tag:blogger.com,1999:blog-65371805517207930982024-03-05T07:34:58.109+00:00architectural grammarShapzhttp://www.blogger.com/profile/06014923207527627721noreply@blogger.comBlogger238125tag:blogger.com,1999:blog-6537180551720793098.post-73450731907907859672011-11-21T22:55:00.022+00:002011-11-23T00:12:30.981+00:00Crise ou transição?<div><div align="justify"><div><div><div><div><div><div><div><font face="verdana">Há muito que a crise na Arquitectura, enquanto profissão, está instalada. Este é de facto um dos temas mais falados por entre arquitectos e aspirantes a arquitectos. Em Portugal, há pelo menos uma década que jovens arquitectos e até mesmo ateliês de alguma dimensão se tentam reinventar na tentativa de se destacarem tentando por um lado, de se libertar de linguagens e modelos "caducos", e por outro de se aproximarem mais perto da sociedade. </font></div><font face="verdana"><div><br />Nos últimos 20 anos, os avanços tecnológicos e a revolução na mundo da internet veio não só permitir um grande avanço e rapidez na formulação dos mais diversos conceitos de projecto mas também auxiliar em grande medida nas suas mais diversas formas de representação tais como modelos 3D, animação, pormenorização, etc. A internet abriu a grande porta à discussão nesta área e é efectivamente responsável por estabelecer pontes entre profissionais, estudantes e/ou até mesmo curiosos. Há muito que em Portugal a Arquitectura estava afastada da Cultura e o seu contacto era feito através de revistas e publicações da especialidade tendo como principal alvo o arquitecto.</div><div><br />Felizmente tenho observado que esse tempo, essa era, culminou. A Arquitectura passou então a fazer parte da programação dos canais de televisão e tem se registado um aumento de colunas sobre o tema em revistas e jornais. Claro está que esta mudança cultural e intelectual ainda nada ou pouco se reflecte no volume de trabalho que muitos tanto anseiam. O lado positivo é que finalmente a Arquitectura está mais presente e em diálogo com a sociedade e isso irá sem dúvida reverter o estado actual da profissão.<br /></div><div>Muitos problemas têm sido identificados e explorados por entre jornais, blogues, revistas, etc, e por isso não quero desenvolver este tópico. No entanto a manifestação do problema do Arquitecto e da Arquitectura É o tema da actualidade, não fosse este um momento de transição económica, social mas fortemente cultural. Muitos chamam-lhe de crise... eu cá prefiro palavras como as de reflexão ou transição.<br /></div><div>Abaixo deixo o link para mais uma crónica sobre este último tema escrita pelo colega Tiago Mota e extraída do P3 do jornal <strong>"<a href="http://p3.publico.pt/cultura/arquitectura">O Público</a>".</strong> </div></font><div><p></p></div><div><font face="Verdana"></font> </div><div><p><strong></strong></p></div><div align="center"><font style="color: rgb(0, 0, 0);" size="4" face="verdana"><strong>Doce Controversa Arquitectura!</strong></font></div><div><font face="verdana"> </font></div><div><font face="verdana"> <img style="margin: 0px auto 10px; width: 400px; height: 266px; text-align: center; display: block; cursor: pointer;" id="BLOGGER_PHOTO_ID_5677604696289776626" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUuY6-byn35V-OJ1HkFCcPLyxiKkBpmMFnXd2X3fB9L6F5JybAmcKbKWuNOyp7qmQ8dcYThHRQeJLnYbitxbcZVc8RV5sX6iW67dmPWXWsGzK-MwHnlj7VxUhH4CYVgkBGFdXaBYZKAs/s400/arq_solarviladoconde_LJ.jpg" /></font><p></p></div><div><font face="verdana"> <font size="2">Texto: <strong>Rodrigo</strong> <strong>Ferreira</strong> <strong>Rodrigues</strong></font></font></div><div><font face="verdana"><font size="2">Imagens: <strong>Lara</strong> <strong>Jacinto</strong>, in "</font><a href="http://p3.publico.pt/cultura/arquitectura"><font size="2"><strong>O</strong> <strong>Público</strong></font></a></font><font size="2">"</font></div></div></div></div></div></div></div></div></div>Shapzhttp://www.blogger.com/profile/06014923207527627721noreply@blogger.com16tag:blogger.com,1999:blog-6537180551720793098.post-90075867922867547082011-11-02T19:40:00.001+00:002011-11-02T19:42:59.657+00:00Useless? A Dor errante<div style="text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;"><strong>De Hans Maier-Aichen e Max Bruinsma<o:p></o:p></strong></span></span></div><div style="text-align: justify;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-C9RINqJzYe4/TrGaWIF4xLI/AAAAAAAAGJY/iIu5ijBuNL8/s1600/04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-C9RINqJzYe4/TrGaWIF4xLI/AAAAAAAAGJY/iIu5ijBuNL8/s640/04.jpg" width="522" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">Quando Phillippe Starck afirmou que “o design é absolutamente inútil”, tocou num nervo sensível. Afinal, a história do design está carregada da ideia modernista de utilidade. Desde inícios do século XX, o funcionalismo tem feito parte do ADN do design, enfatizando as características intrínsecas de um produto e em que medida este satisfaz as necessidades do utilizador.<o:p></o:p></span></span></div><div style="text-align: justify;"></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">Mas no actual mercado de massas, o enfoque transitou: a produção é direccionada em função da geração de receitas, e maximizar vendas com o mínimo de custos parece ter-se tornado principal objectivo do design. A funcionalidade básica de um produto é agora a sua capacidade de ir a reboque da mais recente e lucrativa tendência de mercado. E para esse efeito, cópias baratas são melhores que originais dispendiosos. <o:p></o:p></span></span></div><div style="text-align: justify;"></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">Em parte alguma se consegue experienciar mais intensamente este afunilamento – ou simplificação redutora – do que se considera funcional que nas feiras para profissionais: uma sucessão infindável das ditas últimas tendências. Para o observador que vagueia por estes vastos bazares de imitações e cópias a viagem é dolorosa. Mais que pés doridos, o que prevalece é a dor na alma. A esmagadora maioria daquilo que se celebra como “novo” é perfeitamente intercambiável com as novidades do ano anterior. A esmagadora maioria é redundante. <o:p></o:p></span></span></div><div style="text-align: justify;"></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">Um dos conceitos fulcrais do funcionalismo – suprimir a redundância, quer do desenho do próprio objecto quer do seu processo de produção – foi subvertido para o seu oposto: celebrar a redundância como a forma mais eficaz, do ponto de vista da rentabilidade, de simular inovação. Assim, numa interpretação simplista do funcionalismo, o que se considera sem utilidade do ponto de vista comercial é eliminado do projecto. A variação em aberto – este mecanismo essencial da evolução – é minimizada. A dialéctica de tentativa e erro cessa. <o:p></o:p></span></span></div><div style="text-align: justify;"></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">Nos anos 80 do século passado, houve um momento em que se pensou que a relação do design com a ideologia modernista do útil havia sido descontinuada, tomando uma direcção radicalmente diferente. O que foi o pós-modernismo senão uma tentativa espirituosa de quebrar com o regime da utilidade, enaltecer o capricho e louvar a forma?<o:p></o:p></span></span></div><div style="text-align: justify;"></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">Do ponto de vista funcionalista, o pós-modernismo pode ter celebrado o “ruído”, mas veio igualmente complementar os genes mais mundanos de resolução de problemas do design, focando as suas raízes culturais.<o:p></o:p></span></span></div><div style="text-align: justify;"></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">Permitiu restabelecer a ligação do design à função simbólica que desde tempos imemoriais tem sido o território das artes “aplicadas” ou decorativas. Esta fonte interminável de ornamentações aparentemente inúteis e de objectos sem aparente finalidade prática serviam não apenas como sinal de preciosismo e status, mas sobretudo como uma expressão de valor cultural – de civilização, por assim dizer. <o:p></o:p></span></span></div><div style="text-align: justify;"></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">As artes decorativas são o domínio de antigos processos e técnicas artesanais altamente desenvolvidas que hoje estão quase exclusivamente associadas a raros e caros objectos de coleccionador – bem como à tradição. Mas cada vez mais, esta é também a arena da experimentação com novas formas, materiais e processos de produção, bem como para o confronto crítico entre forma e função – precisamente o tipo de exploração em aberto que foi eliminada pela indústria mainstream como sendo pouco rentável.Muitos dos objectos de luxo e extrema sofisticação daí resultantes são hoje chamados de “design de arte”. Rejeitam noções banais de utilidade e podem mesmo parecer estar a anos luz da responsabilidade do design em resolver os problemas do “mundo real”, nas célebres palavras proferidas pelo decano do design sustentável, Victor Papanek, há trinta anos atrás.<o:p></o:p></span></span></div><div style="text-align: justify;"></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">Mas apontam igualmente para um redireccionar das quantidades colossais de recursos energéticos, materiais e humanos, canalizados para o desenho de bens de consumo produzidos em massa Apontam para um novo – ou renovado – paradigma de desenho, produção e consumo conscientes de produtos mais preocupados em fazer sentido de forma sustentável que em ter lucro a qualquer preço.<o:p></o:p></span></span></div><div style="text-align: justify;"></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">O objectivo de Useless? A Dor Errante é encontrar as repercussões do “ruído” na temática do uso. Levantar questões a partir do confronto entre o que parece “sem uso” e o que aparenta ser funcional; entre consumo ostensivo e os fundamentos culturais do uso. <o:p></o:p></span></span></div><div style="text-align: justify;"></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="mso-ansi-language: PT;"><span style="font-family: Calibri;">Transferindo o nosso enfoque da eficácia de mercado para a dialéctica de exploração, a exposição explora o proveito do “sem uso”.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
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</div><div style="text-align: justify;"></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-86250721518978411392011-07-31T12:45:00.002+01:002011-07-31T12:47:37.138+01:00Siedlung Affoltern Apartements<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-sYIdA16TByk/TjU2Wrt2U-I/AAAAAAAAGH0/Sd5WBCQbVcQ/s1600/P1080034a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="324" src="http://1.bp.blogspot.com/-sYIdA16TByk/TjU2Wrt2U-I/AAAAAAAAGH0/Sd5WBCQbVcQ/s640/P1080034a.jpg" width="640" /></a></div><br />
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<div style="text-align: justify;"><span style="font-family: "Verdana","sans-serif"; mso-ansi-language: PT;">O edifício longitudinal que se dispõem ao longo da Wehntalerstrasse, Affoltern em Zürich transforma-se num pedestal público sobre o qual<span style="mso-spacerun: yes;"> </span>descansam pequenos blocos<span style="mso-spacerun: yes;"> </span>criando uma dialéctica urbana contra o espaço verde que foi projectado no interior do quarteirão. No piso térreo da construção longitudinal (paralelo à Wehntalerstrasse) podemos encontrar espaços comerciais, os acessos ao interior do quarteirão mas também a administração desta cooperativa habitacional. Este modelo de habitação permite um acesso mais imediato à habitação, indo ao encontro dos jovens e famílias com recursos reduzidos. </span><span style="font-family: "Verdana","sans-serif"; line-height: 115%; mso-ansi-language: PT; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">A característica principal dos apartamentos reside no modo como estes estão estruturados em relação directa com as generosas varandas que permitem a extensão da habitação para o exterior, promovendo o contacto com a Natureza envolvente.</span></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-pgTCmJG7azo/TjU3-Rye38I/AAAAAAAAGJE/mHw7od3zh7o/s1600/Interior+03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-pgTCmJG7azo/TjU3-Rye38I/AAAAAAAAGJE/mHw7od3zh7o/s640/Interior+03.jpg" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-RA3Vg-gkt2E/TjU3-1qwVDI/AAAAAAAAGJI/x1xc4dvWq2M/s1600/Interior+04.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="404" src="http://3.bp.blogspot.com/-RA3Vg-gkt2E/TjU3-1qwVDI/AAAAAAAAGJI/x1xc4dvWq2M/s640/Interior+04.jpg" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-2OctStp23d0/TjU3_Db4aXI/AAAAAAAAGJM/DOCqq94-AHY/s1600/Interior+01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-2OctStp23d0/TjU3_Db4aXI/AAAAAAAAGJM/DOCqq94-AHY/s640/Interior+01.jpg" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-CMqYvQhI6DA/TjU3_vLLLLI/AAAAAAAAGJQ/_3Mm60lNfFg/s1600/Interior+02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="410" src="http://2.bp.blogspot.com/-CMqYvQhI6DA/TjU3_vLLLLI/AAAAAAAAGJQ/_3Mm60lNfFg/s640/Interior+02.jpg" width="640" /></a></div><span style="font-family: Verdana, sans-serif;">Images credits: <strong>João Amaral & Müller Sigrist Architekten</strong></span><br />
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<span style="font-family: Verdana, sans-serif;"><strong>Architects:</strong> <a href="http://www.muellersigrist.ch/#siedlung-frohheim"><span style="color: #cc0000;">Müller Sigrist Architekten</span></a></span><br />
<span style="font-family: Verdana, sans-serif;"></span><span style="font-family: Verdana, sans-serif;"><strong>Location:</strong> Wehntalerstrasse, Affoltern, Zürich, Switzerland </span><br />
<span style="font-family: Verdana, sans-serif;"><strong>Construction:</strong> 2005-20010</span>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-24655790556784911442011-06-08T17:59:00.005+01:002011-06-08T18:02:33.254+01:00Project S<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">It used to be that the best architects did the biggest work, while the smaller work was left to all the other ones. Now, it is the opposite. While Pritzker Prize-winning architects are designing clean-sharp tap’s and cutlery, unknown developer-architects are building entire cities from the ground-up in the Middle East and China. In the age of the “scratch-built metropolis”¹, the call for (good) architects to return to big design is more critical than ever. Where have all the “big-design” architects gone? Can large-scale design ever be glamourous again? Will we ever see a master plan in <a href="http://www.wallpaper.com/"><span style="color: #cc0000;">Wallpaper</span></a> magazine?</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><span style="font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">As China plans to set up 20 new cities annually in the coming 20 years², there will be millions more. Historically, tasks of this scale and magnitude would have been awarded to the world’s leading architects. Le Corbusier´s masterplan for Chandigarh, Lúcio Costa’s vision for Brasilia, or Haussamann´s rebuilding of Paris – these were the big visions on a large scale, each plan looking at the city as an integrated whole.</span></div><span style="font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Now almost 15 years after the “death of urbanism”, there is a generation of architects whose scepticism of the “macro” has led them to steer clear of any large-scale work. Instead they are focused in smaller scale projects they can control. Interiors, furniture, a specific material, a fabrication technique... over time, everyone becomes a specialist in one tiny, digestible facet of the field. These projects are easy to understand and they are easy to digest. If a project can´t be explained by a sound bite and a image, if it can´t fit on a spread in <a href="http://www.mark-magazine.com/"><span style="color: #cc0000;">MARK</span></a> Magazine, it is clumsy and uncool. And why not? Architects are enjoying the benefits of being in fashion. More media coverage means more attention, more money, and more freedom to pursue small, glamorous projects. Wallpaper architects get invited to lot more parties than city planners.</span><br />
<span style="color: white; font-family: Verdana;">.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">1. D. Mcgray. ‘Pop-Up Cities: China Builds a Bright Green Metropolis’, Wired Magazine, Issue 15.05</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">2. ‘Twenty New Cities to Be Set Up in China Every Year’, People´s Daily, 2000.</span> <br />
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">In: Visionary Cities.</span> <br />
<span style="color: white;">.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-Ru78wl8_jVE/Te-qBfYMRVI/AAAAAAAAGGY/P-HPTzkCH6c/s1600/Souto+de+Moura_torneiraA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="476" src="http://4.bp.blogspot.com/-Ru78wl8_jVE/Te-qBfYMRVI/AAAAAAAAGGY/P-HPTzkCH6c/s640/Souto+de+Moura_torneiraA.jpg" t8="true" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-KePfIq5aKus/Te-qEXfCFbI/AAAAAAAAGGc/hLIrJTkoLlM/s1600/MARK.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="474" src="http://2.bp.blogspot.com/-KePfIq5aKus/Te-qEXfCFbI/AAAAAAAAGGc/hLIrJTkoLlM/s640/MARK.png" t8="true" width="640" /></a></div><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">Graphics credits: <strong>João Amaral</strong></span>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-6533719419071581052011-06-07T23:02:00.002+01:002011-06-08T16:33:33.874+01:00Social Contradictions - A housing issue<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-NQli9m_tJGg/Te6fszsGYnI/AAAAAAAAGF8/PyLvw8_tyCE/s1600/for+sale.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="482" src="http://1.bp.blogspot.com/-NQli9m_tJGg/Te6fszsGYnI/AAAAAAAAGF8/PyLvw8_tyCE/s640/for+sale.png" t8="true" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-RXRG7uRD86Y/Te6fvhzZMxI/AAAAAAAAGGA/S5v5UVwl6sA/s1600/house+wanted.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="http://3.bp.blogspot.com/-RXRG7uRD86Y/Te6fvhzZMxI/AAAAAAAAGGA/S5v5UVwl6sA/s640/house+wanted.png" t8="true" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Graphics credits: <strong>João Amaral</strong></span></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-5417639125046817292011-06-07T22:11:00.002+01:002011-06-08T16:34:50.001+01:00Skysckraper ON HOLD!<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">As if on an assembly line driven by market protocols, city after city around the world has stamped out the same inevitable pattern of urban development: Industry out (port, factory, mill), developer in (condo, housing, boardwalk, marina complex). We have relied on the predictable fluctuations of the market to tell us what to do, where to build, and what to design, but we have suddenly lost our beacon. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Without emerging markets, without money, without incentives, architects around the world are now without prospects. Is it hopeless, or can we imagine new models of development in the wake of near economic collapse? </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Can we use this crisis as an opportunity to break away from our current tendencies, to escape from urbanism autopilot? This could be just the thing our cities needed.</span></div><span style="font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif; font-size: large;"><span style="font-family: Verdana, sans-serif; font-size: small;">Right now,</span><strong> the projected five tallest buildings </strong><span style="font-size: small;">on each of the five continents</span><strong> are on hold.</strong></span></div><span style="font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Based on: <a href="http://uk.reuters.com/article/2009/03/23/financial-skyscrapers-idUKLNE52M00B20090323"><span style="color: #cc0000;">A. Stern, ‘Global recession stalls skyscraper construction’</span></a> Reuters UK (March 2009).</span></div><div style="text-align: justify;"><span style="font-family: Verdana; font-size: x-small;">In: Visionary Cities.</span></div><span style="font-family: Verdana, sans-serif;"></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-xWJ0Oaqn1mM/Te6TwhGmK_I/AAAAAAAAGFk/9CbSVIGxzp8/s1600/chicago_spire.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="628" src="http://2.bp.blogspot.com/-xWJ0Oaqn1mM/Te6TwhGmK_I/AAAAAAAAGFk/9CbSVIGxzp8/s640/chicago_spire.png" t8="true" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-Gh0Ol4-p8pE/Te6TyTOKBSI/AAAAAAAAGFo/F6CzoQIDNLo/s1600/DUBAI+TOWERS.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="628" src="http://1.bp.blogspot.com/-Gh0Ol4-p8pE/Te6TyTOKBSI/AAAAAAAAGFo/F6CzoQIDNLo/s640/DUBAI+TOWERS.png" t8="true" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-d9m-3OHc4VQ/Te6T0fGxK9I/AAAAAAAAGFs/dh-ZGJ7ffIE/s1600/Gran+Torre+Costanera.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="630" src="http://4.bp.blogspot.com/-d9m-3OHc4VQ/Te6T0fGxK9I/AAAAAAAAGFs/dh-ZGJ7ffIE/s640/Gran+Torre+Costanera.png" t8="true" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-ScPkAuPc5wk/Te6T3Om-08I/AAAAAAAAGFw/2jMBgs8K158/s1600/nakheel+tower.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="630" src="http://2.bp.blogspot.com/-ScPkAuPc5wk/Te6T3Om-08I/AAAAAAAAGFw/2jMBgs8K158/s640/nakheel+tower.png" t8="true" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-TEV_6SYKAr4/Te6T5AqyrTI/AAAAAAAAGF0/rnQj5xL8lZA/s1600/Russia+Tower.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="630" src="http://4.bp.blogspot.com/-TEV_6SYKAr4/Te6T5AqyrTI/AAAAAAAAGF0/rnQj5xL8lZA/s640/Russia+Tower.png" t8="true" width="640" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Graphics credits: <strong>João Amaral</strong></span></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-11305639446548752282011-06-07T20:28:00.000+01:002011-06-07T20:28:29.182+01:00Oscar Niemeyer Footbridge - Rocinha, Brazil<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The FIFA World Cup is heading to Brazil in 2014 and the Olympics to Rio de Janeiro in 2016. Curving into Rocinha, Rio's largest favela, is a new concrete footbridge designed by Oscar Niemeyer, now 103 years old. The bridge is the product of an ambitious and ongoing attempt to improve Rio’s notorious favelas in time for the global sporting events.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><span style="font-family: Verdana, sans-serif;"><div style="text-align: justify;"><br />
</div></span><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The government initiative – Morar Carioca (Living Rio) – involves hundred of Brazilians designers who are instigating radical and diverse urban interventions in city’s slums. Rocinha is extremely volatile: larger areas are run by drug lords, whose ongoing battles with the police frequently result in disturbingly violent shoot-outs. The favelas have a colourful and rich environment but a highly unsafe one.</span></div><span style="font-family: Verdana, sans-serif;"><div style="text-align: justify;"><br />
</div></span><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Only in the past 20 years have the favelas begun to be recognized as a legitimate part of the city. Rio has moved away from the idea of uprooting them and displacing their residents to poorly executed social housing. The economic stimulus of the upcoming events is enabling the successful integration of the favelas into the city by creating community buildings and new public space, improving infrastructure and taking back control from the drug traffickers.</span></div><span style="font-family: Verdana, sans-serif;"><div style="text-align: justify;"><br />
</div></span><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The bridge is a dynamic example of such integration. It establishes a pedestrian path over a busy main road and connects a major favela to a new sports facility, while further contributing to Rocinha’s strong identity. Niemeyer’s design, which he gave free to the city in which he grew up, is a typically grand concept but one that has been executed humbly, constructed on a human scale from locally prevalent concrete, it is a simple and absent of detail.</span></div><span style="font-family: Verdana, sans-serif;"><div style="text-align: justify;"><br />
</div></span><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The bridge is a gesture, emblematic of Rio’s changing attitudes towards the favelas.</span></div><span style="font-family: Verdana, sans-serif;"><div style="text-align: justify;"><br />
</div></span><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><strong>Text: Peter Dykes in Mark Magazine</strong></span></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-gjW4NRSqEo4/Te57guKOPSI/AAAAAAAAGFY/6BlE7fr21mE/s1600/100627_f_029.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="334" src="http://4.bp.blogspot.com/-gjW4NRSqEo4/Te57guKOPSI/AAAAAAAAGFY/6BlE7fr21mE/s640/100627_f_029.jpg" t8="true" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-osCjKmviTtI/Te57h4jfMcI/AAAAAAAAGFc/ShXN8wSrHek/s1600/d124firao163wr0rmzz8z83i9.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="http://2.bp.blogspot.com/-osCjKmviTtI/Te57h4jfMcI/AAAAAAAAGFc/ShXN8wSrHek/s640/d124firao163wr0rmzz8z83i9.jpg" t8="true" width="480" /></a></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-63767524721420670282011-06-04T18:12:00.002+01:002011-06-04T18:15:36.935+01:00Sol LeWitt, Master of Conceptualism<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-I_R7n9T9Z_Y/TepnC6OMCxI/AAAAAAAAGFQ/tvvmgs2U7Po/s1600/lewitt01dailyicon.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="280" src="http://1.bp.blogspot.com/-I_R7n9T9Z_Y/TepnC6OMCxI/AAAAAAAAGFQ/tvvmgs2U7Po/s400/lewitt01dailyicon.jpg" t8="true" width="400" /></a></div><div style="text-align: justify;"><br />
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<span style="font-family: Verdana, sans-serif;">LeWitt helped establish Conceptualism and Minimalism as dominant movements of the postwar era. A patron and friend of colleagues young and old, he was the opposite of the artist as celebrity. He tried to suppress all interest in him as opposed to his work; he turned down awards and was camera-shy and reluctant to grant interviews. He particularly disliked the prospect of having his photograph in the newspaper. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><span style="font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">His work — sculptures of white cubes, or drawings of geometric patterns, or splashes of paint like Rorschach patterns — tested a viewer’s psychological and visual flexibility. See a line. See that it can be straight, thin, broken, curved, soft, angled or thick. Enjoy the differences. The test was not hard to pass if your eyes and mind were open, which was the message of Mr. LeWitt’s art. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">He reduced art to a few of the most basic shapes (quadrilaterals, spheres, triangles), colors (red, yellow, blue, black) and types of lines, and organized them by guidelines he felt in the end free to bend. Much of what he devised came down to specific ideas or instructions: a thought you were meant to contemplate, or plans for drawings or actions that could be carried out by you, or not. </span><span style="font-family: Verdana, sans-serif;"><br />
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<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Sometimes these plans derived from a logical system, like a game; sometimes they defied logic so that the results could not be foreseen, with instructions intentionally vague to allow for interpretation. Characteristically, he would then credit assistants or others with the results. With his wall drawing, mural-sized works that sometimes took teams of people weeks to execute, he might decide whether a line for which he had given the instruction “not straight” was sufficiently irregular without becoming wavy (and like many more traditional artists, he became more concerned in later years that his works look just the way he wished). But he always gave his team wiggle room, believing that the input of others — their joy, boredom, frustration or whatever — remained part of the art. </span></div><span style="font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>In so doing, Mr. LeWitt gently reminded everybody that architects are called artists — good architects, anyway — even though they don’t lay their own bricks, just as composers write music that other people play but are still musical artists. Mr. LeWitt, by his methods, permitted other people to participate in the creative process, to become artists themselves.</strong></span><span style="font-family: Verdana, sans-serif;"><br />
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<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Eye-candy opulence emerged from the same seemingly prosaic instructions he had come up with years before. A retrospective in 2000, organized by the San Francisco Museum of Modern Art, which traveled to the Whitney Museum of American Art in New York and the Museum of Contemporary Art in Chicago, concluded with some of these newly colorful wall drawings. (Mr. LeWitt always called them drawings, even when the medium became acrylic paint.) </span></div><span style="font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Some people who had presumed that Mr. LeWitt’s Conceptualism was arcane and inert were taken aback. He began making colored flagstone patterns, spiky sculptural blobs and ribbons of color, like streamers on New Year’s Eve, often as enormous decorations for buildings around the world. It was as if he had devised a latter-day kind of Abstract Expressionism, to which, looking back, his early Conceptualism had in fact been his response.</span><span style="font-family: Verdana, sans-serif;"><br />
</span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">He decided to reduce art to its essentials, “to recreate art, to start from square one,” he said, beginning literally with squares and cubes. But unlike some strict Minimalists, Mr. LeWitt was not interested in industrial materials. He was focused on systems and concepts — volume, transparency, sequences, variations, stasis, irregularity and so on — which he expressed in words that might or might not be translated into actual sculptures or photographs or drawings. To him, ideas were what counted. </span><span style="font-family: Verdana, sans-serif;"><br />
</span><span style="font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">At the time, linguistic theorists were talking about words and mental concepts as signs and signifiers. Mr. LeWitt was devising what you might call his own grammar and syntax of cubes and spheres, a personal theory of visual signs. It was theoretical, but not strictly mathematical. Partly it was poetic. He began with propositions for images, which became something else if they were translated into physical form by him or other people.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><br />
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<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">He also liked the inherent impermanence of Conceptual art, maybe because it dovetailed with his lack of pretense: having started to make wall drawings for exhibitions in the 1960s, he embraced the fact that these could be painted over after the shows. (Walls, unlike canvases or pieces of paper, kept the drawings two-dimensional, he also thought.) He wasn’t making precious one-of-a-kind objects for posterity, he said. Objects are perishable. But ideas need not be. </span><span style="font-family: Verdana, sans-serif;"><br />
</span><span style="font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">“Conceptual art is not necessarily logical,” he wrote in an article in Artforum magazine in 1967. “The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable.”</span><span style="font-family: Verdana, sans-serif;"><br />
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<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">To the sculptor Eva Hesse, he once wrote a letter while she was living in Germany and at a point when her work was at an impasse. “Stop it and just DO,” he advised her. “Try and tickle something inside you, your ‘weird humor.’ You belong in the most secret part of you. Don’t worry about cool, make your own uncool.” He added: “You are not responsible for the world — you are only responsible for your work, so do it. And don’t think that your work has to conform to any idea or flavor. It can be anything you want it to be.” </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Gary Garrels, a curator who organized Mr. LeWitt’s retrospective for San Francisco in 2000, said: “He didn’t dictate. He accepted contradiction and paradox, the inconclusiveness of logic.”</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">He took an idea as far as he thought it could go, then tried to find a way to proceed, so that he was never satisfied with a particular result but saw each work as a proposition opening onto a fresh question. Asked about the switch he made in the 1980’s — adding ink washes, which permitted him new colors, along with curves and free forms — Mr. LeWitt responded, “Why not?” </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">He added, “A life in art is an unimaginable and unpredictable experience.”</span><br />
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<span style="font-family: Verdana;"><em><strong>In:</strong> <a href="http://www.nytimes.com/2007/04/09/arts/design/09lewitt.html?pagewanted=2"><span style="color: #cc0000;">The New York Times</span> </a></em></span></div><div style="text-align: justify;"><br />
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</div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com1tag:blogger.com,1999:blog-6537180551720793098.post-57280744054470499602011-05-04T22:23:00.001+01:002011-05-04T22:25:04.875+01:00Residential complex in the Paul-Clairmont-Strasse - Zurich<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Near the hospital Triemli in Zurich, the Rotach housing cooperative has managed to achieve a major residential complex, consisting mainly of large homes. This is a bar that sprawls over three to seven levels and, in addition to homes, also includes workshops, a garden children and a medical spaces.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><span style="font-family: Verdana, sans-serif;">The urban logic arrangement provided from the architects <a href="http://www.steibgeschwentner.ch/archiv/4/bild/?top=60&left=290"><span style="color: #cc0000;">Gmür & Steib</span></a> is the base of the building. Toward the noisy highway in north-east, it presents a perforated front relatively closed, while the main facade southwest, with a layer of staggered balconies, opens onto the quiet neighborhood.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">With a depth of 3.70 meters and a floor space of approximately 25 square meters , balconies are characterized by an unusual generosity.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">What is essential on this elevation is the staggered arrangement, which allows the creation of outdoor spaces on two levels. This avoids creating shadows in the living room, while because of the alternating position of their kitchens and windows placed high up, it was possible to avoid the prying eyes of neighbors.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Due to a zoning by day and night with a central corridor, depth on homes is skillfully used. Plans are free and flexible, while providing the necessary individual parts at a certain privacy. An interesting synthesis, which combines the advantages of a home classical pieces composed of independent to those of a continuous space fluid was found, generosity shown by the homes, this despite an economic framework binding.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Concrete has played a decisive role in the implementation of the concept; the skin of the building is fully realized as a concrete shell, which extends without expansion joint along the entire length of the bar. The facade was painted using a whitewash intended to homogenize and to ennoble the volume, while leaving reflected the structure of exposed concrete.</span></div><div style="text-align: justify;"><br />
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<span style="font-family: Verdana, sans-serif;">Images credits: <strong>João Amaral</strong></span><br />
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<span style="font-family: Verdana, sans-serif;"><strong>Architects:</strong> Gmur & Steib Architekten AG, Zürich</span><br />
<span style="font-family: Verdana, sans-serif;"><strong>Location:</strong> Paul Clairmont-Strasse, Zürich, Switzerland </span><br />
<span style="font-family: Verdana, sans-serif;"><strong>Construction:</strong> 2003-2006</span>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0Paul-Clairmont-Strasse, Zürich District, Suiça47.3666355 8.499799800000005247.3652725 8.4963823000000058 47.3679985 8.5032173000000046tag:blogger.com,1999:blog-6537180551720793098.post-79156984689346476882011-05-01T12:21:00.002+01:002011-08-26T19:10:49.057+01:00Conjunto Habitacional - Hofwiesenstrasse Zürich<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-TmLuFVChJwM/Tb0_qzyviDI/AAAAAAAAGBM/5olfDaTXslY/s1600/P1050848a.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" j8="true" src="http://4.bp.blogspot.com/-TmLuFVChJwM/Tb0_qzyviDI/AAAAAAAAGBM/5olfDaTXslY/s640/P1050848a.jpg" width="640" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-x1usr8InXxY/Tb1BS3Hg06I/AAAAAAAAGCc/3I_etcwcqA4/s1600/P1050885a.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" j8="true" src="http://1.bp.blogspot.com/-x1usr8InXxY/Tb1BS3Hg06I/AAAAAAAAGCc/3I_etcwcqA4/s640/P1050885a.jpg" width="640" /></a><span style="font-family: Verdana, sans-serif;"></span></div><span style="font-family: Verdana, sans-serif;">Images credits: <strong>João Amaral</strong></span><br />
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<span style="font-family: Verdana, sans-serif;"><strong>Autores:</strong> </span><span style="font-family: Times New Roman;"><span style="color: #cc0000; font-family: Verdana, sans-serif;"><a href="http://www.swiss-architects.com/althammer-hochuli/">Althammer Hochuli Architekten</a></span> </span><br />
<span style="font-family: Verdana, sans-serif;"><strong>Projecto:</strong> Complexo Habitacional</span><br />
<span style="font-family: Verdana, sans-serif;"><strong>Ano conclusão:</strong> 2011</span><br />
<span style="font-family: Verdana, sans-serif;"><strong>Localização:</strong> Hofwiesenstrasse em Zürich</span>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-53455064457883486512011-04-27T12:45:00.006+01:002011-04-27T12:52:09.628+01:00Chiesa di San Giovanni Battista at Mogno<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Seen from outside, the building is elliptical in shape, with a slanting roof and black and white stripes. The interior has a dizzying checkerboard design in the same colors. This is the church that was designed by the well-known architect, <a href="http://www.botta.ch/"><span style="color: #cc0000;">Mario Botta</span></a> - the Chiesa di San Giovanni Battista at Mogno. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Mogno is a small hamlet in the Maggia Valley (Val Lavizzara) at 1,180 m, which has only been used as a Maiensäss (assembly of houses in the mountains used during the cattle grazing period) since the 19th century. In 1986 an avalanche destroyed the church and about a dozen houses that were fortunately uninhabited. In the 1990s the Ticinese architect rebuilt the small church, which is dedicated to John the Baptist. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The innovative building made from alternating layers of native Peccia marble and Vallemaggia granite was extremely controversial, but eventually became a landmark that is known far beyond the borders of Switzerland. The church has no windows, and the interior (which seats about 15 people) is only illuminated by natural light streaming in through the glass roof.</span></div><div style="text-align: justify;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-gXwBVqJEFII/Tbf-XxvxOKI/AAAAAAAAGBE/fgDkV8828Bs/s1600/P1050555.JPG" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" j8="true" src="http://2.bp.blogspot.com/-gXwBVqJEFII/Tbf-XxvxOKI/AAAAAAAAGBE/fgDkV8828Bs/s640/P1050555.JPG" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Images credits: <strong>João Amaral</strong></span><br />
<strong><span style="color: white; font-family: Verdana;">.</span></strong></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Architects: <a href="http://www.botta.ch/Page/Sa%201998_113_Mogno_en.php"><span style="color: #cc0000;">Mario Botta</span></a>, Lugano <br />
Location: Mogno-Fusio, Maggia Valley , TI, Switzerland </span><br />
<span style="font-family: Verdana, sans-serif;">Commissioned: Mogno Church Reconstruction Association<br />
Construction: 1992-1998</span><br />
<br />
<span style="color: white; font-family: Verdana;">.</span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><span style="color: #666666;"><span style="font-family: Verdana, sans-serif;"><strong>Mario Botta – Philosopher Architect</strong></span> </span><br />
</div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;"></span></div><span style="color: #666666; font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="color: #666666;"><span style="font-family: Verdana, sans-serif;">"There are no aesthetics without ethics, there are no immoral aesthetics," Mario Botta tells me. The architect behind the recent Santo Volto Church views architecture as an almost spiritual duty. Like a baroque architect, he once said: "To build is a sacred act, an action that transforms a condition of nature into a condition of culture," Yet is Botta's striving for ethics and purity in architecture a reactionary stance from a national redoubt in Lugano or a personal crusade? Probably both.</span> </span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">Botta's work has a real sense of paradox, making him one of the most original architectural voices of our time. He is also notoriously difficult to define.</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">Crowned in his earlier career by Charles Jencks as a leading genius of 'postmodern classicism', Botta has since been described as a 'neorealist' and a 'fundamentalistic classicist'.</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">A decade ago he declared war on post modernism and what he saw as its resultant 'global Disneyland architecture'. One of the few living architects to have worked with Le Corbusier, Botta's sense of the epic is reflected in his opinions.</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">"I think architecture is a civil duty that relates to mankind, a social duty that concerns society and an ethical duty, as architecture can represent values related to the way we live," Botta tells me from his office in Lugano, the Alpine town that has inspired so much of his work since he opened his practice here in 1970. Separated by the Alps from the rest of Switzerland, Lugano is a suitably lofty base for Botta.</span><br />
</div><span style="color: #666666; font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;"><strong>Sensitive historical design</strong></span></div><div style="text-align: justify;"><span style="color: #666666;"><br />
</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">Much of his work has an awesome appreciation of history. You only have to visit the Church of San Giovanni Battista in the tiny mountain village of Mogno, with its walkway jutting into the mountains, to see this. "Architecture is the shape of history," he tells me. "Therefore it has to portray the expectations, hopes and contradictions of its own time.</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">"Architecture is a discipline that gives an order to the space in our life, therefore it can give a structure to the organisation of the space," says Botta. "Heidegger once said that man can only live when he is able to orient himself in a space, that's why the buildings in our cities have to offer some reference points that enable man to know his own space. You feel more comfortable when you are able to control the space around you." Unsurprisingly, he tells me that he thinks the German philosopher would have made a great architect.</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">Botta addresses his philosophical and spiritual questions using geometry, yet there is a hermetic defensiveness in his designs. He describes much of modern architecture as commercial, disposable and artificial. So, does he seek refuge from society by creating churches, offices and apartments that look like citadels?</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">"'Architecture is a discipline that gives an order to the space in our life,' says Botta.""The main idea of protection is part of architecture," he says. "Home remains in our subconscious as our shelter, our protection and these values are very important in a discipline like architecture." Does he, like Heidegger, see the natural world as separated from our eksistent essence by an abyss? "I don't think we can talk about natural world. The natural world is already modified by man's work and is constantly changing."</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">If anything, Botta's work seeks to improve the quality and appreciation of life. Indeed, the most important thing Botta learnt from Le Corbusier is that architecture can have a far-reaching influence on society.</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">"There are good examples like the Masters of Rationalism and Le Corbusier, who aimed to improve the quality of life," he says. "Then, there are others who work with rubbish."</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">It is not just Le Corbuisier who has had a profound influence on Botta. Between 1964 and 1969, Botta was at the Universitario di Architettura in Venice. During those years, through a combination of good luck and perseverance, he was able to make contact with three giants of the architectural world – Le Corbusier, Louis Kahn and Carlo Scarpa, one of his teachers and his thesis professor.</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">While Scarpa taught Botta the importance of a philosophical appreciation of material structure, Kahn, in particular, held a fascination for his reduction of architecture to the essentials. "He was the one who understood the limits of technological development and the need for going back to the origins," Botta explains, adding that "going back to the origins is in fact the strongest cultural element in a society that constantly focuses on the future."</span></div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;">"Botta addresses his philosophical and spiritual questions using geometry."Botta has strived throughout his career to merge his buildings into the landscape they exist in. His motivation stems from an almost primeval instinct to create shelter. "The primitive still exists in what's new in the society," he says. "Architecture has the ability to demonstrate these primitive values and this is something really important for me." Yet he also strives for simplicity in creating uncomplicated, expressive designs for both the metropolis and the mountains.</span><br />
<br />
<span style="color: #666666; font-family: Verdana;">via <a href="http://www.designbuild-network.com/features/feature1561/"><span style="color: #cc0000;">designbuild-network</span></a></span></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-12956103770000187182011-04-07T11:21:00.000+01:002011-04-07T11:21:54.812+01:00New Carver Apartments<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">At six stories tall, the New Carver Apartments doesn’t exactly tower over the Santa Monica Freeway that zips past its windows. Yet the drumlike structure is impossible to miss, even at 65 miles per hour. Los Angeles–based architect <a href="http://www.mmaltzan.com/"><span style="color: #cc0000;">Michael Maltzan’s</span></a> design is as formally iconic as the cylindrical Capitol Records building, which makes the fact that it was built for one of L.A.’s neediest populations—the chronically homeless—even more surprising than the novel architectural expression.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The client was the Skid Row Housing Trust, a nonprofit that has spent more than two decades building supportive housing—first by renovating dilapidated hotels near downtown L.A., then by embarking on new construction. The Rainbow Apartments (completed in 2006), Maltzan’s first building for the organization, is adjacent to Skid Row (otherwise known as Central City East), but the New Carver Apartments is farther afield, sited in South Park, a rapidly developing neighborhood near L.A. Live and the Staples Center.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The location is strategic on two levels. It houses residents in an area with access to transit and grocery stores, and it is a statement to Los Angeles: Affordable housing is not a blight that needs to be hidden away.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">“It is a controversial concept. When we first showed [Maltzan’s design] to the investors, they wondered why we were making such a dramatic building,” says Molly Rysman, the Trust’s director of special projects and external affairs. “We had to convince them that it doesn’t need to be bland. Affordable housing improves the neighborhood and creates an anchor in the community. It’s not about blending in, but about having an impact.”</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The interplay between urban fabric and the community that is fostered inside the 53,000-square-foot building begins with the ground floor, which hosts gathering spaces and tenant support services: a communal kitchen and garden, counseling rooms, and staff offices. There, Maltzan expressed the public character in exposed concrete, a choice inspired as much by the elevated freeway just outside the lobby doors as by the material’s economy and durability. The concrete continues into the central courtyard, forming a dramatic stairway (that also doubles as stadium seating).</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The New Carver’s 97 units loop around the central courtyard. Fins of custom-made bent galvanized sheet metal form a privacy screen around the 40-foot-diameter void and disguise the structural steel columns, roof drains, and guardrail posts. Individual apartments are efficient: At 304 square feet, they’re monastic studios with small kitchens—so residents rely on the shared spaces. They gather on the sixth-floor deck to smoke and take the occasional yoga class. Painted bright yellow, the space offers residents a sweeping view of the city.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">However, it takes a lounge and laundry room on the third floor to see Maltzan’s design at its most polemic. A window looks out over the freeway, and L.A. drivers can see through the thick, acoustic glass into the all-yellow space where the formerly homeless fold laundry, check e-mail, and watch TV. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">“The excruciating irony of the homeless is that because they are so much in the public view, they are shut off from the world. The building creates opportunities for public interactions, and gives them a chance to re-emerge,” explains Maltzan. “It is important that people see that [the residents] are part of the greater community—it’s not to put them on display, but to see them as real.” It’s a charged, eye-to-eye situation, a risky attempt to humanize an outcast group.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">And Maltzan’s employees take pride in having a quick and direct impact. “I’ve found that many of the people in the office are clamoring to be involved,” he says. “These projects have just as much potential to be ‘architecture’ as any of the projects we do. And because they are such a fundamental part of the urban, social, and political fabric of the city, architecture is even more necessary.”</span></div><div style="text-align: justify;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-qTYqETJmYGE/TZ2O5cH6gbI/AAAAAAAAF_Q/6uggSxEaEVE/s1600/Carver-Apt-MMA-1949.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="422" r6="true" src="http://3.bp.blogspot.com/-qTYqETJmYGE/TZ2O5cH6gbI/AAAAAAAAF_Q/6uggSxEaEVE/s640/Carver-Apt-MMA-1949.jpg" width="640" /></a></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Images credits: <strong>Iwan Baan</strong></span></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-36826169762174559002011-04-07T10:33:00.000+01:002011-04-07T10:33:51.414+01:00Rainbow Apartments<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Skid Row Housing – Rainbow Apartments, affordable housing project in Los Angeles was designed by <a href="http://www.mmaltzan.com/"><span style="color: #cc0000;">Michael Maltzan Architecture</span></a>. Located in an area of downtown Los Angeles, United States, becoming one of the largest homeless populations in the country, Skid Row Housing 43.000 sf Rainbow Apartments examines the role of creating a space in a transformation urban context and socio-economic extremes. As a dense mass of 6 floors, Skid Row Housing consists of 88 units of transitional housing with a series of common spaces such as a dining area, common kitchen, meeting rooms, gathering areas open air, and a laundry. In addition, the building includes offices and conference rooms on the ground to provide social services and workshops for tenants as part of their aid in the transition back into society.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The project deals with how to counter insularity and hermetic nature of the daily lives of residents amid concerns about the safety and security through the introduction of open and social spaces in order to enable their reintegration into public life. Arranged in a partially open U-shaped configuration of five floors of residential units cradle a central courtyard over a basement parking and administrative functions on the ground floor. A chain of public spaces and gathering places are carved out or extruded from the mass of eroding apparent solidity of the building, creating a variable depth of connection and views between the internal life of the court and the outside world.</span></div><div style="text-align: justify;"><br />
</div><span style="font-family: Verdana, sans-serif;">Also interesting this NY Times </span><a href="http://www.nytimes.com/2007/03/13/arts/design/13skid.html"><span style="color: #cc0000; font-family: Verdana, sans-serif;">article</span></a><span style="font-family: Verdana, sans-serif;"> about the project.</span> <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-_oy3nGno5Vo/TZ2EfVtleBI/AAAAAAAAF-I/s0kY_zO4LX0/s1600/Skid-Row-Housing-Rainbow-Apartments-exterior-architecture-building-at-night.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="624" r6="true" src="http://4.bp.blogspot.com/-_oy3nGno5Vo/TZ2EfVtleBI/AAAAAAAAF-I/s0kY_zO4LX0/s640/Skid-Row-Housing-Rainbow-Apartments-exterior-architecture-building-at-night.jpg" width="640" /></a></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-38748625281613981172011-03-28T21:16:00.000+01:002011-03-28T21:16:34.382+01:00Souto Moura wins the Pritzker Prize in 2011, the Nobel of architecture<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The atelier of the architect Eduardo Souto de Moura confirmed the public award of the Pritzker Prize 2011 world, the largest prize in the field of architecture.</span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-8OHMDb5BqFE/TZDpxwiAChI/AAAAAAAAF8k/-3wnAx7yJWk/s1600/334685.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="430" r6="true" src="http://2.bp.blogspot.com/-8OHMDb5BqFE/TZDpxwiAChI/AAAAAAAAF8k/-3wnAx7yJWk/s640/334685.jpg" width="640" /></a></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">"During the past three decades, Eduardo Souto Moura have produced a body of work that is of our time but also has echoes of traditional architecture. Its buildings have a unique ability to reconcile opposing characteristics, such as power and modesty, courage and boldness and subtlety, simplicity-at the same time" read the statement issued by the jury of the prize.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Among the projects mentioned, the jury highlighted the work of the Braga Municipal Stadium, commonly known as estádio AXA, built in an old quarry.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">"When I received the call to say that I would be awarded the Pritzker Prize, I couldn't believe it. After I received confirmation that was even true, and then realized the great honour which is the fact that it is the second time a Portuguese architect is chosen makes this even more important, "said Souto Moura, quoted in the statement.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Born in 1952 in Porto, Eduardo Souto Moura is the second Portuguese architect to receive this distinction, after Álvaro Siza Vieira won in 1992. The architect is, thus, names like Oscar Niemeyer (1988), Frank Gehry (1989), Norman Foster (1999) and Zaha Hadid (2004). Last year the Hyatt Foundation distinguished the Japanese Kazuyo Sejima and Ryue Nishizawa.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Among his best-known works include, besides the Estádio Municipal de Braga (2000/03), the House in Cascais, Casa das Artes in Porto (1981/91), the Metro station of the Trinity, the Centro de Arte Contemporânea de Bragança (2004/2008 )the Hotel of good success in Óbidos, the market town of Braga (1980/84), the Marginal de Matosinhos-South (1995), the Crematorium of Kortrijk (Belgium), the flag of Portugal in the 11th Venice Architecture Biennale (Italy) (1985) or Llabia (Spain).</span><span style="font-family: Verdana, sans-serif;"><br />
</span><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">In the same communiqué, in relation to the work of the architect, the jury underlines the confidence it has in Souto Moura "use a stone with over a thousand years or inspire a modern detail of Mies van der Rohe".</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Throughout his career, Souto Moura saw his work was recognized several times, having received the Prémio Pessoa (1998), the Prix Secil architectural (1992 and 2004), first prize Bienal Iberoamericana (1998), the international award Architecture in stone (1995)the Heinrich Tessenow Gold Medal (2001) and the International Prize for architecture in Chicago (2006).</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The architect of 58 years will receive the prize, worth 100 billion dollars (about 70 thousand euros), at a ceremony to be held in June in Washington, D.C.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Souto Moura, who is currently travelling, scored a press conference for the Hotel Flórida, Lisboa, 22 hours.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Created in 1979 by the Hyatt Foundation, headquartered in the United States, the Pritzker Prize is considered the Nobel of architecture. The award distinguishes a living architect each year for their exceptional work. </span></div><span style="font-family: Verdana, sans-serif;"><div style="text-align: justify;"><br />
</div></span><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Born on July 25, 1952 in Porto architect Eduardo Souto de Moura, recognised as one of the greatest names of Portuguese modern architecture, began his professional career alongside Siza Vieira, with whom he worked until 1980 for five years. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">In 1980, the architect graduated from the Escola Superior de Belas Artes do Porto, starting their activities as free-lance. In the same year, Souto Moura would receive its first prize, António de Almeida Foundation.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Throughout his career, the architect has been repeatedly approached to teach in the most prestigious schools of architecture, activity which began in 1981 at the Faculty of Architecture of the port, but that has led him to teach in the schools of Paris-Belleville, Harvard, Dublin, Zurich and Lausanne.</span></div><span style="font-family: Verdana, sans-serif;"><div style="text-align: justify;"><br />
</div></span><span style="font-family: Verdana, sans-serif;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFQK1V7qFG7wzPdS5fafM_SkK_1vXQUqbHKrU-fbEFvzTw8c6OHSxYDCPBd2bbO56NHd3zCzajwPSekj0QCwet9_c3VhwYykEXxsOkG2P7MTzFS58B1vR2fGPgOEENPVCHtYkLpA3Q8SuR/s1600/casa+das+historias.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="422" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFQK1V7qFG7wzPdS5fafM_SkK_1vXQUqbHKrU-fbEFvzTw8c6OHSxYDCPBd2bbO56NHd3zCzajwPSekj0QCwet9_c3VhwYykEXxsOkG2P7MTzFS58B1vR2fGPgOEENPVCHtYkLpA3Q8SuR/s640/casa+das+historias.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-lIlu9JjQ3lY/TZDpzOTidrI/AAAAAAAAF8s/mbBdTa8jIjs/s1600/casa+das+historias01.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" r6="true" src="http://4.bp.blogspot.com/-lIlu9JjQ3lY/TZDpzOTidrI/AAAAAAAAF8s/mbBdTa8jIjs/s640/casa+das+historias01.jpg" width="426" /></a></div><br />
<div class="separator" style="clear: both; text-align: left;"><strong><span style="font-size: x-small;">"Casa das Histórias" - Cascais - Lisbon</span></strong></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-bH20aqsJ7do/TZDrSbNJ4SI/AAAAAAAAF9Q/g1mw-GsBAH0/s1600/estac%25C3%25A3o+casa+da+musica01.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="456" r6="true" src="http://3.bp.blogspot.com/-bH20aqsJ7do/TZDrSbNJ4SI/AAAAAAAAF9Q/g1mw-GsBAH0/s640/estac%25C3%25A3o+casa+da+musica01.jpg" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-BdOJzYu4LSw/TZDp0wJMT5I/AAAAAAAAF80/82UjRdU_hrg/s1600/estac%25C3%25A3o+casa+da+musica.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="456" r6="true" src="http://2.bp.blogspot.com/-BdOJzYu4LSw/TZDp0wJMT5I/AAAAAAAAF80/82UjRdU_hrg/s640/estac%25C3%25A3o+casa+da+musica.jpg" width="640" /></a></div><strong><span style="font-size: x-small;"> "Casa da Música" Subway Station - Oport</span></strong><strong><span style="font-size: x-small;">o</span></strong><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-b59nkPDmSzU/TZDp1vvmGMI/AAAAAAAAF84/vqqOrPReba4/s1600/est%25C3%25A1dio+do+braga.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="396" r6="true" src="http://3.bp.blogspot.com/-b59nkPDmSzU/TZDp1vvmGMI/AAAAAAAAF84/vqqOrPReba4/s640/est%25C3%25A1dio+do+braga.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: x-small;"><strong>AXA Stadium Sporting de Braga - Braga</strong></span> </div><br />
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<a href="http://3.bp.blogspot.com/-ygfLKm4IBqM/TZDp3XsLx2I/AAAAAAAAF9A/knW7Mz75pgA/s1600/Serpentine+Pavillion.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="326" r6="true" src="http://3.bp.blogspot.com/-ygfLKm4IBqM/TZDp3XsLx2I/AAAAAAAAF9A/knW7Mz75pgA/s640/Serpentine+Pavillion.jpg" width="640" /></a> <br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-7g-ESlOdo8I/TZDp2pm663I/AAAAAAAAF88/7k5zWajulG8/s1600/Serpentine+Pavilion01.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="424" r6="true" src="http://4.bp.blogspot.com/-7g-ESlOdo8I/TZDp2pm663I/AAAAAAAAF88/7k5zWajulG8/s640/Serpentine+Pavilion01.jpg" width="640" /></a></div> <strong><span style="font-size: x-small;">Serpentine Pavilion - London</span></strong> <br />
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<a href="http://1.bp.blogspot.com/-X2q_31UZPE8/TZDp4WLk4wI/AAAAAAAAF9E/u3Iqc23kypM/s1600/Torre+Burgo.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" r6="true" src="http://1.bp.blogspot.com/-X2q_31UZPE8/TZDp4WLk4wI/AAAAAAAAF9E/u3Iqc23kypM/s640/Torre+Burgo.jpg" width="422" /></a> <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-GKCUlpO1b0Y/TZDp54BjHHI/AAAAAAAAF9I/wqMhaJq4I5U/s1600/Torre+Burgo01.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="454" r6="true" src="http://1.bp.blogspot.com/-GKCUlpO1b0Y/TZDp54BjHHI/AAAAAAAAF9I/wqMhaJq4I5U/s640/Torre+Burgo01.jpg" width="640" /></a></div><div style="text-align: justify;"> <strong><span style="font-size: x-small;">Burgo Tower - Oporto</span></strong></div></span></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-69014651723126071892011-03-27T13:57:00.000+01:002011-03-27T13:57:53.306+01:00The Programmed Wall - ETH Zurich<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">If the basic manufacturing conditions of architecture shift from manual work to digital fabrication, what design potential is there for one of the oldest and most widespread architectural elements -- the brick? Students investigated this question in a four-week workshop, designing brick walls to be fabricated by an industrial robot. Unlike a mason, the robot has the ability to position each individual brick in a different way without optical reference or measurement, i.e. without extra effort. To exploit this potential, the students developed algorithmic design tools that informed the bricks of their spatial disposition according to procedural logics. Positioning this way it was possible to draft a brick wall in which each of over 400 bricks took up a specific position and rotation in space. The students defined not the geometry of the wall, but the constructive logic according to which the material was organised in a particular temporal order, and which thus produced an architectonic form.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: left;"><span style="font-family: Verdana, sans-serif;">in:<span style="color: #cc0000;"> </span></span><a href="http://www.dfab.arch.ethz.ch/index.php?lang=e&this_page=lehre&this_page_old=&this_type=&this_year=&this_id=81"><span style="color: #cc0000; font-family: Verdana, sans-serif;">http://www.dfab.arch.ethz.ch/index.php?lang=e&this_page=lehre&this_page_old=&this_type=&this_year=&this_id=81</span></a></div><br />
<a href="http://2.bp.blogspot.com/-Nl6ZtKnj4MI/TY8vhd8bm_I/AAAAAAAAF7s/s90RFzso3Fk/s1600/P1040998.JPG" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="426" r6="true" src="http://2.bp.blogspot.com/-Nl6ZtKnj4MI/TY8vhd8bm_I/AAAAAAAAF7s/s90RFzso3Fk/s640/P1040998.JPG" width="640" /></a> <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-6YVvjSKiLLI/TY8xwBzDNqI/AAAAAAAAF8c/dIxEYPfgRTQ/s1600/060333_040_BilderDerDreiWaende_ML_054_WE.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="424" r6="true" src="http://3.bp.blogspot.com/-6YVvjSKiLLI/TY8xwBzDNqI/AAAAAAAAF8c/dIxEYPfgRTQ/s640/060333_040_BilderDerDreiWaende_ML_054_WE.jpg" width="640" /></a></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-21415544025240391682011-03-13T10:54:00.000+00:002011-03-13T10:54:30.017+00:00Álvaro Leite Siza - Fez House<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">This home and studio space, ‘the work of my life’ according to Álvaro Leite Siza, took 12 years to complete, assembling the site, designing the house, and then building it. The home’s size is almost statuesque with its lines and angles.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">“To do architecture it’s necessary a client, a promoter. When I realized, in certain moment of my career that to continue my path I would need to occupy that role too, I didn’t hesitate. I conciliated objectives, interests, goals, I pursued an ideal and I achieved a dream. I also had the need to be, in this work, supervisor, coordinator and project director, in an organization in direct administration. I started this work in 2004 and I finished it in early of 2005. The construction begins in February of 2006 and was concluded in July of 2010. The project of personal house-atelier is the first where is present touching figures in their own atmosphere, exalting pieces, personalities that derive from history, versus the sensibility, recreating individually realities, with no intention previously defined. They appear in the middle of delivery to ones believe beyond what we need (specific program and functional), sublimation underlying to authentic communication of the creative process.”</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">“Transitional spaces, the porticos, the lamps, the light, the doorknobs, the doors, the hand rails, even some paintings and the furniture was designed for me, but also other of XIX century (timeless pieces) that came from my family that fit the environment perfectly, beyond other elements, complement the creation of environments that exalt Mozart, Leonardo da Vinci, Miguel Angelo and surrounded by a lot of extraordinary Art works, that aren’t limited to the atmosphere of purely imaginary architectural.”</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">by Álvaro Leite Siza </span></div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Architects:</strong> Alvaro Leite Siza Vieira</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Location:</strong> Porto, Portugal</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Project Year:</strong> 2010</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Photographs</strong>: <a href="http://www.ultimasreportagens.com/"><span style="color: #cc0000;">FG+SG</span></a> – Fernando Guerra, Sergio Guerra</span></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-31493743457398604152011-03-05T13:31:00.001+00:002011-03-05T13:31:23.113+00:00Laufen Forum by Nissen & Wentzlaff<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The </span><a href="http://www.ch.laufen.com/wps/wcm/connect/LAUFEN_CH/BASE/HOME/"><span style="color: #cc0000; font-family: Verdana, sans-serif;">LAUFEN Forum</span></a><span style="font-family: Verdana, sans-serif;"> exhibition and visitor centre, completed in 2009 by architects,<span style="color: #cc0000;"> <a href="http://www.nwarch.ch/"><span style="color: #cc0000;">Nissen&Wentzlaff</span></a></span>, impressed the judges of this year’s Award for </span><a href="http://www.marketingarchitektur.ch/"><span style="color: #cc0000; font-family: Verdana, sans-serif;">Marketing + Architecture</span></a><span style="font-family: Verdana, sans-serif;">. LAUFEN Forum won the prize in the “Office and business premises, industrial and commercial buildings” category. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The building has a clearly defined concept. It is a meeting place dedicated to the LAUFEN brand. It includes a spacious section for exhibitions, test bathrooms and an area for training and presentations. The impressive 6,500 cubic metre large structure on Wahlenstrasse aims to offer a range of facilities and satisfy a variety of demands. Basel architect’s office Nissen & Wentzlaff designed the two-storey, made of exposed concrete virtually throughout. Viewed from the outside the building looks like a receptacle.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">And that is not far off the mark. When visitors walk around the building, or from a bird’s eye view, the building ultimately reveals itself to be a scaled replica of a familiar LAUFEN ceramic washbasin. Symbolically the building was cast in one piece exactly like its ceramic model. Unlike the product, the building does not contain water but the company’s products.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Economising on space, the architects situated the new LAUFEN Forum on the edge of a slope. Two thirds of the building project over a car park and the structure is only supported by one single, off-centre point. Several precisely defined radii determine the building’s free-form structure. This free-form structure was implemented with the aid of computer-aided milled templates in a concrete shell.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The two-storey concrete facade was cast in one mould, giving it a similar appearance throughout. The ceilings were added later on. The main entrance looks onto the street and offers disabled access. Visitors are received at an info desk and then walk around and view the exhibits. Starting upstairs, visitors first discover the exhibition booths, separated by partitions. These house a permanent exhibition of LAUFEN designer bathrooms. Test baths also invite the visitor to take a dip. The gallery is linked to the ground floor by two staircases.</span></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://lh5.googleusercontent.com/-N_xLxLqbcTM/TXI6Phgc7rI/AAAAAAAAF6A/dGFbYHpog5g/s1600/16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" l6="true" src="https://lh5.googleusercontent.com/-N_xLxLqbcTM/TXI6Phgc7rI/AAAAAAAAF6A/dGFbYHpog5g/s640/16.jpg" width="426" /></a></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-46075625988223160162011-03-03T21:32:00.001+00:002011-03-03T21:34:48.262+00:00House in Tokyo by Mamm-Design<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">With a 5.50 meter high covered terrace, complete with tree, in the center of their latest house, Akira and Maya Mada of <a href="http://www.mamm-design.com/minnanoie.htm"><span style="color: #cc0000;">Mamm-Design</span></a> escape the inevitably claustrophobic living situation in Tokyo. Take one step over the threshold of this whimsical home it´s as if you´re back outside in the open air. To achieve this level of comfort on a plot wedged between virtually identical prefab houses, no less than a third of the total surface are of 66m² was reserved for the terrace. With its grey brick floor and centrally positioned Evergreen Ash, it forms an attractive theatrical setting for everydau life. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><span style="font-family: Verdana, sans-serif;"></span><br />
<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">“Walking around the house we sometimes experience the garden room as totally outside, but at other times we experience it as part of the interior”, explains Akida Mada. “It´s the co-existence that gives this house its unique atmosphere”. Situated around the terrace are the kitchen, a studio, a study, the bathroom and the bedroom, all of which have and open connection with the central void. The terrace acts as a buffer between the two occupants working spaces, so that they don´t have to live in each other´s pockets. Using a modern interpretation of the concept of “borrowed scenery” by including the background landscape in the composition of a garden, the architect pair have managed to create a challenging balance between openness and privacy. “In a Japanese city, we have to leave a 50cm gap between neighbouring buildings to project the structures from earthquakes”, explains Akira Mada. “By carefully making openings towards those unused in-between spaces, our minds can extend beyond the borders of this tiny site. As a result, the interior feels much larger than its physical floor area would suggest”.</span></div><br />
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</div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-35835739303696421442011-03-03T15:14:00.000+00:002011-03-03T15:14:11.804+00:00Duplex House in Tokito by Hidehiro Fukuda architects<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The design concept is based on the traditional Japanese folded paper crane. These designs begin with a square sheet of paper and involve a lot of diagonal folding. The crane in Japan is a holy creature that is believed to make a person’s wish to come true; such as long life. The architect incorporated the notion of longevity in the design which consists of a single level house and a two level studio. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Two rectangles are arranged on the site. The first volume is set parallel to the existing park and accommodates the studio along two levels and the home’s living areas on ground level. The second volume is placed at an angle creating a triangular area between them used as an entrance, corridor and garden of the home accommodating its private spaces. Its transparent roof with little square windows are arranged irregularly brings the light in connecting the inhabitants to the outside. The interior walls and roof, lined with oriented strand board, provide a seamless continuation of space. White colour is used in corridors and to connect the rooms with each other.</span></div><br />
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<span style="font-family: Verdana, sans-serif;"><strong>Architects:</strong> <a href="http://www.hidehirofukuda.com/english/"><span style="color: #cc0000;">Hidehiro Fukuda architects</span></a></span><br />
<span style="font-family: Verdana, sans-serif;"><strong>Location:</strong> hakodate, hokkaido,japan</span><br />
<span style="font-family: Verdana, sans-serif;"><strong>Structural engineer:</strong> Ryozo Umezawa</span><br />
<span style="font-family: Verdana, sans-serif;"><strong>Project area:</strong> 152.28sqm<br />
<strong>Conclusion:</strong> 2010</span>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-7551095012794795132011-03-03T14:58:00.000+00:002011-03-03T14:58:32.204+00:00House of Trough by Jun Igarashi Architects<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><a href="http://www.designboom.com/weblog/cat/9/view/12445/jun-igarashi-architects-house-of-trough.html"><span style="color: #cc0000;">'house of trough'</span></a> by japanese studio <a href="http://jun-igarashi.web.infoseek.co.jp/"><span style="color: #cc0000;">jun igarashi architects</span></a> is a dwelling for a couple located east of hokkaido. the site, which is a less-than-desirable plot next to an iron factory, called for a design that limited the interior's visual interaction with the exterior to maintain a calm living atmosphere for the inhabitants.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">In order to ensure that the living space was sufficiently closed-off from outside site conditions, various programs of the house act as 'buffer zones' and are distributed accordingly to push certain spaces more inward than outward. the square-shaped plan sandwiches the living/dining/kitchen area between a service/storage volume to the north and a bedroom/storage volume to the south. this middle zone is largely devoid of windows but remains open vertically to promote a spacious quality. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Much like mezzanines, the two volumes to the sides remain open, enabling the inhabitants to overlook the rest of the house while still illuminating the lower level. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The south side accommodates a guest room in the partial basement, a bedroom on the ground floor and a generous storage space on the elevated level. the washroom and utility closet are housed on the north side with an additional lookout stoop accessible by a ladder. white translucent curtains act as temporary walls when needed. </span></div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Structural design:</strong> daisuke hasegawa & partners</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Construction:</strong> yamada industry co., ltd</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Structure:</strong> wood</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Storeys:</strong> 2</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Site area:</strong> 208.06 m2</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Total floor area:</strong> 98.44 m2</span></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-26138512999112411412011-03-03T13:38:00.000+00:002011-03-03T13:38:22.908+00:00House M by Jun Igarashi Architects<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">This is a house built by the japonese office <a href="http://jun-igarashi.web.infoseek.co.jp/"><span style="color: #cc0000;">Jun Igarashi Architects</span></a> in the centre of Hokkaido, on a very tight site. The neighboring houses vary in height and quite high buildings around it are expected to be built in the near future. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The design aspires to be autonomous and claims its own identity providing its inhabitants with a peaceful quiet ‘steady’ place. The architect took inspiration and makes references through his design to [orudosu] of the Mongol autonomous region of the People’s Republic of China, established in 1947. The House is a large space subdivided into smaller parts, achieving privacy at any time for all its inhabitants. A large corridor-like space, the hallway, is punctured showing leeway to the more private spaces whereas the double volume accommodating the main living areas unifies the social aspect of the home.</span> </div><div style="text-align: justify;"><br />
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</div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com1tag:blogger.com,1999:blog-6537180551720793098.post-87420816018009063902011-03-03T13:09:00.000+00:002011-03-03T13:09:24.472+00:00Space Block Hanoi by Kazuhiro Kojima<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">This is an experimental housing complex that sought to regenerate the shops-cum-houses in an old area of Hanoi, Vietnam. This district, popularly known as “the 36th street district”, is composed primarily of houses inhabited by traditionally large Chinese families. The buildings have narrow frontages and an unusually extended depth of 70-80 m. These high-density, low-rise buildings were considered to be a comfortable domestic environment until the changes of government in Vietnam during the 20th century. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Han,” became such a high-density city (1,000 people per hectare} that many families began to live together within one unit and even to transform courtyards into actual rooms. As a result the standard of living deteriorated. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>The porosity of space: where the breeze comes through.</strong></span></div><span style="font-family: Verdana, sans-serif;"><div style="text-align: justify;"><br />
</div></span><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The objective of this project was to make a lowemission, 4-storey townhouse that would not rely on air conditioning. Instead. good natural ventilation was established within a high density environment. Were the renewal of the old city to progress in accordance with this model, our research shows that it would be possible to realise an environmentally friendly model for a compact city. The porous layering of Space Blocks would achieve this. However, this project was finally built within the University campus. The porosity ratio (exterior ratio) is 50% and the courtyards intertwine three-dimensionally with the building volume itself. The way of stacking the boxes was determined by CFD (computer fluid dynamics) analysis and by ensuring privacy between neighbours.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The wind analysis that we implemented in this project became a starting point for how we conceive of an architecture with “fluid direction”. This approach seeks to design by flow, rather than by the organisation of objects in space. </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">We were able to create fluid design by having air movement where it would seem no air could flow. People in this area have the experience and knowledge to use such exterior spaces for a variety of activities , such as dining . There are only a few courtyards that are open to the sky; all exterior spaces are filled with strong natural light, coming from the north. A flat double roof shape was adopted in this project, since the flat roof is traditional in Vietnam. a country that used to be a French colony. The double roof reduces direct heat loads. The size and shape of vertical slits on the upper surface of the roof were also determined by CFD.</span></div><div style="text-align: justify;"><br />
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<span style="font-family: Verdana, sans-serif;">This is the aspect of the project in 2010, <strong>7 years</strong> after its conclusion.</span><br />
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</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Location:</strong> Hanoi, Vietnam </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Architects:</strong> <a href="http://www.c-and-a.co.jp/"><span style="color: #cc0000;">Kazuhiro Kojima</span></a> + Taller Kojima, Kojima Lab, Tokyo University of Science +, Magaribuchi Lab, University of Tokyo </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Design years:</strong> 1999-2002 </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Completion date:</strong> 2003</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Surface area:</strong> 466 m2</span></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-76556709881877234842011-03-03T12:04:00.001+00:002011-03-03T12:06:41.195+00:00Marcos Cruz foi premiado pelo Royal Institute of British Architects<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Deixo-vos com esta entrevista interessante que descobri na Revista Ípsilon sobre o arquitecto <a href="http://marcoscruzarchitect.blogspot.com/"><span style="color: #cc0000;">Marcos Cruz</span></a>, premiado pelo Royal Institute of British Architects (RIBA) para a Outstanding PhD Thesis 2008.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span id="ctl00_ctl00_ContentPlaceHolder1_Detalhes_Texto_titulo"><span style="font-family: Verdana, sans-serif;"><strong>Vamos poder vestir os nossos edifícios?</strong></span></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">A arquitectura contemporânea "é fria". A arquitectura contemporânea "falhou o corpo". Se isso não tivesse acontecido, talvez hoje já tivéssemos um envolvimento diferente e mais intenso com ela. Poderíamos, quem sabe, ter paredes de látex que funcionariam como fatos, com sensores que nos permitiriam comunicar uns com os outros à distância. "A pessoa podia sentar-se dentro dessa pele hipersensível. E vestir a arquitectura tornar-se-ia um acto literal", afirma Marcos Cruz. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Foi destas ideias que este arquitecto português a viver e a trabalhar em Londres partiu para a tese de doutoramento que lhe valeu o prémio do Royal Institute of British Architects (RIBA) para a Outstanding PhD Thesis 2008. Uma tese a que chamou The Inhabitable Flesh of Architecture (o corpo habitável da arquitectura). </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">"Muita da arquitectura hoje não é feita pensando em quem a usa e a vive. É feita para agradar a arquitectos e para alimentar todo um discurso montado dentro das academias, e que é muito auto-referencial", diz Marcos Cruz, em conversa com o P2, durante umas curtas férias de Natal no Porto, cidade onde cresceu e onde estudou arquitectura. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Na mesa à nossa frente está uma cópia da tese, cheia de imagens, algumas desenhadas por Marcos, outras de peças de artistas plásticos que trabalharam massas, formas mais ou menos disformes, matérias orgânicas. Marcos, que propôs que a conversa decorresse na Casa da Música, vai enumerando as suas referências e fala de eXistenZ, de David Cronenberg, ou Coma, de Michael Crichton, de Barbarella, de pintores como Bosch e Bruegel, de artistas plásticos como Louise Bourgeois ou a francesa Orlan, que usa cirurgias plásticas para alterar o próprio corpo. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">"Não sou 'sizesco'"</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">São imagens de objectos cheios, maleáveis, mutantes, viscosos, viscerais. Não há aqui lugar para brancos, para linhas puras. "Não é uma coincidência que num país com tanto caos como Portugal tenha havido essa necessidade do branco, das linhas puras", diz. Mas ele nunca se identificou com isso. "Já não sou dessa geração, e essa é uma das razões porque não me considero 'sizesco', ainda que o [arquitecto Álvaro] Siza tenha sido uma referência importante enquanto estudava. O meu Portugal já não era esse Portugal caótico, por isso não conseguia sentir-me parte dos produtos brancos da arquitectura portuguesa".</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Fez um caminho sempre para mais longe desse universo. E encontrou o que procurava quando foi para a Escola de Arquitectura Bartlett, em Londres, onde hoje dá aulas. "A Bartlett é uma das poucas escolas onde se faz arquitectura experimental. Preparamos os alunos para terem uma mentalidade inovadora". Para quem lá anda, "a arquitectura não tem limites, está toda por descobrir". </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Começou a interessar-se pela ideia da "flesh". "Há uma metáfora que os arquitectos usam que é a da pele. Os edifícios têm pele. Mas é uma pele plana, sem espessura, sem profundidade. Muita da arquitectura comercial que se faz é uma chapa-quatro de pisos com uma pele bonita à volta. Não é mais do que uma membrana superficial que nos deixa frios, indiferentes". </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Marcos procurava algo mais profundo, e a palavra "flesh" surgiu-lhe como a ideal. "Não é 'body' nem 'meat', é uma palavra que pode ter um sentido espiritual, metafórico, biológico".</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Mas mesmo numa escola com as características da Bartlett, os seus trabalhos causaram algum desconforto. "As pessoas olhavam com cepticismo para as minhas maquetas em látex e diziam 'isto é muito estranho, é muito feio'. Mas não era o lado estético que ali me interessava, era poder trabalhar com uma arquitectura que era flexível". Era, para ele, uma forma de ultrapassar "a arquitectura à nossa volta, que é muito dura, muito estática". </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Ao contrário de outras áreas, como as artes plásticas, por exemplo, que foram ao ponto de "remover a questão do belo", na arquitectura não houve um momento de ruptura, afirma. "Nas escolas em que estudei, aqui, havia professores que diziam 'para quê essa vanguarda toda, se continuamos a fazer como os romanos?'. Eu tinha uma sensação de claustrofobia criativa brutal. Podíamos de facto continuar a fazer o que os romanos faziam porque já estava tudo inventado". </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">A esta espécie de paralisia soma-se, por razões sociais, uma perda de funções da arquitectura. "Hoje já não precisamos de um espaço arquitectónico para comunicar; a arquitectura já não carrega consigo a memória necessária para a sociedade continuar; e já nem sequer é a carapaça de protecção mais importante que temos - um cartão de crédito pode dar-nos mais segurança do que um edifício".</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">O corpo ciborguiano</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">É preciso, por tudo isto, que a arquitectura encontre um novo sentido. Para Marcos Cruz isso passa pela relação com o corpo. Um corpo que descreve como "ciborguiano".</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">A primeira parte da tese de doutoramento traça a evolução do corpo ao longo da História - do clássico ao moderno, passando pelo grotesco e o burguês. E o que Marcos defende é que o corpo grotesco medieval - "que é deformado, bizarro, com uma pele porosa" - é o que mais tem pontos de contacto com o corpo ciborguiano de hoje. São ambos corpos que fascinam ao mesmo tempo que repugnam. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">"Há no corpo contemporâneo um lado estranho, imprevisível, que nós aceitamos e que há 20 ou 30 anos não aceitaríamos. Nas artes plásticas existe um mundo imenso de artistas que o deformam, manipulam, misturam com outros corpos, com animais, vão para além dos limites da nossa pele e da nossa anatomia". Em arquitectura, o que se está a tentar fazer é ainda muito pouco. Marcos Cruz reuniu alguns dos exemplos mais vanguardistas no número de Novembro/Dezembro 2008 da revista Architectural Design, que foi convidado a editar. Chamou-lhe Neoplasmatic Design e, enquanto passa as páginas da revista, com um evidente entusiasmo, explica porquê. "O neoplasma é um tumor, cresce gerindo-se pelas suas próprias regras". Fascinou-o a variedade de neoplasmas artificiais (synthetic neoplasms) - termo por ele inventado - encontrados nas artes plásticas, e, em particular, o neoplasma do filme eXistenZ, que se torna vivo ao ser colocado na coluna vertebral dos jogadores. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Mas ao mesmo tempo que foi mergulhando cada vez mais neste universo ciborguiano, sonhando com o uso de pele artificial e com edifícios com paredes de látex que, em vez de separarem as pessoas, permitem-lhes comunicar, Marcos foi também sentindo que ainda faltava alguma humanidade a todo este mundo. Foi por isso que achou necessário olhar para certos edifícios do nosso passado mais recente que demonstravam uma relação especial com o corpo. Decidiu reler a história da arquitectura do século XX de uma nova forma e encontrou exemplos importantes Domenech i Montaner, Alison and Peter Smithsons, Charles Moore, Rudolf Schindler e Richard Neutra, Jorn Utzon, e também Le Corbusier (interessaram-lhe, por exemplo, os confessionários à escala humana da igreja de Ronchamp). </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Um edifício "vivo"</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Reconhece que tem ainda poucas oportunidades de pôr em prática a arquitectura que quer fazer. Uma dessas ocasiões surgiu com a construção, em 2003, em Graz, na Áustria, do edifício Kunsthaus, também conhecido como the friendly alien - um projecto de Peter Cook e Colin Fournier do qual fez parte na fase de concurso. A cobertura em acrílico, que tem por baixo uma membrana em borracha, é mediatizada, e pode ser usada para passar filmes, por exemplo. O projecto inicial era mais ambicioso, era ter uma cobertura flexível e fazer com que o edifício fosse "quase um ser vivo" que se movesse como os bancos de corais. A tecnologia disponível na altura não permitiu ir tão longe, e o projecto teve que ser adaptado à realidade.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">O mesmo aconteceu em Lisboa, quando Marcos e o seu sócio Marjan Coletti (conheceram-se na Bartlett e juntos formam o atelier marcosandmarjan) foram convidados a desenhar o pavilhão da Feira do Livro, em 2005. "Fizemos imensos projectos mais arrojados e complexos, até percebermos que havia 500 mil euros para gastar na feira inteira. Tivemos que refazer o projecto numa noite e trabalhar com meios primitivos - um edifício sem fundações, uma estrutura interna de andaimes - e tentar mesmo assim fazer uma arquitectura que fosse experiencial, que tivesse algo de descoberta." O resultado foi um edifício vermelho, assimétrico, como uma nave espacial que tivesse aterrado no topo do Parque Eduardo VII. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">A higiene, o tacto e a visão</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">O futuro está aí, e Marcos Cruz acredita que o que hoje é sonho poderá vir, mais cedo ou mais tarde, a tornar-se realidade, ainda que formalizado de uma maneira diferente do que imaginado hoje. "A visão foi o grande meio de comunicação do século XX. O tacto e a audição, que são muito importantes no espaço arquitectónico foram rejeitados". Isto tem a ver, acredita, com uma "estética da higiene" que surge no final do século XIX, início do século XX, por razões de saúde pública, e que os arquitectos aproveitam. "Dizem 'isto é um grande momento para demonstrar que, se tirarmos tudo das paredes e tornarmos o espaço minimal e ascético, estamos a torná-lo mais saudável'". </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Como a sociedade não estava preparada para isso, tinha que ser "educada". O branco e o minimal foram associados à seriedade e à exigência intelectual, enquanto "o material foi desprezado". Todo o trabalho de Marcos Cruz é uma rejeição destes "dogmas". "É uma resposta a um sítio onde me eduquei e onde cresci e é uma grande crítica a certo tipo de dogmas que me incutiram como arquitecto e dos quais muitos arquitectos nunca vão conseguir livrar-se ao longo da vida, porque nem sequer têm tempo para os questionar. O traço claro, o gesto forte que explica tudo é um dogma absurdo que vem do século XIX".</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Espera que o futuro seja diferente. E com as suas experiências não está a tentar discutir o que é que é mais ou menos bonito. O que lhe interessa são outras perguntas. Por exemplo: "Será que há uma arquitectura que se pode viver mais pelo tacto do que pela visão?". E, já agora, que se pode vestir?</span></div>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-32319754603391991852011-02-20T11:03:00.002+00:002011-02-20T11:10:11.729+00:00House in Minamimachi by Suppose Design Office<span style="font-family: Verdana, sans-serif;">Japanese architects <a href="http://www.suppose.jp/"><span style="color: #cc0000;">Suppose Design Office</span></a> have completed a residence in Hiroshima, Japan, with offset floors allowing natural light from above to penetrate each level. </span><br />
<span style="font-family: Verdana, sans-serif;">The house can can be naturally illuminated while maintaining privacy on a small, crowded plot of land.</span><br />
<span style="font-family: Verdana, sans-serif;">The interior comprises a series of terraces, each shaped differently according to its intended purpose.</span><br />
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<span style="font-family: Verdana, sans-serif;"><strong>House in Minamimachi</strong></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;">"During the process of designing for a small plot of land, there are a lot of times in which the form of the building is steered by legal constraints.</span><br />
<span style="font-family: Verdana, sans-serif;">If you are thinking of how you can have the most floor space, the outer shape of the building is automatically decided by how the permitted ratio of square footage to property size, so the architectural design comes out of the number of stories built just to increase the floor space.</span><br />
<span style="font-family: Verdana, sans-serif;">Here, I’m thinking about the possibility of space that can be made by subtraction.</span><br />
<span style="font-family: Verdana, sans-serif;">This building was made to slightly exceed its allotted coverage ratio, so each floor fluctuates in shape.</span><br />
<span style="font-family: Verdana, sans-serif;">The sections that slide out function as lighting design elements, bringing in the outside environment.</span><br />
<span style="font-family: Verdana, sans-serif;">I’ve changed the shape of each floor freely according to its intended purpose and features, turning them into spaces with a sense of distance and perspective, maintaining privacy even in crowded urban areas where housing units are close together, creating a bright, well-lit living space.</span><br />
<span style="font-family: Verdana, sans-serif;">Before you know it, design that starts from the rules, from the legal restrictions, can become stronger restrictions than the rules.</span><br />
<span style="font-family: Verdana, sans-serif;">By starting the design away from the legal constraints, by designing the way we start to plan, we can have buildings that possess a degree of freedom. Just by changing the bottom line a little, I want to pinpoint the things we’ve overlooked, the elements of richness, and design richness around that subtraction."</span><br />
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<span style="font-family: Verdana;"><em>Information from Suppose Design Office</em></span>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com0tag:blogger.com,1999:blog-6537180551720793098.post-50321876603608129842011-02-18T11:14:00.001+00:002011-02-18T11:15:51.528+00:00Universitá Luigi Bocconi<div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">A university faculty building in Milan by Irish practice <a href="http://www.graftonarchitects.ie/work/projects/project.php?project_category=Learning&resource_id=225"><span style="color: #cc0000;">Grafton Architects</span></a> has been named World Building of the Year at the inaugural World Architecture Festival, held in Barcelona in October 2008.</span></div><div style="text-align: justify;"><span style="font-family: Verdana;">Here is a description of the building by the project authors.</span><br />
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<span style="font-family: Verdana, sans-serif;"><strong>A Piece of City</strong></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">We saw this brief as an opportunity for the Luigi Bocconi University to make a space at the scale of the city.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">To this end we have built at the scale of the site,50m x150m.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Inside, our building is thought of as a large market hall, directly influenced by Il Broletto.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">As with Il Broletto, this hall acts as a filter between the city and the university.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>A Window to Milan</strong></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The northern edge of the site fronts onto the artery of Viale Bligny, with the clatter of trams, the rush of busses, general traffic, people passing.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">It addresses the throbbing urban life of Milan, weaves into the mesh of the city.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">This frontage becomes the architectural opportunity to have a ‘window’ to Milan, a memorable image to confirm the important cultural contribution that the Bocconi University plays in the life of this city.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">For this reason, the public space of the aula magna occupies this frontage, asserting a symbolic presence and a register of the prestigious status of the University.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Social Lebensraum</strong></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">This building is set back from the Viale Bligny & Via Rontgen edges to make a public space 18m x 90m inspired by the space forward of Hospital Maggiore.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">It’s much larger frontage, of approximately 200m , creates a vibrant socially active edge to a building which inside is a maze of secret cloistered courtyards and walkways.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The widened pavement and new urban space acts as bridge, the ‘Social Lebensraum’ and keeps the city at a respectful distance.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">This new deep ‘finger’ of space reaches out to the city and beckons. the visitor into the heart of the interior.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">This public space continues into the building, bringing with it it’s stone surface, the floor of the city.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>A Place of Exchange</strong> </span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The world of the offices / and research is suspended between the ground and sky – a low- rise labyrinth with an interactive weave of courts, bridges terraces, corridors, all of which encourage overlap, expansion, contraction, new mixes, chance discussions, vertical and horizontal possibilities. </span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Moving Skyward:</strong></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">In order to make this grand place of exchange we thought about the research offices as beams of space, suspended to form a grand canopy which filters light to all levels.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The offices form an inhabited roofscape which is generally 3 /4 floors deep.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">This floating canopy allows the space of the city to overlap with the life of the university. Allows internal and external public spaces to merge.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Undercroft:</strong></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The undercroft is cool and shady in the summer, with reflected light and warmth in the winter.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The underground accommodation is treated as an erupting landscape which offers support to the inhabited light filters above.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The point of energy is where the sky world meets the underground world.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Spatially this underground world is solid, dense and carved.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">By contrast the large spans allow the offices above to float like bridges slung in space.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">We tried to establish a continuity between the ‘landscape’ of the city and the ‘made landscape’ of this undercroft.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Inside Out:</strong></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Because we have blurred the division between indoor and outdoor spaces, and because the scheme is a weave of courts, gardens and ‘halls’, this allows the building to expand and contract be it on a seasonal basis.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The external public spaces are microclimates protected from extremes of heat, cold and rain.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The internal public spaces are capable of being opened up to merge with the protected external spaces.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">There is the potential for a surreal interchange to occur between inside and outside, between informal semi -internal landscapes and formal semi-external halls.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Inhabited Roof:</strong></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The beehive world of the research offices hovers over the city below, over the public spaces below, over the campus below.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">It is physically separate but always visually connected to the life of the lower levels.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">It is an adaptable and interactive labyrinth.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>In search of gravity:</strong></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">With regard to the structure and the assembly of this interactive labyrinth we thought we could perhaps establish a real sense of gravity or defiance of gravity. Our concrete piers are anchored in the ground and reach up to support the heavy roof from which the office levels are hung.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">By banishing to roof level, this point of transfer from one scale of structure to another, we perform a number of tasks; the boundaries between lower and upper levels are blurred; the thinness of the division between lower and upper levels adds a sense of weightlessness to the suspended offices; thermal mass is located where it is needed….at roof level.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>And what will this ‘construct’ look like?</strong></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The two components of the brief which are given expression on the street edge are the Aula Magna and the Library. For both architectural and environmental reasons these volumes are expressed as solids, either embedded and rising out of the ground as is the case with the Aula, or cantilevered and floating over the street as is the case with the Library.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Responding to the character of Milan as described by our Milanese colleagues…”hard on the outside, friendly on the inside” ,we have made an edge which is like a crusty ‘shield’, constructed in a robust material i.e., stone,render or concrete.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">We have worked this material in order to give a sense of depth, density and mass as is the quality of so many buildings in Milan.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Our quest is to make something resolutely robust but beautifully bold.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;"><strong>Aula</strong></span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The external wall to the sunken Aula Magna reaches the full height of the building with the upper level offices inhabiting it’s roofscape /attic.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The volume of the aula invades this roofscape for air and light and this ‘invasion’ which happens in the section becomes evident on the external wall.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The wall is deformed and fractured in order to provide a more generous pavement and to turn the corner.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Our priority was that the presence of this space be given expression on the street.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The full bulk and scale of this great room ‘the embedded boulder’ sits directly on the street edge and is the anchor for the totality of the building.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The acoustic intimacy of the Aula Magna and the conference rooms is achieved by lining and folding the inner walls and ceilings.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The acoustic intimacy of the Aula Magna and the conference rooms is achieved by lining and folding the inner walls and ceilings.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The two interlocking volumes of this space are designed to accommodate 600 people at the lower level and 400 at the upper level.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The volume of the light scoops act as mini fly towers.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">The 400 person space is separated from the larger volume by means of a twin walled acoustic screen which is lowered from this roof recess above.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">A podium for the speaker in this smaller space, slides out from under the lower seating rows.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">A backstage area is provided behind the main aula with a larger roof recess to accommodate backdrops etc.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">This is the most dramatic light shaft in the space.</span></div><div style="text-align: justify;"><span style="font-family: Verdana, sans-serif;">Blackout is via automatic blinds.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="color: #666666; font-family: Verdana, sans-serif;"><em>Information from Grafton Architects</em></span></div><br />
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<span style="font-family: Verdana, sans-serif;">see more information about the project <a href="http://www.dezeen.com/2008/10/27/universita-luigi-bocconi-by-grafton-architects/"><span style="color: #cc0000;">here</span></a>.</span>cansonhttp://www.blogger.com/profile/09199439747609053546noreply@blogger.com1