Questa soluzione ha permesso di trattare l’area circostante il palazzetto in modo tale da mantenere il più possibile integra la componente naturalistica che la caratterizza, configurandola come un nodo del sistema verde che, partendo dal centro storico, attraverso il parco di via Repubblica e l’area di Sa Rodia, forma un grande giardino che collega la città con il parco fluviale del Tirso e il mare. Grazie alla natura fertile dei suoli, alla presenza costante di acqua, e alla favorevole condizione climatica, la rinaturalizzazione delle aree di pertinenza del palazzetto potrà avvenire in tempi brevi e offrire alla città un nuovo spazio di relazione legato alla natura e alla vita all’aria aperta, rispondendo appieno in questo modo al programma funzionale proposto dall’amministrazione che individuava come punto qualificante quello di “generare una struttura sportiva polifunzionale, complementare al centro urbano, capace di moltiplicare le virtuose occasioni di incontro…” Infine la scelta cromatica ottenuta attraverso la colorazione con ossidi dei pannelli prefabbricati di facciata in cemento ri¬manda alle tonalità dei materiali terrosi conferendo un carattere distintivo all’edificio con un esplicito riferimento alla tradizione costruttiva locale della muratura massiva. La struttura è stata dimensionata per una capienza di 3.000 spettatori sia per manifestazioni sportive che di altra natura, senza che venga mai compromessa la superficie dei campi da gioco. Le vie d’esodo sono state collocate principalmente a livello della gradinata più alta, collegate direttamente con l’esterno e raccorda¬te al piano di campagna e alle vie pubbliche attraverso percorsi con pendenze costanti non superiori all’8%.

TRACCE - Land-i Archicolture

Fri, 08 Apr 2011 06:09:17 GMT

* English text at the bottom _...D'un tratto vidi, in mezzo agli appezzamenti curati, dei grandi squarci bianchi, come se una grande mano avesse graffiato il territorio...La superficie coltivata era stata spazzata via, lasciando la terra nuda... Le fenditure rivelavano un passato lungamente celato. Tombe etrusche affioravano dalle ferite rosse, mosaici romani da quelle gialle, frammenti medievali da quelle grigie. Squarci di civiltà scomparse prendevano il posto di quella presente... Dal racconto "Il Postino" di Roberto Einaudi_ L'arte topiaria, nei secoli simbolo del dominio dell'uomo sulla natura attraverso l'imposizione alla vegetazione di forme artificiali, viene da noi riletta in chiave contemporanea. Non è più la vegetazione ad essere modellata, ma è la superficie stessa del giardino che diventa materiale plasmabile. Abbiamo immaginato una mano enorme che graffiando il suolo strappa dei nastri di prato denudando il terreno. Il graffiare non è pensato come atto distruttivo, ma piuttosto come anticipazione di una lettura in profondità, stratigrafica si potrebbe dire, del suolo. I giardini storici sono luoghi dell'archeologia tra i più vulnerabili, dove bisogna intervenire con estrema cautela. Nella traccia di terra denudata, emergono frammenti di terra cotta, ghiande, ossi di seppia ... che rimandano ad altrettanti "mondi" da indagare. Natura imbrigliata in forme artificiali e terre colorate, elementi paradigmatici dell'arte topiaria, ritornano in questa occasione con altri significati. Topiary, in decades a symbol of human control on nature by imposing to vegetation artificial shapes, has been reinterpreted in a contemporary key. It is no more vegetation which has been modeled, but it’s the lawn surface itself that becomes moulded material. We have imagined a huge hand that scratching the soil tears ribbons of grass leaving the earth bare. This act is not thought as destructive, but rather an anticipation of a deeper reading, stratigrafic one could say. Historic gardens are, among “archeological” sites, the most vulnerable, places where it is necessary to intervene with the greatest care. From the traces of bare land emerge fragments of pottery, acorns, cuttlefish bones….that remind us of worlds yet to be discovered… Nature untangled in artificial shapes and coloured sands, paradigmatic elements of topiary art, reappear in this occasion with new meanings. xxyxxzz

House C - Hiroshi Nakamura & NAP

Thu, 07 Apr 2011 14:15:21 GMT

This is a weekend house for a family of three, a coupe with a small child. This site is within a grassy plain between the ocean of Bousou and mountains, and it is surrounded by a landscape with bathing beach and sport land facilities. We proposed to design a house accommodating both scenery of the ocean and of the mountain without separating the open environment into the ocean side and the mountain side. We considered it was not appropriate just to bury the building into the ground and hide it in the landscape, as the building becomes of a separate nature from the ground. Thus the grass plane was cut into and lifted up to produce an in-between space for the house. As a result, the exterior appears to be ‘gradual' and ‘loose'. The experience of lying down on this building becomes equivalent to lying down on the grass ground. The interior space provides exquisite views of the ocean and the mountains framed between the wild flowers growing from the roof and the ground. For the roof slab, we have used anti-corrosive concrete and by making the horizontal forces of the roof conduct into the ground, provided the space with fewer columns. The building frame receives the external heat insulation, while the grass soil is utilised for its protective layer and the finish to reduce the cost of the exterior sheathing. The roof material is selected to reflect the colour of the soil particular to this site and the seasonal changes in vegetation ? the building profile will be transformed as the owner plant and clip the plants. Here it was not necessary to seek for the excessive design signature or the severity of the white abstract space. An architect's job to decide the discretion of the building form or the texture can now be handed over to the nature and to the dwellers. Such “looseness” we thought would be suitable for the idea of the weekend house.

Murai Masanari Art Museum - Kengo Kuma & Associates

Thu, 07 Apr 2011 14:13:58 GMT

Murai Masanari Art Museum.

Subaru Roman Resort - 1moku co.

Thu, 07 Apr 2011 14:12:54 GMT

Landscape project: "Hanchikubei L=30m H=4m W=1.5m"

Karuizawa-OH - Prop Position Architectural Design

Thu, 07 Apr 2011 14:12:14 GMT

This project is a vacation house built in Karuizawa, Nagano Prefecture, a prominent Japanese resort located on a plateau with an elevation of approximately 1,000 m. Sloping in the southeast direction, the vast site has an east-west dimension of 120m and a north-south dimension of 80m. With no obstructions in the surrounding visual field, the site overlooks a continuous forest and a mountain range in the far distance with a height of 2,000 m. For the space between sky and land, the linear design of the architecture consists of the utmost extension of two slabs (roof and floor). The length of the building is approximately 50m. The interior space is sensitively divided into owner space and guest space with an inside terrace that penetrates the linear direction of the building. Furthermore, in order to achieve a horizontally continuous space without columns, the roof utilizes a structure consisting of cantilevered steel-frame trusses sitting on scattered concrete boxes. The proposed site plan includes extensive tree planting and the utilization of water from a mountain stream to create a 1,400 square meter pond and brook.

OUCHI-01 - Jun Ishikawa Architect

Thu, 07 Apr 2011 14:11:29 GMT

Outside design: “OHCHI-01” has very simple symbol as “house” with simple triangular roof. To keep privacy of client from outside, we adjust the position of windows and plan for the size of windows to minimize. We can see inside from the gap of　an inclined wall, and the gap actually is entrance. Inside design: We plan two space (parents and their child) upside down on a diagonal line at small building area about 45m2. Each spaces is divided by low partition of glass, and bring softly continuity. We plan to take gentle light from skylight by reflecting on the wall.

Children’s Center for Psychiatric Rehabilitation - Sou Fujimoto Architects

Thu, 07 Apr 2011 14:10:45 GMT

This is the treatment center for mentally disturbed children where they live together to get regaining their mental health. It may be thought that it is a very special building when I write so, but it is truly rich life space that requested in origin like a large house and also like a small city, the intimacy of a house and also the vriety of the city.This is a proposal of a loose method. The method of being random
A precise planning / Accidental landscape
If It was possible to make a building with such a method how something was merely scattered, I thought it was a dreamlike building. And, as for this method, surprisingly precision planning is possible. As opposed to the complicated program called for, moving a box delicately, the plan can be flexibly packed just because it is random. However, the first feature of this method is over there. Although This space is created as a result of an infinite, strict and artificial design process, it stands as a place which is not planned at al,l or which has been made automatically with no intention. The place which is vague, unpredictable, filled with unlikelihood. Something that is not meant is produced as a result of an intentional and strict design act. And plenty of a place is achieved because of ambiguity for not being intentional. Selectivity and contingency / freedom and inconvenient
A surely irregular alcove-place is produced between the boxes placed at random. It is the place of a small scale where children can hide in while they are connected to the living area. Although it is the space with no function in which it can make it avoidable in a simple form strangely, children play with the place like the primitive man who interprets landscape freely and lives very well in it. They hide in a place behind something, show up, relax at back, and run about here and there. By being separated and being connected are compatible, freedom and inconvenient live together in the meantime. Plenty of the place for living is achieved. It can be said that there is nothing center here and conversely, it can be said that there is a countless center. They are "relative centers" which always interchanges and changes with the consciousness of those who are there or the condition of light. For the staff, a staff room is a functional center. For children, living room, a single room, or an alcove is a center. The occasional center is found out in fluctuation of space.

Tree house - Mount Fuji Architects Studio

Thu, 07 Apr 2011 14:09:55 GMT

This house for a couple is built in a residential area on a gentle hill in the northern Tokyo. The site is located at the top of a hill connected with a narrow path leading to the actual building lot. The ground level is gradually climbing higher from edge of the site. Although the site has particular sense of oppression and dusky feel, and the actual building lot is completely enclosed by the adjacent houses, we realized with the characteristic of the place as the depths of the urban condition without exposing to the outside, and secluded from the town. In this case, it is more suitable to extend the volume vertically rather than horizontally. Similar reason can be found in the nature that a tree enclosed by other tall trees in a deep forest tends to have vertical directivity for its growth. The geometry achieved through “Cartesian coordinates system” is typically applied in architecture since it has advantage in terms of the repetitive expansion in a fixed orientation. However, this system is not suitable here as previously described. Rather, it is desirable to apply a geometric rule, which can pick up the subtle, close relationship and the balance between the site and its edge conditions. Thus, we decided to utilize the “polar coordinates system” as the geometry defining this architecture, which describes the location of an element by the distance and the angle from the center of the site. (Please picture the 2-dimentional Voronoi diagram.) In detail, the arch-shaped “column-beam” frame structure made by LVL/Laminated Veneer Lumber in 51 mm thickness is rotated in the regular angle of 11.25 degree (360 degree/32 frames) to form this architecture. Each frame gets 55 mm higher than the previous one, therefore there is the height difference of 1.7 m in frame as they go around 360 degree. This system forms the fluent Hyperbolic Paraboloidal curve surface providing the entrance to the roof terrace, while it also functions as the high side light that brings in the only open sky toward the east and the greenery of the neighboring house as a framed picture. At the center of the polar coordinate is condensed with 32 pieces of the LVL columns, forming a large central pillar with the diameter of about 1.1 m. The interior is divided into four territories by this central pillar, in the similar format found in the traditional Japanese houses in square shaped plan divided into four territories – although the division does not occur in fixed 90 degree because the system is based on the polar coordinate. In addition, the central point is defined at the eccentric point in the planar to differentiate the distance from the circumference, while the rotation angle of the column-beams is maintained in regular manner. With this system, the outer columns far away from the center have larger intervals, while the inner columns near to the center have denser intervals. The frames rising up spirally make variations in the ceiling height, which define the characters of each four territories. For instance, the intimate shadowy territory by the denser distance of the columns and lower ceiling is defined as the sleeping space, and the bright, high-ceiling territory applicable with large window opening by the larger distance of the columns can be suitable for dining space, The floor level is also shifted as skipped floors according to the division of the territory by the central pillar, although the height difference is based on the topographic condition of the existing site. The completed house was formed by the strict rules of the geometry, but somehow it achieved the atmosphere unlike the artificial object. When we sit down at the bottom of the central pillar and lean against to look up, those radially extending beams appear to be the branches of a large tree. Surrounding of the central pillar stem provides the “place of inhabiting” for the life peacefully. Here, there is a different quality of the place, unlike the transparent “space” to be called as a “house”. This make us realize that the center of a “space” may reflect on a social “meaning”, while the center of a “place” would consist of the sense of “existence” Masahiro Harada

House On The Mountainside - Keiichi Hayashi Architect

Thu, 07 Apr 2011 14:08:53 GMT

The house rises on the mountainside and is surrounded by a forest. Six skipping floors are planned alongside the slope. Each floor is designed to be homogenous. Only the position of the windows changes the space. The atmosphere in the house changes as you move from floor to floor on which you experience each time a different outside environment.

Asphalt Spot - R&sie(n)

Thu, 07 Apr 2011 14:08:03 GMT

Creation of an outdoor exhibition space inside a car park Program: 20 parking places, 300 m2 exhibition room, public facilities Scenario: 1) Asphalt Drop on the site 2) Twisting the black surface of the car park to integrate indoor/outdoor rooms (cellar and facilities) 3) Visitors are tempted to drive or walk up the slope as a way to handle their own disequilibrium.

Halftecture Oj And Halftecture Oo - Shuhei Endo Architect Institute

Thu, 07 Apr 2011 14:07:21 GMT

Principal use: Public Lavatory
Materials used in the façade:Weatherability Steel Sheet

Holocaust Education Center - UID architects

Thu, 07 Apr 2011 14:06:37 GMT

By merging orthogonal elements and rounded gaps and surfaces, the architect has treated the external facades, made of black steel plates, and has fenced the entire plot with a low hedge in Cor-Ten steel plates pierced with 150 holes as reminders of the 1,500,000 children dead. The main entrance underpasses the winding glazed wall, into the double-height space,whose curvature follows the panoramic staircase upwards. The two-storey building provides almost 800 sqm of floor space of educational environment set up around a foyer, a library, an audio visual room, a lecture hall with 150 seats, a childrenÅfs room, and a garden of Anne FrankÅfs roses on the back side, on ground level. The second level remarkably integrates permanent and temporary exhibition rooms to hanging passageways and overflowing perspectives. Structured with a steel frame system and finished with concrete floors, plaster boards and stone for walls, the overall architectural composition is the result of the interlacing-intersection of two boxes, which hold certain symbolic meanings. Among antithesis and osmosis, organic alike and geometrical, filled up volumes and voids, the distortion of Holocaust and its inhuman constriction is seen as inseparable from desire and repose of the victims. Rather than a memorial, an outspread memory dedicated to the future is a ring bell for times when the awareness diminishes. Hope and ambition often grow up within death and defeat, and peace can only be true after wars and through respect for human beings.

Setre Chapel - Ryuichi Ashizawa Architects & Associates

Thu, 07 Apr 2011 14:05:47 GMT

The Chapel is located in Kobe, which faces The Seto Inland Sea.
This is a chapel planed for the main facility for renovation of the hotel.
To make a beautiful architecture, we aim to refer to the regional condition such as The Seto Inland Sea and Akashi Bridge, which places in front of the location. The Chapel that is held in the concrete tube is lifted from the ground with winding shape as "L", and is heightened the ceiling more and more toward the sea.
Therefore, the room echoes the sea.
The waiting room and the other necessary rooms placed in the first floor, which is covered with glass wall.
The outer walls are sprayed　with the transparent white urethane paint on the stuccoed wall. It disappears into the clouds floating in the sky.
We use a grass wall at west surface of the Chapel for the view and interior materials have reflecting texture, so it reflects the colors of the sky and the sea that change by the minute.
There is no cross as an icon, however there are natural phenomena such as the change of light, the flow of clouds, and the motion of water.
It is because that we aim to make a primitive space engraved in memory of people.
Changing nature appears here dramatically, it gives us a special experience.

Zen House - Ryuichi Furumoto

Thu, 07 Apr 2011 14:05:06 GMT

This is the residence of an industrial designer couple in their 20s. The lot is situated in a typical suburban housing development in Japan, among an array of terraced modest sites. The majority of the houses in the development are of prefabricated, two-story construction, seemingly disconnected from their surroundings. I chose a different creation path from those houses because I rather admired the character of the lot with its optimum solar exposure, distant scenic view, and access from the road via pre-existing exterior stairs. By linking those assets closely to the architecture, I attempted to generate an ideal living environment for the designer occupants that would maintain their tranquility, yet stir their creativity. I call this home Zen House. The building’s structure is a mere 11 square meters wide, its one-story height reinforced concrete. The interior finishes, as well as the exterior ones, remain exposed concrete without cladding. As a result of constraining the architectural composition to a minimum, the house has been streamlined to implement an extremely effective design. It draws attention to the beauty of natural elements, highlights scenic charm, and smoothly integrates human creation with the larger environment. In particular, the water court planned for outdoor meditation acts as a significant trigger to enhance the lure of the house. The water court surfaces, that is, the walls, floors, eaves, and even the water itself, reveal delicate impressions of shadow, transforming winds into visible moiré patterns, and reflecting varied indoor and outdoor scenes. The void above the court allows the whole ceiling of the Zen House to expand, giving the impression that the ceiling expands to the sky. Moreover, the architectural plan that positioned the court within the heart of the house frees endless layers of space and location sequences. Such design also creates an efficient and flexible area for living. When entering this house, against the backdrop of a striking view and through a front door reminiscent of a nijiri, one’s expectations increase that such a dramatic architectural experiment diminishes the stress of a busy life. Upon stepping into this house, one can indeed discover the ideal place to rest easy. You begin to feel more you. The physical building may be as static as concrete and its other materials, but Zen House also feels active, without limits, on or off the premises, a place that is spiritually free. （ Ryuich Furumoto ） Structural engineer： Takeo Sakuga Constructor Firm： Kenchiku Kobo Sunsun Structural system： reinforced concrete Site area： 180.31 ㎡ Built area： 97.52 ㎡／ Building coverage ratio：54.08% Total floor area：97.52 ㎡／ Floor area ratio：54.08% Major exterior finishing： exposed concrete trowel finish, Major interior finishing： exposed concrete, tatami Photos：Seiichiro Ohtake

SHELL - ARTechnic

Thu, 07 Apr 2011 14:04:21 GMT

A large shell shaped structure finds itself in the middle of the woods. It is hard to determine what exactly the structure is, and unlike the surrounding caves and rocks, it clearly is not a part of nature – nor is it a ruin. A frame, a shape, made at a completely different place for a completely different purpose. Within this shell shaped structure will one find floors constructed, wall separating spaces, and rooms furnished. The scenery conjures a SF film-like image, in which locals inhabit over an abandoned spacecraft. With time, trees start to grow encircling the spacecraft, harmonizing it into the landscape. Desiring a place that will be occupied frequently over many years and yet at the same time be in sync with nature, we came up with the aforementioned scenery of a large shell structure floating above ground. Being in sync with nature isn’t about yielding to nature – it’s about coexistence. The existence of the structure depends on its power to endure nature. By isolating living space from the wilderness, and upgrading its quality as a shelter, the house will be protected from nature and will provide a comfortable environment. With this, the house will be taken care of and used frequently and continuously. Specifically in cases of villas, frequent use is what leads it to blend in with its surroundings. The regions’ low temperatures and high humidity level makes for a harsh climate. As a result, many houses that take on traditional structures are decaying. Is it in sync with nature? Perhaps. But the whole idea of comfort seems to be put into question. Consequently, large numbers of villas have not been in use for many years bringing them down to further dilapidation. Despite the general avoidance of concrete material in the region, its usage and the lifting structure have helped the villa protect itself from the humidity. Leaving the boundary between human life and nature ambiguous is a Japanese virtue. Yet, this ideal can only be achieved through meticulous attention and care of the wilderness on a daily basis. This might be attainable at our homes, but isn’t a practical theory when applied to villas. If a visit to the villa inevitably leads to hours and days of maintenance, why bother going? It clearly goes against the purpose of a villa. Having a type of living space that merges with nature could be appealing, but it only seems natural to consider this option only when one is ready to devote a large time solely on maintenance. It goes without saying that villas should not only be functional spaces for the weekend. Their greatest goal is to provide us with good rest, leisure, and picturesque views that never become dull – all in the vicinity of nature. In the style of many modern sculptures, we aimed to enhance the surrounding nature by incorporating it within the spatial structure. Description of mechanical system For the house to be actually used, we paid the ultimate attention to its comfort and performance level. With its classic status as a summer resort, many old villas in Karuizawa take on traditional styles, from the time when visitors arrived with the intention of staying for at least a month. Little did it matter that a day or two had to be spent on maintaining the house, given the long sojourn. With the advent of the Shinkansen, the high-speed railways, Karuizawa is merely an hour and 10 minutes away from Tokyo – visiting Karuizawa just for the weekend has become a norm today. A shorter visit calls for a shorter duration of maintenance. The central control system enables all mechanical and electrical equipments to be managed by three buttons. In addition, the biometrics lockage and security system will reduce anxiety and stress over house safety management. The installment of the custom made floor-heating system minimizes the use of heat energy for avoiding the trouble of emptying drainage in cold regions. Furthermore, it is highly effective in mold prevention. In addition, it works as a cold-draft blocking system which enables the luxury of enjoying a hefty amount of space with large openings. The system integrates itself within the architectural form. Assuming future interior and equipment maintenances (including the window sash) for continual use, the frame is completely separate. The building frame is assumed to assimilate with its surroundings with the passage of time. To provide efficiency during maintenance, the concrete was exposed, finished with a penetrative sealer for concretes. Description of building composition The plan was to build the villa around the big fir tree as the center of the site, with a row of pine trees as the main view. Initially, we had planned to build a shell structure with three dimensionally curved surfaces, and the C shaped section was to surround the fir tree and the plan of the building resembled the letter J In addition, certain parts were planned to hold double volume space. Yet, going over the budget, construction method and finish, the plan was revised down to a shell structure of two dimensionally curved surfaces. The J shaped structure is constructed by two different size oval cylindrical masses cut with curves. The straight part of J, a smaller mass connects to a curved part to J, a larger mass. The top of the oval shaped building wall thickens by 350mm and its width continuously increases up to 750mm at both sides to meet the structural requirements. The free-curved lines appear on the edge, and the three dimensionally curved surface with a twist partly appears on the cut surfaces. However the entire structure was composed by two dimensionally curved surfaces. The floor is built 1400mm above the ground, with the lower half of the shell structure protruding greatly towards the outside, supporting the terrace of the same height. All air and exhaust outlets are installed beneath the sash, letting air run outside through the terrace louver. In addition, by devising unfixed windows, we tried to maximize natural ventilation (we haven’t arranged air conditioning in general parts). While at a glance, the oval shaped cylinder space might appear as wasteful use of space, the functional use of space is maximized by the installation of furniture in the lower half of the oval cylinder.

Les Aventuriers - Shun Hirayama

Thu, 07 Apr 2011 14:03:39 GMT

The site is located in Kanagawa Prefecture on a mountainside that overviews a sea and a city. The client couple, who are friends of mine, and I visited there, when the project was initiated. Walking around in the pre-project site, where too many tall trees stand on, views changed variously, because of the slanted land’s height differences. The experience was comparable to a pleasure of wandering in a forest. Taking a walk on a hillside or feel like so even inside the house had become a concept and we went on to continue the project, taking the slope positively. Firstly, we started to define what kind of places should be there on the hill and then images of four living places were formed: a kitchen and a dining space near a road that becomes an approach, a living space at a good view point, bedrooms at positions to look out the hill, a bathroom at an airy location, and so on. After that, we put these places to individual volumes, converted them to wooden masses and shaped them, conforming to each site shape and condition, as if carving sculpture. The lateral of the road and the north surface are positioned parallel to the site boundaries, and the east surface, where the kitchen is, is slanted toward the south in order to let light in. The face of the living space is slightly inclined toward the north, so as to avoid seeing the neighborhood’s building. As a result, gradually overlapping each other, the four masses were formed into one shape. After the outline of the building emerged, we proceeded to create the interior spaces. First of all, we produced a path that possesses comfortable straight eyesight, analogous to walking between trees. The path connects the inside and the outside, and again backs to the inside without a dead-end. A bridge becomes a part of the journey. On the finishes of the floors, various kinds of wooden floor that were chosen to match the assorted atmosphere are laid like carpets. In the center of a concrete floor that meets the ground, thin trees are arranged so as to look like a path between rice paddies. We forwarded the design, piling up stories little by little, as if animals create their nest steadily. The traces of the thoughts and processes appear remarkably. In the interior of the building that was shaped to fit the landform, walls set in diverse angles, various ceiling heights and ten different floor levels exist and in the each space dissimilar shades live. The wind that enters inside the one-room interior space feels like they came between trees, and it feels like sitting on a natural stump, when sitting on a slight level difference. “Les aventuriers” is a title of a story that tours a creation of the house on this particular site. Shun Hirayama

Takasugi-an - Terunobu Fujimori

Thu, 07 Apr 2011 13:57:15 GMT

A Tea Tree house in Nagano

Saint-Gobain Headquarters - Albert Abut

Thu, 07 Apr 2011 13:56:24 GMT

Situated at a stone’s throw from the Imperial Palace, the site is at the confluence of two different urban tissues, crossing each other at a slight angle, both tangents to the oval city grid surrounding the Imperial Palace. Hence, the building marries in the heights two volumes with different orientations at ground level. Each volume has a different day and night luminescence expressed by the choice of different glass types. Respective of the various regulations in terms of heights, the building tends to make the best use of it. Housing the well-known glass producer Saint-Gobain, glass of various sorts is indeed abundantly used inside and outside the building: especially the management rooms on the 7th floor are seated in a glass cube equipped with vertical and horizontal electrical blind system. From the pale green to the complete transparency, all the colors and the textures of the building derive from the historical palette of the glass. Master Ray is used abundantly in the building partitioning sometimes with a thin layer of silver coating on its back to give a metallic aspect to the glass. The same pattern is also used for the original white silk screen pattern on the facades.

Ring House - TNA architecture

Thu, 07 Apr 2011 13:55:40 GMT

Weekend House in Nagano

Seikei University Information Library - Shigeru Ban

Thu, 07 Apr 2011 13:54:47 GMT

A traditional library is defined as a quiet place for study, yet the new Seikei University Library defines a new idea that embraces all forms of communication and information exchange. The large glazed transparent atrium located in the center of the building accommodates several free standing pods for gathering and information exchange.

House in Sunami - Kazunori Fujimoto Architect & Associates

Thu, 07 Apr 2011 13:53:33 GMT

The site is located on the hill spreading the panoramic view of Seto Inland Sea. In this beautiful scenery, we aimed to the house filled with the air surrounding this area. To set the court with skylight at the back of the rooms, it's possible to enjoy the life opening to both of the sea and the mountain. We selected the shell construction for the roof to get the spread of space. The slab reinforcement is consist of single layer, and the thickness of the slab is 120mm. The roof is covering the whole the house no matter which '' inside'' and ''outside''. Usually, the big beam or column of concrete frame are needed to against for the thrust of the shell. But in this house, light construction and simple space is realized by arranging a steal frame with the reinforced concrete. It's free from arbitrary decision and consists of simple construction, but at the same time, there are rich sequence of the space and comfortable relationship between the surroundings.

Banquet Hall - Takao Shiotsuka Atelier

Thu, 07 Apr 2011 13:52:50 GMT

'Banquet hall' is the hall to hold a casual party or wedding reception of around 80 persons. The site is located on a hill overlooking a town area. An existing building on the site (the area is about 130 square meters) is assigned as a kitchen, waiting rooms and staff rooms. Therefore only the hall is newly built. These two buildings are connected by a roofed passage. The floor plan of the hall has rectangular shape of 10 by 23 meters. This is decided by the arrangement of tables and chairs for 80 persons. We tried to make this space without any boring impression to the guests. Nevertheless, without losing a function as one large room. Generally, ceiling height is decided by a use. In addition, ceiling height sometimes lets them imagine a use of a room. In a word, housing, office and gymnasium have different ceiling height in each. That is, operating the 'ceiling height' can make some spaces of different characters in one space at the same time. As a result, guests will have various impressions in only one space. Therefore we set up five different ceiling heights in one space -they are 2,350, 2,800, 3,325, 3,925 and 4,600mm-. These ceilings are arranged in order of their heights to be able to see through the whole hall. The roofline like a tiered stand fit in with the hill ground to regard the relations between the building and the topographical features around. The approach road is lower than the placement level of the building. Therefore the lowest ceiling height is placed on the approach side to make reduce the oppression given by height. Each five roofs of thickness of 600mm have different ceiling height and make slit to get sunlight inside. These five volumes in the hall are also divided structurally, that is, each volume has four columns to become independent and they are not jointed. The outer wall as the secondary building element is built outside of the columns. It frames the outside view and controls the sunlight like a blind. Its gradation of warm color gives the building appearance flowery image, just like a gift-wrapping.

House in Onitori - Kenji Tagashira

Thu, 07 Apr 2011 13:51:46 GMT

Located at an altitude of approximately 400 meters, the premise in Onitori is nestled in the corner of an agricultural settlement on the eastern side of the Ikoma Mountain Range. Bordering Nara and Osaka Prefectures, the house has been constructed for a family of two. Based on the requests of the client, a bright atmosphere has been brought to the house by opening up every room to the view of the surrounding scenery. Leaving enough space for a minimum of two parking spaces, the house has been built to blend into the surrounding environment. Space on the south side of the house has also been preserved for the future construction of a kiln to be used by the wife for creating pottery. After being introduced to the premise by the client for the first time, it was surprising to be surrounded by such a spectacular natural landscape a mere 30 minute drive from Osaka City. Retaining walls, made from aged Ikoma stone span from the foot of the hill to the peak, giving a dynamic impression to the house in the agricultural settlement. The frontal facing road rising on a steep slope intersects in an orthogonal direction with the elongated configuration of the premise. On approach from the frontal facing road, a cobbled yard created from Ikoma stones that were originally spread around the plot of land, opens up with a parking space preserved to its side. Surrounding houses in the distant landscape are hidden from the approximate eleven meter perimeter surrounding the living room, dining room and kitchen. Physical planning came to further include Plum and Chesnutt trees to the south side of the house. Based on the connection and extension of the outside landscape, to each space, the tenants can become more familiar with the “Act of Living” and the “Sequence of the Natural Environment”. The ceilings and walls of both the inside and outside of the house have been coloured to match the stone walls surrounding the premise. Furthermore, a one storey design has been given to the house, to match the building with the surrounding environment Additionally, the approach to the building from the south passes from the outer entrance, to the central garden, and then continues to the inner entrance. The long slender floor running through the mid-section further connects to the garden in the southern section of the house. The rooms that can be seen from the central garden borrow from the outside scenery and add to the surrounding view.

Cross Court House - Masao Yahagi Architects

Thu, 07 Apr 2011 13:49:26 GMT

This house is for an elder couple. They are healthy at the present and know a necessity of walking in a daily life since the husband works in a medical field. The stairs and slopes cross a court that provide them the chances of feeling the outside nature and exercise in everyday life.

A House Made of Two - naf architect & design

Thu, 07 Apr 2011 13:48:26 GMT

This is a project of one family living in two houses built slightly apart from one another. One great volume of a house which covers the entire plot was supposed first. Then this volume was carved in a curve in three segments and two volumes at the both ends were built as two houses on the site. The wood structures and finishing materials of two houses are standardized to emphasis the relations of two volumes being originally from “one great volume” and that they are one though apart. Carved volume in the middle became a courtyard leading to the approach to two houses. Having another house for movies at night, overnight guests or work at home allows the inhabitants the liberty to do what they please at a time they want. This distance between two houses may be just right for inviting grandparents to move in someday or providing privacy to children at puberty. The purpose of building two houses slightly apart is not the same as that of having a villa at a resort or a farm household having a main building and a barn. This project is an experiment for allowing more life style options in the life based in the urban area.

Torre di Mosto - C&P Architetti Luca Cuzzolin+Elena Pedrina, (Secondo stralcio: progetto definitivo, esecutivo e Direzione Lavori) Fase concorsuale e preliminare con N.Saul e S.Fierro

Thu, 07 Apr 2011 12:24:05 GMT

La ricerca di unitarietà, attraverso il ridisegno degli spazi residui esistenti, è il punto dipartenza per la nuova Piazza di Torre di Mosto. L’area d’intervento rappresenta il secondo stralcio di un progetto più ampio che coinvolge anche la porzione antistante del Municipio.Il superamento dell’attuale frammentarietà del costruito avviene attraverso la ricerca di un nuovo collante tra resti di spazi aperti,capace di risignificare la relazione tra edifici realizzati in epoche diverse.Il progetto rimette in una scena comune elementi esistenti, che rappresentano l’essenza della vita civica della città, e la vista verso gli argini del fiume Livenza.La nuova superficie pavimentata, realizzata in cemento armato “lavato” e lastre di porfido grezze, ospita le manifestazioni cittadine e si dissolve verso l’argine mescolandosi pian piano con la superficie erbosa esistente; le sedute, conficcate sul piano erboso inclinato, si rivolgono verso la nuova piazza-arena come elementi monolitici sottolineando l’artificialità del disegno del paesaggio. L’intervento sull’argine, dati i vincoli posti dal Genio Civile, è stato possibile solo realizzando un nuovo ingrosso arginale sul quale sono state posate le sedute. A delimitare il lato est della nuova piazza, basse sedute segnano il confine con il vicino parcheggio confluendo infine nel volume aperto della fermata degli autobus, posta a sud e prospiciente il retro del palazzo del Municipio. xxyxxzz

Cultural Centre - Pedro Mendes Arquitectos

Thu, 07 Apr 2011 11:08:30 GMT

The Social and Cultural Center is organized in two volumes that join each other vertically through a gallery of double height storey. On the land a big thick slab of concrete seats. Underneath this big covering the ground floor is organized in a set of volumes separated by courtyards, accesses and circulations. The 1st floor fits in a white volume hold on to the highest part of the topography, suspended over the ground floor. The involving area will be preserved as public green space for outdoor activities.

OMBRE - Land-i Archicolture

Thu, 07 Apr 2011 07:20:47 GMT

L’ombra è un elemento chiave sia nel progetto di architettura che nel disegno del giardino. Definisce lo spazio e le distanze, ne sottolinea la ‘profondità’. Nel giardino le ombre inoltre evocano un livello percettivo oscuro ed emozionale. Il nostro progetto considera il sito come uno scavo archeologico. Il visitatore si deve confrontare con una serie di elementi apparentemente identici, cavità disposte casualmente su un terreno nudo. Il riferimento ad una necropoli è evidente, le ombre del passato pesano metaforicamente sul presente. Entrando nel giardino il visitatore scopre inaspettatamente che le cavità sono ‘abitate’ da una vegetazione rifiorente bassa e densa. Il cambiamento di scala è rassicurante: si passa infatti dalla ripetizione infinita di scavi ad un dettaglio di ‘giacigli’ sprofondati, che svelano, da un contesto senza vita, un’esplosione di ‘micro-giardini’.

Paraninfo para la Universidad del Pais Vasco - Álvaro Siza

Wed, 06 Apr 2011 14:14:55 GMT

Paraninfo para la UPV-EHU (Universidad del PaÌs Vasco-Euskal Herriko Unibertsitatea)

Palazzetto a San Barnaba, Venezia - TA s.r.l. - Alberto Torsello

Wed, 06 Apr 2011 13:14:12 GMT

L'edificio oggetto di intervento è un Palazzetto di impianto gotico con caratteristica corte interna, sviluppato su tre piani collegati da una scala in pietra. Il progetto si è concentrato particolarmente sulla definizione dell’impianto distributivo affinché il nuovo organismo fosse in grado di assicurare una fruizione articolata, ma agevole, della abitazione. I lavori di recupero si svolgono su più livelli interconnessi fra loro: il restauro architettonico e artistico delle finiture di pregio e l’adattamento funzionale degli spazi. Contestualmente si procede all’ammodernamento tecnologico delle dotazioni impiantistiche e ad un accurato intervento sulle finiture interne ed esterne attraverso una nuova lettura dei materiali della tradizione costruttiva veneziana.

Mostra "MATISSE. La seduzione di Michelangelo" - TA s.r.l. - Alberto Torsello

Wed, 06 Apr 2011 13:10:29 GMT

La mostra presenta 180 opere di Matisse: dipinti, disegni, sculture, gouaches, incisioni che vanno dagli esordi della sua pittura fino agli ultimi anni della sua vita in un dialogo serrato con l'opera di Michelangelo attraverso un continuo rimando emozionale tra scultura e pittura. Il percorso è dominato dal tema della luce, il cui valore simbolico accompagna le tappe e l'evoluzione artistica dell'artista: l'ingresso alla mostra avviene quasi al buio con l'enfasi luminosa posta solo sulle opere. Le luci (Ombra, prodotte da Fabbian Illuminazione), appositamente progettate, sono in grado di produrre attraverso una sapiente resa cromatica e un puntamento di grande flessibilità, una ambientazione quasi naturale ma di grande teatralità. Proseguendo il buio delle sale si dirada passando ai toni del grigio per arrivare alla luce e ai colori chiari che accompagnano gli ultimi spazi espositivi che accolgono le opere della svolta cromatica. L'allestimento è semplice, leggero e la luce diventa diffusa, mediterranea, lo sfondo ideale in grado di esaltare l'armonia cromatica e ritmica che accompagna la chiusura del racconto espositivo.

Centro di cura per anziani Media Pusteria - Pedevilla Architekten

Wed, 06 Apr 2011 11:52:06 GMT

L’edificio da tre piani reagisce nella sua forma sul lotto edificabile molto stretto. Le terrazze progettate su ogni piano creano degli spazi esterni individuali e protetti. Materiali tradizionali come intonachi a base d’argilla si riprendono e interpretano in un modo moderno formando un edificio semplice e funzionale. Attraverso una protezione solare intelligente e un’areazione controllata con recupero termico si ottiene un clima delle abitazioni equilibrato. La struttura edile prova a compensare le capacità mentali diminuite dei malti di demenza e di favorire la loro autosufficienza. Le stanze sono raggruppate attorno alla sala comune, che è facilmente da osservare, relativo la sindrome dei pazienti. A ogni centro di cura è assegnata una zona di riposo e di movimento protetta all’esterno. Le sale comuni sono orientate verso sud o hanno dei lucernari che permettono di sfruttare la luce del giorno al meglio possibile.

Ponte del Manetti: ponte ciclo-pedonale nella sede del "Ponte Leopoldo II" - Giorgio Pasquini, Guido Lenzi, Andrea Bellini, Alessandro Busca

Wed, 06 Apr 2011 09:49:53 GMT

La sensazione che si avverte quando si è sul posto, è quella di aver sbagliato giorno per attraversare il fiume, perché la parte mancante sembra essere stata momentaneamente smontata, per motivi a noi sconosciuti, ma, forse, domani o tra poco si potrà ripassare, con le cose rimesse al loro posto. Le ragioni di questa sensazione sono molte, gli elementi tuttora presenti, le pile, sono integre, non sono frammenti ruinati, non sono materiali “interrotti”, sono elementi compiuti, soltanto prive di parti, di continuità; mancanti della connessione. La parte che manca era altra cosa, sia per il materiale con cui era costruita, sia per il suo valore semantico intrinseco: la passerella era leggera quasi inconsistente. Dava l’impressione di essere precaria rispetto alle masse di pietra, e si aggrappava a questi attraverso cavi, una ragnatela leggera di funi. Ma questa connessione, all’apparenza quasi precaria, nascondeva delle “forze interiori” inaspettate per il periodo di costruzione. La sensazione della “presenza” della passerella é amplificata dall’allineamento delle aperture degli archi estradossati che fronteggiandosi definiscono coni visivi profondi. Gli archi creano vicinanza aprendo una corrispondenza di “energie” tra le diverse sponde. Da una visione intermedia i manufatti sembrano sculture in formato gigante che attraverso il loro valore plastico e materico connotano l’intero paesaggio. Un paesaggio che appare scandito da lunghe linee orizzontali e l’unico segno verticale sono queste moli che si confrontano con l’uomo. La loro solitudine amplifica la loro altezza facendoli diventare punti di riferimento. La nuova passerella impostata a quota 41,00 passa attraverso i manufatti preesistenti e ricerca i nuovi appoggi sulle sponde. Queste, parzialmente rimodellate per facilitare l’accesso, ridonano il piacere della percorrenza e del rapporto con il fiume e con le sponde. La nuova passerella non vuole colpire con la seduzione di una struttura spettacolare. Come quella disegnata dall’ing. Manetti, ricerca la sua forza in un uso innovativo dei materiali e adotta uno schema statico che attinge alle risorse delle preesistenze, per ridurre al minimo i materiali e stabilire un rapporto non invasivo con il territorio.Contrappone la sua leggerezza alla pesantezza ed alla forza materica dei manufatti esistenti, quasi ad inchinarsi alla loro presenza. La passerella ricerca il contatto con i manufatti in pietra attraverso i due cavi tenditori, ristabilendo così quel legame antico che aveva reso possibile la loro esistenza. L’intradosso, per la sola parte tra gli archi sopra il fiume, è rivestito in legno conferendo alla passerella un carattere arcaico: la sua forza risiede nell’occultamento visivo della struttura, tale da renderla astratta ed espressiva. Avvicinandosi agli archi si rarefa, facilita il contatto visivo con la terra con gli spazi che si sono venuti a creare sui nuovi argini ridisegnati, quasi bastioni concavi, svelando la sua vera natura. Il luoghi e i vincoli progettuali sono completamente mutati rispetto a quando venne costruito nel 1833 il ponte sull’Ombrone, gli argini sono stati rialzati, la passerella dovrà essere posta a una quota superiore per motivi idraulici. Pur in questa diversa situazione, il rapporto tra la nuova passerella e i piloni resta pressoché immutato. Le masse in pietra sembrano restare “indifferenti” a quanto gli succede intorno perchè ricercano un rapporto di scala superiore con gli elementi del paesaggio. Anche Manetti, a posteriori, si dice scontento del risultato formale, dato l’eccessivo contrasto tra il peso visivo dei piloni e la levità dell’impalcato, riconoscendo implicitamente ai manufatti una dimensione ed una massa che trascende la loro funzione statica di supporto alla passerella. Il progetto ha utilizzato queste caratteristiche come opportunità, facendo “accogliere” ai manufatti esistenti due ambiti, quello dell’attraversamento e quello sottostante fruibile come luogo di sosta e visita. Posizionare la passerella ad quota superiore a quella originale, permette di organizzare la parte sottostante come luogo di sosta e soggiorno. In questo modo si “amplificano” le modalità con cui si vivono e si percepiscono i manufatti, rendendoli al contempo solenni e amichevoli. Gli archi nuovamente segnano il rito del passaggio, la loro forza attrattiva di congiunzione viene riconfermata anche fisicamente. La scelta architettonica per il trattamento delle sponde, dell’argine in corrispondenza del nuovo ponte ha come riferimento diretto l’uso formativo dell’acqua. L’acqua è stata in maniera diretta ed indiretta l’elemento fondamentale che ha connotato l’intero territorio. Riferirsi concettualmente a questo elemento per ridisegnare le sponde significa ritrovare un’ “empatia” profonda con l’intero paesaggio. Abbiamo immaginato che lo scorrere del fiume, attraverso la tracimazione e la laminazione, formasse un invaso in prossimità delle sponde del ponte. Che l’uomo raccogliesse questa segni e attraverso le proprie opere, intensificasse la geometria altimetrica creando una zona con andamento variabile. Queste nuove linee si raccordano poi alle curve di livello esistenti. Agli estremi del ponte si formano così due “vuoti”, il materiale che sorregge le pareti dei terrazzamenti (acciaio corten) introduce al fascino del manufatto esistente; recinta il nucleo. Le zone sono facilmente accessibili e possono essere “abitate”: sono zone ombreggiate, di sosta, non solo per le persone che attraverseranno il ponte, ma per tutti coloro che percorreranno il parco della piana.

Secondary School Collège du Léman - Graeme Mann & Patricia Capua Mann

Tue, 05 Apr 2011 15:51:02 GMT

The village of Apples is located at the foot of the Jura mountains, north of the city of Morges. To address today’s strong population growth in the region, a dozen municipalities joined forces to build a new school complex. The Collège du Léman, an extension of the Collège du Plateau, is built on a shelf on otherwise sloped terrain overlooking Lake Geneva, faces the existing building and defines an outdoor space used as playground. The new building comprises two parts aligned in the form of an “L”, one to accommodate classrooms, the other a multipurpose hall. Through the shape of its roof, the new building engages a dialogue with the existing building and, through its location at the entrance to the village, maintains a strong link with the site and its environment. The design of the new school complex is marked by the alternating use of lateral façades crowned by high roofs and pitched façades reminiscent of the typical features of large Vaud farmhouses. Designed with copper cladding and wide windows, the extension stands out from the existing building by the abstract use of materials without denying its allegiance to the new complex. From the playground, the main entrance connects to a walk-through space used both as a foyer for the multipurpose hall and as a dining hall. Inside, the classrooms and corridors benefit from the spatial potential of the inclining roof as well as from the generous supply of natural daylight further amplified as a result of reflection on the white concrete walls. Like the town council chambers located under the eaves of the second floor and orientated by a large window in the direction ofthe village, the materials and large-sized openings convey an atmosphere of protection and overture to the outside world.

Secondary School Collège du Léman - Graeme Mann & Patricia Capua Mann

Tue, 05 Apr 2011 15:49:39 GMT

Dual Sports Hall - Graeme Mann & Patricia Capua Mann

Tue, 05 Apr 2011 15:47:51 GMT

Borex and Crassier, two villages located at the foot of the Jura mountains and near the city of Nyon, share a school complex located on their border. The particular characteristics of this site derive from its structural fabric made up of a variety of heterogeneous buildings - in terms of design and allocation : residential homes, cemetery, cable network station and telephone relay. The expansion of the existing sports hall is the result of a competition and left little margin of freedom because of a limited perimeter. Due to its position, the new extension reinforces the western boundary with the countryside and takes advantage of the break in terrain in order to reduce the impact of volume on the site. The quest for continuity with the existing building dictates the rules in terms of extension volume. The “fusional” approach adopted towards the existing structure allows to define a single entrance for the three sports halls. This new entrance located on the same level as the schoolyard gives direct access to the foyer, which, like a balcony, overlooks the new hall. From this foyer, an architectural promenade enables visitors to enjoy changing ambiance, daylight and views as they walk down to the lower level intended for the dressing rooms and sports halls. The lookout on the surrounding countryside through a large opening reinforces the notion of lower level. Showcasing the view, accentuated by the absence of vertical uprights over a length of thirty-two meters, is made possible thanks to a multi-trellis wooden beam six meters high and prefabricated in solid pine wood. The static system of the building derives from the intertwining of these multi-trellis beams. Their composition in three layers of wood of different thickness – a vertical layer flush with the interior cladding to guarantee the beam’s structural resistance, and two diagonal ones – reinforces the effect of transparency. The interior space of these halls is defined on three of its sides by this play of wooden beams and affords a particular atmosphere further enhanced by the play of light which brings the beam’s cane texture to life. These effects are accentuated by the exterior covering, in translucent glass, and the interstitial space, one meter thick, which regulates the inside temperature and the intake of outside air through mechanically controlled louvers. Reinforced by the play of light and the uniform use of materials for its coverings, this structure features abstract aspects which reorganise the site and allow recalcitrant children to daydream during physical education classes.

Dual Sports Hall - Graeme Mann & Patricia Capua Mann

Tue, 05 Apr 2011 15:47:18 GMT

Dual Sports Hall - Graeme Mann & Patricia Capua Mann

Tue, 05 Apr 2011 15:46:44 GMT

School « Le Marais du Billet » - Graeme Mann & Patricia Capua Mann, Tekhné Management SA, Jean-Daniel Beuchat

Tue, 05 Apr 2011 15:43:18 GMT

The community of Cheseaux is located north of the city of Lausanne. As is often the case in villages marked by a rural past, the same municipal building houses a number of classrooms and the municipal administration. Built in the heart of the village, slightly off the main street, this building has been preserved and reallocated as a municipal administration building. At the same time, a new school complex was built on the same lot. The site is crossed by a “green alley” which links the main street of the village to a belvedere which looks out onto the Jura mountains. The new school building is turned towards the countryside and is sited, like all buildings nearby, along this lane. The layout of the two gym halls and the school designed as two distinct structures allows the new volumes to integrate into the scale of existing structures and to define the exterior space treated until now in a residual manner. Due to its position adjacent to the school and its regular geometry, the new schoolyard, for example, develops the notion of epicentre which gives it the look of a village square. Protected from automobile traffic, this new “village square” allows to organise major events and to underscore its public function. Covered with metal slats, the façades of the two volumes share a common expression whose dynamics derive from the varying size of their windows. Equipped with much larger windows, the gym halls are reminiscent of “large classrooms”. To confirm the plasticity of the façades, the principal openings are underscored by large frames. The expression of the different layers that make up the façade is reinforced by the two-colour treatment of the metal elements and by the sliding windows positioned behind the façade’s covering. The multi-orientated positioning of the classrooms enables teachers and students alike to enjoy the view in all four directions. To guarantee this multi-orientated effect in the typological organisation, the static structure of the school building is ensured by concrete shear walls in the form of flags superimposed at right angles. With regard to the semi-underground gym halls, this system is reinforced by a grid of concrete columns spread over the periphery of the volume, thus allowing visitors to see to the other side of the building.

School « Le Marais du Billet » - Graeme Mann & Patricia Capua Mann, Tekhné Management SA, Jean-Daniel Beuchat

Tue, 05 Apr 2011 15:42:51 GMT

Comune di Brenzone: RIQUALIFICAZIONE URBANISTICA, AMBIENTALE, PAESAGGISTICA ED ARCHITETTONICA DEL LITORALE E OPERE DI PROTEZIONE SPONDALE. - PROAP Italia, Ing. Massimo Tondello (Hydrosoil S.r.l.), Arch. Laura Castenetto

Tue, 05 Apr 2011 15:22:31 GMT

La proposta di progetto si misura con le necessità espresse dal bando di concorso, cercando di coniugare le valenze paesaggistiche ed ambientali con il carico di utilizzo e la funzionalità richieste dalla situazione contemporanea. In particolare, si è cercato di integrare il tema della continuità formale lungo tutto il lungolago, caratterizzato peraltro da grande varietà di elementi spondali e di utilizzi. Il progetto individua una linea di demarcazione, che definisce, in forma sinuosa, la posizione del limite tra spazio asciutto e spazio bagnato, tra “spazio urbano” e “spazio lacuale” e la rende evidente con un manufatto in legno. Questo manufatto, della dimensione minima di una seduta, si allarga, si espande, si estende in acqua ed infine si corruga per ospitare cestini, fontane, vasche, il sistema di illuminazione. L’utilizzo puntuale dello stesso materiale, anche se con forme e dimensioni variate, enfatizza il carattere del lungolago. Per rendere pienamente utilizzabile il lungolago è necessario attuare delle difese spondali che garantiscano la durata nel tempo delle opere. La proposta intende agire sulla causa prima di deterioramento rappresentata dall’onda frangente. Il tema della continuità formale nel lungolago viene declinato con maggiore articolazione nei punti dove viene richiesta una progettazione puntuale con la identificazione di nuovi parcheggi, ormeggi, attrezzature etc. Pur ricercando una varietà nelle soluzioni proposte, si ricerca allo stesso tempo di formalizzare la continuità ed un carattere personale per il territorio di Brenzone. Per quanto attiene alla vegetazione esistente, la proposta mira alla conservazione degli individui più importanti ed al consolidamento delle zone con vegetazione compatta. Il sistema vegetale che si trova in forma disarmonica e con problemi di struttura lungo la passeggiata del lungolago viene invece rivisto in modo importante. In generale, l’atteggiamento è quello di ricerca di una definizione precisa tra zone assolate e zone ombreggiate, anche attraverso l’uso della vegetazione, limitando le situazioni indefinite e senza un minimo dimensionale, come ad esempio gli arbusti che oggi bordeggiano la passeggiata.

Biblioteca y escuela de música - Juan Pedro Donaire Arquitectos

Tue, 05 Apr 2011 14:49:01 GMT

Rehabilitación de la antigua bodega Los Reales de Almonte, para biblioteca, y Escuela de música, danza y pintura. La bodega está catalogada como Bien de Interés Cultural. Se sitúa en la Ciudad de la Cultura del Almonte, junto al nuevo Espacio Escénico de la localidad. Todo ello articulado por una plaza pública. La biblioteca se ubica concretamente en el edificio donde se almacenaba el vino, siendo una pieza con una estructura típica de bodega, de unos 78 metros de longitud por 10,50 de ancho, con una superficie construida de unos 821 m². El edificio es exento en tres de sus lados. La intervención realizada no altera el sistema constructivo original y consiste en construir una entreplanta con una cimentación y estructura nueva que no toca la estructura portante existente para poder resolver todo el programa planteado originalmente. La biblioteca ocupará 14 de los 17 módulos que conforman la nave, los tres restantes en el ala Este se destinarán a la Escuela de Música. Tiene su entrada principal por el extremo Sur-este, de tal manera que la percepción del espacio de la bodega es casi completo. El control de libros y préstamo y administración es el primer uso que se encontra, con una altura mas controlada. La zona de prensa sucede a la zona de lectura y consulta, abierta a toda la altura da la nave. Al fondo se sitúa la zona de niños iluminado con grandes puntos de luz difusa, con un pequeño almacén, y la escalera secundaria. En la planta alta la sala de lectura se vuelca sobre la doble altura, junto a la sala de audiovisuales. La propuesta potencia los valores originales del edificio como almacén para generar diferentes espacios acondicionados para su nuevo uso.

"El Cielo Protector" - dosmasuno arquitectos

Tue, 05 Apr 2011 13:01:54 GMT

El proyecto para el Palacio de Congresos, Exposiciones y Ferias de la Ciudad de Cuenca presenta un doble reto.
Por una parte, ofrecer una respuesta a un complicado solar en el extremo de la ciudad, una respuesta que debe convertir los aparentes problemas en oportunidades de proyecto, y permitir desarrollar una propuesta óptima y enriquecedora para la lectura del entorno.
Por otra parte, el complejo y extenso programa debe tener una respuesta neta, que ofrezca una imagen sugerente, continua y completa, y que sin embargo construya las singularidades de cada uno de los usos.
Así, las primeras decisiones de proyecto se han tomado con el objetivo de realizar una implantación cuidadosa y respetuosa con un entorno de memoria natural, trabajado por la mano del hombre, construyendo un elemento unitario que permita identificar la Institución con merecida singularidad.

1 ADECUACIÓN A LA PROBLEMÁTICA DE LA PARCELA Y SU ENTORNO
Trabajamos en una parcela con las siguientes singularidades: irregularidad geométrica y proximidad a vías de tráfico denso, inserción en un entorno de escasa concreción urbana y pendiente reconocible.
Cada uno de estos temas es tratado por el proyecto de manera individual con el máximo rigor. Sin embargo, se les ofrece respuesta única con dos sencillas y directas decisiones, que conducen el devenir del proyecto.

a. mantener la topografía original en la totalidad del solar, de pendiente reconocible pero transitable con comodidad y dentro de los parámetros normativos, para excavar los usos de mayor volumen a contrapendiente, conformando una topografía natural-artificial que enriquece la espacialidad del proyecto. Esta superficie continua topográfica acomoda los usos de acuerdo con las pendientes que acontecen. Así, al llegar a la cota inferior se produce un gran valle horizontal sobre el que se acomodan la totalidad de los usos extensivos, mientras que en las zonas en pendiente se producen accesos y espacios vestibulares.

b. proyectar una cubierta nube, un elemento continuo, geométricamente rotundo y neto, que sin embargo se desliga en una colección de matices de luz y sombra, de alturas y densidades. Posicionar esta nube baja, próxima al terreno pero casi sin tocarlo, permite por una parte multiplicar la lectura de la pendiente existente, pronunciando las diferencias entre las mayores cotas de terreno a sur y las más bajas a norte, por otra parte controlar la relación con la vía de tráfico denso, minimizando el frente que se ofrece a esa vía, que sin embargo tendrá control sobre la cubierta reglada que se convierte en quinta fachada. Ni el desarrollo programático ni la relación con las construcciones previstas en el entorno, concluyen la construcción de un edificio en altura, optando sin embargo por un edificio pegado al suelo, que permita una lectura transversal del entorno a través de un interior prácticamente transparente, matizado por una colección de velos de diversas densidades y propiedades.

2 ADECUACIÓN AL PROGRAMA PREVISTO El estudio del programa de necesidades propuesto, una colección de espacios capaces, modulables y transformables en el tiempo, extensos pero segregables, solidarios pero independientes, deriva de nuevo en dos decisiones claras:

a. El programa de necesidades del Palacio de Congresos, Exposiciones y Ferias de la Ciudad de Cuenca requiere, sin duda, una ordenación en planta única, una ordenación donde los programas se yuxtaponen y se vinculan entre sí a través de un vestíbulo, un gran salón de pasos perdidos, fluido y matizado, que ejerce de espina vertebradora. Cada uno de los programas tendrá un orden interno propio, pero espacialmente responderá a la totalidad al someterse a la ley de la nube, que se superpone con su colección de situaciones de luz, espacio y, en ocasiones, programa.
Esta situación de programa extensivo, debe complementarse con una propiedad de transparencia, que permita la continuidad visual entre los distintos ámbitos del entorno, una transparencia que será matizada mediante velos que aportarán las necesarias propiedades de opacidad, sonoridad, etc.

b. La posición final de cada uno de estos programas principales (auditorio, salas de congresos, sala multiusos), debe permitir su uso y accesibilidad independiente. Se propone por tanto un continuo compacto pero transparente, donde cada uno de los programas principales se apoya en un bloque de servicios, a modo de grandes contenedores técnicos, que alojan lo específico. Este continuo toca el perímetro de manera irregular provocando una serie de accesos vinculados a segmentos del vestíbulo principal. La disposición topográfica de los usos, permite el desarrollo de una espalda bajo rasante que concentra los servicios a las diferentes escenas y al restaurante, de manera que se ordenen los flujos de público y servicios sin interrumpir la continuidad buscada.

3 CUALIDADES TÉCNICAS Y ARQUITECTÓNICAS DE LA PROPUESTA
Las decisiones principales tomadas en el proyecto responden de manera concreta a una colección de preocupaciones técnicas y arquitectónicas derivadas de la lectura crítica de las bases técnicas.

a. Por una parte, la decisión sobre la topografía y la ordenación en planta única, no sólo recogen una necesaria preocupación por la implantación en el lugar sino que al tiempo ofrecen respuestas razonables a cuestiones económicas, de sostenibilidad y mantenimiento. La compacidad favorece cualquiera de estas cuestiones. La integración en el subsuelo construye una situación térmica de máximo aprovechamiento e inercia. Igualmente, la construcción de un entorno topográfico, está directamente implantada en el debate contemporáneo sobre la capacidad de los usos de acontecer. El tránsito sobre superficies pendientes, la visión continua y transversal, la apropiación de los usos contiguos, las flexibilidad y las propiedades de los materiales superpuestos.

b. La nube concentra, como único elemento, toda la construcción espacial, estructural y geométrica de la propuesta. La proyección concentrada de todas estas cualidades y posibilidades, no solo no limita el desarrollo, sino que multiplica las capacidades de respuesta a cada uno de los elementos concretos.
La extensión de una solución única, y todas sus variantes, permiten construir de manera unitaria un programa complejo y extenso, al tiempo que se recogen las especificidades de cada uso, mediante una función que relaciona luz y estructura, densidad espacial y uso.

4 VIABILIDAD TÉCNICA
El proyecto trabaja siempre con la complejidad y concentra su esfuerzo en la búsqueda de soluciones sencillas que tengan una máxima repercusión a partir de unos mínimos recursos. Así, la conexión de las soluciones arquitectónicas y técnicas desde el momento de proyecto, garantiza la viabilidad tanto geométrica como estructural e infraestructural, así como la económica.
Igualmente, la reducción de las decisiones constructivas y materiales, compromete positivamente el posible desarrollo. De nuevo insistimos en que la compacidad y extensión del proyecto garantizan en primer lugar su posible construcción continua, pero igualmente una posible construcción en fases, e incluso un crecimiento futuro.

5 GRADO DE EFICIENCIA ENERGÉTICA Y BAJO COSTE DE MANTENIMIENTO, GRADO DE INNOVACIÓN TECNOLÓGICA Y ADECUACIÓN MEDIOAMBIENTAL DE LA CONSTRUCCIÓN, EN ESPECIAL EN LO REFERENTE A LOS MATERIALES UTILIZADOS Y SU RECICLABILIDAD.
La eficiencia energética de la propuesta queda garantizada mediante las decisiones que han sido descritas hasta ahora.
En primer lugar, y casi como condición fundamental, el edificio es compartimentable y permite su apertura paulatina dependiendo de aquellos usos que estén activos. Esto constituye una primera medida destinada a reducir el consumo del edificio en el tiempo.
Complementando esta decisión, se ha optado por un edificio compacto y parcialmente enterrado. La compacidad garantiza un buen coeficiente de forma, y por tanto un menor impacto en términos de climatización. Igualmente, aprovechar la estabilidad térmica del subsuelo, apoya esta medida.
Reducir los costes de mantenimiento pasa por consolidar soluciones constructivas duraderas en el tiempo y al mismo tiempo de fácil limpieza y sustitución. Consolidamos una pieza continua de hormigón, sólida y duradera, que se complementa con sistemas ligeros de cerramientos que podrán cambiar en el futuro sin gran esfuerzo económico.

6 CARACTERÍSTICAS ESTÉTICAS Y DE DISEÑO DE LA PROPUESTA
Paseamos por el entorno del Palacio de Congresos, Exposiciones y Ferias de la Ciudad de Cuenca bajo una nube. Una nube de construcción concreta, estable, que matiza las condiciones de un suelo existente. Matiza su luz y su dimensión. Matiza su espacio y su densidad. Matiza las condiciones de uso y percepción del suelo. Matiza las condiciones del uso contiguo.
La nube se construye de hormigón y se habita. Es una construcción espesa y gruesa. Espesa porque matiza las condiciones de sol y sombra, y la oscuridad de esa sombra, mediante un sistema de planos paralelos que se separan o se alejan para permitir la entrada de luz. Gruesa porque aumenta o disminuye su canto para delimitar espacios, para construir su volumen, para contener uso, para hacer proyecto en definitiva.
Una nube sobre un suelo existente. Una topografía que se mantiene en su geometría, y se modifica en sus propiedades superficiales para hacerla practicable. Se pavimenta y se secciona, se reconstruye y se multiplica. Y en el extremo, se delimita mediante una serie de paños transparentes de vidrio modulado, que complementa su capacidad con una superposición de paños de diversas propiedades. Cortinas y telones que acompañan y delimitan, que construyen los entornos en sus propiedades.
Entre el cielo y el suelo, una lluvia de elementos estructurales dorados, que se reparten con doble intención, la de sostener el cielo y matizar el uso del suelo. Una lluvia que aclara las zonas de uso extensivo y que sin embargo concentra las de uso intensivo en cuatro bloques técnicos de desarrollo vertical. Los reflejos de la luz dorada cualificarán el interior frente al exterior, la condición frente a la intemperie, el bajo y el sobre.

7 CARACTERÍSTICAS FUNCIONALES La topografía existente determina el orden primero del proyecto. Los programas suceden sobre o bajo esa topografía.
Sobre la topografía un continuo ordenado de los usos principales del programa propuesto. Auditorio, centro de congresos y restauración sobre la cara norte, reuniendo sus espaldas en un bloque de servicio, carga/descarga, talleres y almacenes. Sobre la cara sur la sala de usos múltiples, más amplia en altura y liberada de cualquier estructura vertical, que se desarrolla continua pero divisible.
Y entre ellos, el vestíbulo continuo, fluido, matizado por una sucesión de tres bloques técnicos que apoyan los usos principales y construyen lugares específicos dentro del vestíbulo general.
Y sobre todo, la nube, que aloja programas menores públicos y privados, directamente relacionados con aquello que cubre.

8 INDEPENDENCIA FUNCIONAL DE LAS DISTINTAS PIEZAS La posición relativa de las piezas, permite su uso continuo, pero posibilita igualmente una segregación del programa en cuatro piezas autónomas. Auditorio principal, Centro de Congresos, Sala multiusos, Centro administrativo y de servicios. Cada uno de estos programas cuenta con su acceso propio, construido suficiente y específico.
El Auditorio principal y el Centro de Congresos se yuxtaponen, accediéndose desde el lugar principal exterior de la propuesta, vinculada al acceso vehicular y peatonal, vinculada a la rotonda y a las vistas sobre el paisaje circundante.
La Sala multiusos se relaciona directamente con el acceso al complejo mediante vehículo, sobre un área exterior reservada a la ampliación de este uso, que podría incluso ocupar el área de vehículos en caso de ser necesario.
El Centro administrativo y de servicios es la pieza de uso diario. Permite su actividad diaria de manera completamente ajena a la actividad del centro. Recoge el uso administrativo, pero igualmente el acceso de carga/descarga, acceso de personal al área de restauración y servicios, acceso de personal a camerinos y talleres.

Complesso residenziale Sciaves - Pedevilla Architekten

Tue, 05 Apr 2011 12:24:14 GMT

Il complesso residenziale si trova tra la zona industriale di Sciaves a ovest e un quartiere residenziale a est. Il lotto edificabile è situato su un pendio con un dislivello di 12 m. L’idea era di mantenere il terreno naturale e di creare un edificio terrazzato ed intervallato. Dunque nacquero cinque case a schiera con la qualità di case unifamiliari corrispondenti alla casa clima di categoria B. Le case sono orientate verso sud e ovest. Il complesso è composto da uno o due piani sulla parte meridionale e da tre piani sulla parte orientale, quella dell’entrata e della scalinata. Sono stati realizzati due tipi di alloggi: locali diurni al piano terra, verso il giardino e le stanze da letto al primo piano – locali diurni al primo piano con una terrazza e le stanze da letto al piano terra. Per le case due e tre sono anche stati progettati gli interni e la coordinazione dei colori e fatto il concetto d’illuminazione. Il progetto è caratterizzato da una costruzione compatta con isolamento coerente e un semplice sistema costruttivo senza cambi di materiale, evitando ponti termici. Le vetrate principali sono rivolte a sud e le finestre sulla parte orientale sono ridotte al minimo. La parte settentrionale non presenta delle finestre. All’interno sono stati scelti dei pavimenti in legno con un riscaldamento a pannelli con temperatura bassa. La struttura di supporto dell’edificio é realizzata in opera massiccia, in calcestruzzo armato e laterizio. Le pareti interne invece sono state realizzate in cartongesso, per rendere più flessibili eventuali ristrutturazioni. Per comporre la facciata al livello estetico, si usano due tipi d’intonaco, di cui uno a grana grossa e l’altro a grana fine.

complesso residenziale “Sonnenschein” - Pedevilla Architekten

Tue, 05 Apr 2011 12:23:19 GMT

L’idea era di progettare un complesso di case a schiera, che s’inseriscono sul lotto edificabile sia nella forma sia nella funzione ed inoltre di creare aree private e pubbliche, che permettono un ambiente sociale. A base dell’orientazione del lotto e per motivi di esposizione, le unità abitative sono progettate a forma di “L”. Scegliendo questa forma, nascono undici edifici con ampi soggiorni orientati verso sud-ovest. Attraverso l’allineamento dei singoli edifici si creano rispettivamente delle terrazze protette ed un cortile centrale per l’uso comune. Le terrazze sono incorniciate da una trave al livello del primo piano, che consente un ampliamento della struttura e completa la sagoma dell’edificio. Il progetto è caratterizzato da una costruzione compatta con isolamento coerente e un semplice sistema costruttivo, evitando ponti termici. Le vetrate principali sono rivolte a sud o ad ovest e le finestre sulla parte orientale e settentrionale sono ridotte al minimo. Tramite una ventilazione controllata, alcune case corrispondono ai criteri di una casa clima di tipo A. La struttura di supporto dell’edificio é realizzata in opera massiccia, in calcestruzzo armato e laterizio. Le pareti interne invece sono state realizzate in cartongesso, per rendere più flessibili eventuali ristrutturazioni.

Arena Ulstein - Lund & Slaatto

Tue, 05 Apr 2011 10:49:22 GMT

Sport centre and swimming pool in Ulstein

Atrio Alhambra - João Luís Carrilho da Graça, Antonio Jiménez Torrecillas

Mon, 04 Apr 2011 15:58:20 GMT

La propuesta se concibe como la nueva puerta verde de acceso al complejo monumental.
Eliminados los volúmenes de la actual entrada, del pabellón del agua y de la cafetería, la propuesta ocupa toda el área de intervención, mediando entre el Monumento y su entorno, recogiendo debajo de una amplia cubierta ajardinada todos los usos requeridos por el programa y mejorando la fluidez de las conexiones a lo largo del perímetro de actuación.
Un punto de partida fundamental de la propuesta es recuperar la cota histórica del conjunto de las Casas labor de la Mimbre. Esta cota (+780m) establece la continuidad entre lo antiguo y lo nuevo, pues es la misma que se propone para el acceso principal al Atrio Alhambra. El utilizar esta cota para el ingreso tiene por objeto retomar la topografía histórica de las Casas de la Mimbre y al mismo tiempo potenciar las valiosas existencias, como también se hace al utilizar la actual galería exterior de cipreses para potenciar su natural conexión con la cota +785,5m.
La propuesta responde al programa de necesidades de forma discreta, abriéndose hacia el visitante, en dirección del Paseo del Generalife, el acceso de mayor afluencia, redefiniendo los límites del área de intervención y estableciendo nuevas conexiones y recorridos a través de ellos.
Los nuevos usos quedan recogidos debajo de una amplia superficie ajardinada: es una arquitectura que, al no querer subrayar su presencia exterior, se funde con la envolvente, dando una respuesta funcional al programa de proyecto y estableciendo una directa relación paisajística con el entorno más próximo, respetando y amplificando sus perspectivas fundamentales.
La propuesta se desarrolla en función de los dos espacios fundamentales del programa: el Atrio y el núcleo de Auditorio y Sala de Presentación. En torno a ellos se agrupan y organizan la mayoría de los espacios funcionales requeridos. Esto permite optimizar los espacios de circulación y conseguir una disminución considerable de las áreas climatizadas.
El vacío que conforma el Atrio Alhambra establece el ritual de ingreso desde la cota +780m. Su inicio son las Casas labor de la Mimbre cuando se accede por el bosque. En continuidad a él aparece la guardería que anuncia la proximidad del vacío del Atrio Alhambra: un espacio cubierto en cuyo perímetro se desarrollan las actividades de recepción y acogida del visitante, con comunicación directa con los servicios de “back-office”.
El sistema de rampas que circundan el vacío da continuidad al ritual de ingreso y permite, por sus amplias dimensiones, otorgar al Atrio Alhambra una amplia flexibilidad para acoger multitud de actividades y acontecimientos diversos. Un espacio de disfrute, una “sala de la Cultura”, abierta y polivalente, que permite también acoger exposiciones y espectáculos.
El auditorio y la sala de presentación forman el segundo bloque autónomo. Espacio concéntrico, organizado alrededor de la alberca “de las hojas”, este conjunto con acceso independiente organiza la circulación de los que llegan de los aparcamientos, acompañando al visitante hasta el Atrio Alhambra. Este conjunto, incluye además los espacios dedicados a instalaciones sanitarias y de limpieza, así como el núcleo de apoyo a los funcionarios.
Desde el Atrio, los visitantes son naturalmente conducidos por una rampa hasta la planta superior donde la plataforma mirador ofrece unas magníficas vistas del recinto amurallado y de su misterio a través de los filtros vegetales existentes. Después de esta recuperada perspectiva (cota +785,5m), el visitante se adentrará en las galerías de cipreses que vertebran el inicio de los recorridos dentro ya del recinto visitable. En este punto, tanto de entrada como de salida, se ubica la tienda librería.
Detrás de esta y con acceso por la rampa que asciende del Atrio, están localizados los servicios de apoyo: el centro de comunicación, la oficina de comercialización y de estudio de visitantes y la oficina de servicios técnicos. Esta planta tiene relación visual con la Huerta de Fuente Peña.
Por último, y en ese movimiento ascendente, se alcanza el jardín cubierto del Atrio Alhambra. Un jardín-vivero donde el agua es la razón de ser de este lugar, el agua que, como nos enseña la Alhambra, es condición indispensable de lo habitar. La cubierta del Atrio es un jardín habitado, un manto de agua y vegetación que da cobijo e integra los nuevos usos, proponiendo un nuevo espacio público: un jardín que es a la vez un espacio de disfrute y un conjunto de miradores del Monumento y su entorno. La cubierta es una superficie dúctil que media entre los límites del área de intervención, proponiendo una nueva orografía que suaviza los abruptos saltos de cota existentes. Sobre ella el bosque de La Alhambra y la Huerta de Fuente Peña se funden, diluyendo sus límites. Un vivero, instalado sobre la alberca “de los árboles”, casi como una chopera en la vega, propone una forma de entender el jardín y el paisaje como proceso continuo: el jardín como vivero para las especies, presentes y pasadas, del paisaje de la Sabika.
La cafetería confiere a este espacio su condición de jardín habitado, desde donde alcanzar una visión más global y paisajística y contemplar los principales fondo de perspectiva (cota +793m): la enmarcación del pico del Veleta como símbolo de Sierra Nevada y hacia el sur, y el macizo de Sierra Elvira hacia el Norte.
Este mirador completa los deseos de atención al visitante, con el objetivo de ofrecer a todos ellos una de las cualidades más sobresalientes de la cultura alhambreña: su concepto de la hospitalidad.

CREDITS

PROJECT: João Luís Carrilho da Graça with Antonio Jiménez Torrecillas, architects
TEAMWORK: Francisco Freire and Susana Rato (coordination); João Jesus, Carolina Queimado, Mariana Salvador, Pedro Ricciardi, Gonçalo Baptista, architects;
CONSULTANTS: Michele Panella (coordination); Blanca Espigares Rooney, Pedro Puertas Herrera, Pedro Carvalhido Esteves, architects; Miguel Ángel Ramos Puertollano, María Jesús Conde Sánchez, technical architects; Carmen Tienza Durán, restorer; José Manuel Torres Carbonell, archeologist
MODELS: Paulo Barreto, models; Nuno Pinho, architect; Nuno Castro Caldas, Charbel Saad, Isac Coimbra, trainees
LANDSCAPE ARCHITECTURE: Vitor Beiramar Dinis, landscape architect
LADSCAPE CONSULTING: José Tito Rojo, Manuel Casares Porcel, lanscape biologists
STRUCTURAL ENGINEERING: ARA - Fernando Rodrigues, engenheiro
MECHANICAL PLANNING, ACOUSTICS AND PHYSICS: NaturalWorks - Guilherme Carrilho da Graça GRAPHIC DESIGN: P-06, Nuno Gusmão
CLIENT: Patronato de la Alhambra

V&A Exhibition Road - Amanda Levete Architects

Mon, 04 Apr 2011 13:41:24 GMT

Amanda Levete Architects (AL_A) have won the international design competition for the Museum’s Exhibition Road development. AL_A were one of seven shortlisted architectural teams, selected from over 110 expressions of interest for the Exhibition Road competition. The project will create new galleries for the V&A’s internationally renowned exhibitions, a public courtyard for installations and events, and an entrance into the Museum from the newly landscaped Exhibition Road. Paul Ruddock, Chairman of the V&A Board of Trustees, said: “The Exhibition Road project is an essential development for the future of the V&A. The V&A produces the very best international design exhibitions and the existing exhibition courts, arranged over three separate rooms, are no longer fit for purpose. This new development will transform the way the V&A is able to present its major exhibitions and will enable us to reveal and restore the magnificent south courts. AL_A’s proposal will create a wonderful new space that cleverly combines the elegance of the V&A’s Grade I listed buildings with contemporary design. They are a worthy winner.” Sir Mark Jones, V&A Director, said: “We were very pleased by the quality of the international response to this project and I’d like to thank all of the shortlisted designers for the enormous amount of work which will have gone into creating such intelligent responses to this complex site. We are confident that AL_A are the right practice to lead this crucial V&A development and that they will create a building that will delight our visitors.” On winning the competition, Amanda Levete said: “The V&A is a hugely prestigious museum and it has special meaning for me because it’s the home of art and architecture. I’ve dreamt of working on a major public and cultural project ever since I started as an architect, and it doesn’t get much better than this. This isn’t just about a gallery, it’s an opportunity to create a new public space for London – South Kensington’s Drawing Room. The pattern of the courtyard derives from the structure and the richness of the V&A’s collection, and continues the didactic tradition of the V&A buildings. AL_A is a young office – we’ve only been established for two years – and for us this is a defining project because it expresses the way we think – for the V&A we’ve made the invisible visible.” A jury, chaired by Steve McGuckin, made their decision after examining all of the shortlisted schemes in detail, interviewing each of the teams, visiting their studios and previous projects as well as obtaining client references. AL_A will now work with the V&A to develop a more detailed design. The project is expected to take five years from the design stage to completion and the total budget will be £35 million. The Exhibition Road project is part of the V&A’s ongoing FuturePlan to transform the Museum and will contribute to the development and semi-pedestrianisation of Exhibition Road led by The Royal Borough of Kensington and Chelsea. The international design competition was organised by Malcolm Reading Consultants.

The Wave - Henning Larsen Architects

Mon, 04 Apr 2011 10:22:33 GMT

The new landmark of Vejle is a distinctive residential building of nine storeys with a magnificent location by the bay Skyttehusbugten and Vejle Fjord. With its five characteristic wave crests, the Wave in Vejle stands out as a sculptural icon both respecting and challenging its location.
Architecturally, the building relates to its fantastic location by Vejle Fjord. In daytime, the building will be characterised by the soft movements of the waves reflected in the water surface of the fjord.
At night, the characteristic profile of the Wave will appear as an undulating mountain landscape of light and colour. The building comprises 100 attractive flats - many of which are in two levels. The layout of the flats ensures a splendid view from all balconies. Together with the public promenade in front of the building, the Wave creates a beautiful connection between the fjord, landscape and town and consolidates the different elements in a clear and recognisable signature.

Store CB - Alessandro Puglisi

Mon, 04 Apr 2011 09:29:46 GMT

Progetto di un negozio di abbigliamento per neonato e bambino

Ecole de Chimie - Galletti & Matter

Fri, 01 Apr 2011 15:56:49 GMT

Afin de mettre en évidence la logique interne fondant les qualités intrinsèques du bâtiment, le projet propose de renforcer le système distributif central en prolongeant la circulation verticale vers le socle et la toiture du bâtiment. Le traitement des espaces donne une nouvelle identité à l'édifice en s'appuyant sur les qualités spatiales initiales sans effacer complètement les traces de son histoire récente. Un glacis, faisant référence aux lavis chers aux architectes du XIXème, établit le pont entre ce passé lointain et celui plus proche; tout en construisant une ambiance propre à ces lieux. Le glacis cherche à intégrer dans l'espace de référence du bâtiment le décor ancien et le "nouveau". Le nouvel escalier reprend sa référence dans la massivité de l'escalier existant. La continuité de la marche avec le parapet donne une légereté aux élements de béton préfabriqués simplement posés sur la structure les soutenant.

Villa Matter - Galletti & Matter

Fri, 01 Apr 2011 15:53:43 GMT

Ce projet s’implante 20 ans après un premier bâtiment dont la réalisation a redessiné le jardin d’une maison des années trente. Comment densifier la parcelle pour construire un « stökli » en maintenant les qualités du lieu ? Afin de préserver le jardin, élément fondateur du projet initial, le projet concentre les éléments bâtis, le nouveau bâtiment s’appuyant littéralement sur le premier projet. Ce choix initial fonde la géométrie et la matérialisation de l’ensemble du projet. Alors que le premier bâtiment s’ancrait dans la colline, le nouveau s’implante dans les frondaisons. Le « stökli » devant s’organiser entièrement de plain-pied, il bénéficie d’une magnifique terrasse formée par la toiture du premier projet et s’ouvre principalement vers le lac. Un deuxième appartement s’implante à l’étage, il établit également le rapport au lac tout en cherchant des relations avec les grands arbres voisins. Alors que le béton du premier projet répond à la terre, les façades du nouveau bâtiment répondent aux ramures, elles prennent naissance dans les exigences thermiques actuelles. Leur texture (en aluminium éloxé) réinterprète les plis donnant rigidités aux anciennes tôles de ferblanterie pour lui donner une vibration entrant en dialogue avec les feuillages.

Villa Matter - Galletti & Matter

Fri, 01 Apr 2011 15:53:05 GMT

College de Florissant - Galletti & Matter, dettling & péléraux

Fri, 01 Apr 2011 15:48:04 GMT

La transformation du collège de Florissant est l’illustration d’un thème auquel les maîtres de l’ouvrage et les architectes seront de plus en plus confrontés. Le patrimoine bâti, devient obsolète, tant du point de vue de l’usage que de son enveloppe. Confrontée au choix entre démolition/reconstruction ou maintien/transformation, la Commune de Renens a choisi de maintenir la structure existante et de l’adapter aux nouvelles exigences. Le collège et la salle de gymnastique ont été construits en 1960/61 et 1969. Le cahier des charges consistait en la rénovation des éléments constituant l’enveloppe, à l’adapation des installations techniques ainsi qu’à l’agrandissement des classes et la création d’un préau couvert. La rénovation reste douce, les surfaces existantes sont récupérées et mises en valeur, tels le doublage en bois de la salle de gymnastique, les casiers des salles de classe, les sols en carrelages et en granit, certains faux plafonds en plâtre. Les murs existants ont été simplement repeints, laissant parfois deviner les traces des interventions passées et présentes.