New Concepts

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مدیر انجمن‌ها
Leafy Shade by A-Asterisk


August 25th, 2008
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Architect Nobuhiro Nakamura of A-Asterisk has completed Leafy Shade, an interior design for an office building in Shanghai, China.
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The lobby of the building - formerly a hotel - features a domed space with a leaf pattern to resemble a forest.
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Nakamura is a Japanese architect based in Shanghai.
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Here’s some info from Nobuhiro:

LEAFY SHADE
FOREST IN THE OFFICE BUILDING
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It is an interior design project for an office building which was renovated from an old hotel.
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There are some space problems as using office. For example, the entrance hall was too small, and some common spaces was too dark.
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So, we created a forest in the office building to make an impression of large and cozy space.
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Project name: LEAFY SHADE
Location: SHANGHAI CHINA
Principle use: OFFICE, SHOPPINGMALL
Total floor area: 4000sqm
Design period: Aug. 2005 – Dec. 2006
Construction period: Nov. 2006 – Feb. 2008
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Client; HAITAI REAL ESTATE
Architect; NOBUHIRO NAKAMURA (A-ASTERISK)
Signage designer: YUTAKA MAEDA (UJI DESIGN)
Lighting designer: MASAHIDE KAKUDATE
(BONBOLI LIGHTING ARCHITECTS & ASSOCIATES)
Collabolator: TSUTOMU FUJIOKA (A-I-SHA ARCHITECTS)
Constructor: SHEN ZHEN MEISHU CONSTRUCTION
Photographer: SYUHEI KAIHARA
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مدیر انجمن‌ها
Factoreef by Julcsi Futo, Bika Rebek and Stefan Ritter


September 11th, 2008
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Three students from Studio Lynn at the University of Applied Arts in Vienna have designed a conceptual boat factory for the island of Cres in Croatia.
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Called Factoreef, it has been designed by Julcsi Futo, Bika Rebek and Stefan Ritter, students on the course run by architect Greg Lynn.
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The architects describe the project as “a large scale, smoothly undulating roof held by an intricate steel truss structure”.
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More info on the project’s blog.
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The following is from Factoreef:

BRIEF
“factoreef” is a proposal for a boat factory in the mediterranean town Cres, designed by architecture students Julcsi Futo, Bika Rebek and Stefan Ritter. They are currently enrolled at Studio Lynn, an architecture course run by American architect Greg Lynn at the University of Applied Arts in Vienna.
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This project is a large scale smoothly undulating roof held by an intricate steel truss structure. It covers a single space partitioned only by structural elements. The promenade on the roof creates an attractive public ground for the touristic town Cres. Visitors get glimpses of the production happening inside and arrive to the see.
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PRECEDENTS
We were interested in the contrasts of the dense interior versus the vast exterior space of the boat, and the soft sail towards the rigid body. The main contrast we want to work with is the way the hard boat hull rips the mellow waves as it hits the water.
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The aesthetic reference is the clean slick surface of the boat opposed to the barnacle like structure that is fine grained and intricate.
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URBAN & MASSING
After analyzing various coastline typolologies we worked with the archipelago, which consist of a multitude of piers, canals, ponds and islands.
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ORGANISATION
The layout of the plan is open, it facilitates efficient transportation of the boats from one machine to the other.
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Tooling areas for the hull fabrication and finishing procedures that require separate spaces are detached in an enclosed stripe in the north, while the building opens up to the south, towards the sea.
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BUILDING CONCEPT
Cool air is provided by pipes running in the foundation. It is blown out from the lower part of the columns, where the openings stretching inwards support the air emission.
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The cool air circulates through the building, as it heats up it is exhausted through the upper part of the column which has then reversed openings.
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MOOD
The whole structure is visible from the inside creating a dense atmospheric view. From the outside the monocoque roof only bursts into openings where the columns pierce through it.
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مدیر انجمن‌ها
Museum of Modern Arab Art by Rafael Viñoly Architects

August 22nd, 2008
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New York based architects Rafael Viñoly have unveiled plans for the Museum of Modern Arab Art in Doha, Qatar.
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The museum will house over 10,000 articles from the collection of Sheikh Hassan Bin Mohammed Al-Thani.
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The collection, ranging from abstract paintings to the earliest Qur’anic manuscripts, will expand as the museum acquires work from contemporary Arabian artists.
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The 33,000 square metre project is due to be completed in 2011.
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The following is from Rafael Viñoly Architects:

Rafael Viñoly Architects has been commissioned to design the Museum of Modern Arab Art, within the Qatar Foundation’s Education City campus in Doha.
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The museum will house Sheikh Hassan Bin Mohammed Al-Thani’s collection of modern Arab art and important regional antiquities, composed of more than ten thousand pieces in all mediums.
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This collection will form the initial basis of the museum’s holdings and inform its future acquisitions program.
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The Museum will comprise approximately 355,000 square feet of accommodation for several uses.
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In addition to providing archival-quality controlled environments for the display of art, there is also a library and spaces for the display of art, there is also a library and spaces for the study of Arabic art.
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The curation and management of the museum will be housed on-site, as will preservation and collection maintenance facilities.
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The building is set into a landscape of sculpture gardens and outdoor terraces which take advantage of the favorable climate, and also has provision for visitor parking.
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Once housed in its permanent location, the museum will become an important cultural attraction to Qatar for both the public and specialist researchers.
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Creating a place to display and explore this collection provides researchers, artists, art historians, students, visitors and local residents with access to the cultural heritage and current art practice within Arab culture documented by this collection.
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The museum will stimulate creativity, educate about the culture whose works it displays, and promote art appreciation to new and existing audiences.
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RVA Project Team
Aramouny, Carla
D’Cotta, Cristina
Duren, Ariel
Farid, Omar
Hodge, David
Lee, Yueh-Hung
McManama, Lauren
Pohl, Jonathon
Rampy AIA, Gil
Robles, David
Salinas Noel
Xu, Yunchao
Zirek, Seda
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.:taymaz:.

مدیر انجمن‌ها
Energy Buildings

hello .. this is some energy buildings


Sunnyside Up by SO-IL


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Brooklyn architects Solid Objectives - Idenburg Liu (SO-IL) have designed a rooftop landscape of allotments to showcase green roof technologies on an industrial building in Queens, New York City.
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The project has been commissioned by Garden City Roofs, a company that specialises in green roof systems.
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“As a result of [Mayor] Bloomberg’s PlaNYC, in which he call for buildings to be more energy efficient by 2030, interest in green roofs is on the rise,” says Florian Idenburg of SO-IL. “Our client is a start-up company who is catering to this new interest, mostly by inexperienced building owners.
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“She is providing a one-stop-shop, where one can learn about the roughly half a dozen systems available, get structural engineering advices, tax rebate advice, installer and maintenance recommendation.
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“We have designed the allotments; and a small sales offices, that doubles as a display for “green” materials for which our client is a rep as well.”
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Here is a full project description from SO-IL:

Sunnyside Up
A roof garden in the garden city
Roofs are underused in New York City. Garden City Roofs, a startup company headed by Beth Lieberman, caters to a growing need for technical expertise and access to green roof systems. Garden City Roofs is converting the unused roof of a large industrial building into a showroom and knowledge-center for green roof systems. SO-IL has been asked to evaluate access, layout the roof systems and hard-scapes and design a sales- and learning center on the roof. The factory building, where once typewriter ribbons were made and which now houses a gym and billiards hall, is located along the train tracks in Sunnyside Gardens, Queens, opposite of the New York / Korean Presbyterian Church by Gregg Lynn.
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Sunnyside (above) is known for one of America’s first planned communities, Sunnyside Gardens. Constructed from 1924 to 1929, this residential area has brick row houses of two and a half stories, with front and rear gardens and a landscaped central court shared by all. This model, based on Ebenezer Howards garden city principles, allowed for denser residential development, while also providing ample open/green-space amenities.
In this spirit, and that of one time resident Lewis Mumford’s ideas of the organic city, the project is conceived as an integral part of the natural roofscape. The idea is to create an atmosphere as if working under a tree with little division between in- and outside. The pavilions form is achieved by slicing and rotating a Truncaded Octahedron, one of the most beautiful Archimedean Solids. The structure will be a showcase of materials that are either completely biodegradable or recyclable. Climate control will be created with natural elements; rain water, sunshine and shading through trees and plants.
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Above: the industrial building sits along the train tracks, just north of the historic district of Sunnyside Gardens.
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Above: once typewriter ribbons were manufactured in this building, now it houses a billiards hall and gym.
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Above: the 21000 sf underused roof is a vast landscape of covered skylights and mechanical equipment.
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The idea is to create an atmosphere as if working under a tree with little division between in- and outside.
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Above: a 200 sf pavilion sits between the gardens, for information and display of materials. The allotments for the different roof-systems on display can be reached by a pathway connecting entrance, allotments and a deck which is used for educational purposes.
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Above: a map of the different materials on display on the unfolded truncated octahedron.
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Above: natural light comes in through a sole window.
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Above: the building is well visible when landing on La Quardia Airport. The allotments form a recognizable pattern from the air.
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Client: Garden City Roofs
Location: Sunnyside, Queens, NYC
Date: 09/01/08
Program: Entrance, office, hard-scape Area: Exterior: 21.000 sf; Interior: 200 sf.
Budget: $40,000
Note: To be completed spring 2009.
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مدیر انجمن‌ها
Bodegas Protos winery by Rogers Stirk Harbour + Partners

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Rogers Stirk Harbour + Partners have completed the Bodegas Protos winery in Peñafiel, Spain.​
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The 19,450 square metre winery features facilities to ferment, age and bottle 3 million bottles of wine a year..​
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The Bodegas Protos winery is set to be fully operational in October, ready for the 2008 harvest.​
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The following is from Rogers Stirk Harbour + Partners:

Bodegas Protos
Peñafiel, Valladolid, Spain 2003 – 2008
RSHP has been commissioned to design a new winery facility for Bodegas Protos, a long-established firm of wine-growers producing Ribera del Duero wine.
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The new building, which presents a modern reinterpretation of traditional winery construction, is located at Peñafiel, a small village near Valladolid in Castille, northern Spain.
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The winery sits at the base of a small hill surmounted by a medieval castle. Bodegas Protos already utilises the subterranean area beneath the castle with more than 2 kilometres of tunnels and galleries used for ageing wine.
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The new winery will process 1 million kilos of grapes and will be operational for the 2008 harvest. Linked by tunnel to the existing winemaking facility, the new building will consist of an underground cellar with a constant temperature of 14-16°C for storage of barrels, as well as for bottles that are maturing and those that are ready to drink.
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The production level is situated above, partly buried in the ground and accommodating the fermentation and storage vats as well as the bottling plant, packaging equipment, technical areas and vehicle access bays.
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The production and cellar floors also accommodate administrative and social facilities–offices, wine-tasting areas, areas for social functions and a small auditorium for presentations and marketing events.
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The scheme also includes a stepped sunken garden which frames views of the castle above whilst also bringing natural light down into the office space.
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__________________
 

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مدیر انجمن‌ها
continue ......




The main entrance level is for both staff and visitors and includes vehicle bays for delivery of grapes. From here, visitors can view the production floor below. Compositionally, the building sits on a triangular plinth which fills the site.
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Five interlinked parabolic vaults supported by laminated timber arches, are clad with large terracotta tiles to create a light, articulated structure.
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This modular form breaks down the overall mass and scale to create a structure that is sympathetic to the surrounding buildings and countryside.
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Cool storage for the wine is created by effective use of the thermal ground mass. The south façade is protected by a nine metre roof overhang while the west façade is further shaded by a system of large, fixed brise soleils.
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A mixed mode air system makes use of the continental climate where high daytime, and low nightitme temperatures, give the facilty free night time cooling.
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Place/Date
Peñafiel, Valladolid, Spain 2003 – 2008
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Client
Bodegas Protos
Cost
£15 million
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Gross Internal Area
19,450 m2
Architect
Rogers Stirk Harbour + Partners
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Structural Engineer
Arup/Boma/Agroindus
Services Engineer
BDSP/Grupo JG/Agroindus
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Co-Architect
Alonso Balaguer y Arquitectos Asociados
Project Manager
CEM Management
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Quantity Surveyor
Tècnics G3
Lighting Consultants
Biosca & Botey
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مدیر انجمن‌ها
RE-SAMPLING ORNAMENT at S AM


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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 725x484 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 725x484 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 725x484 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 725x484 است.
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installation views by photographer Tom Bisig
RE-SAMPLING ORNAMENT
1st June – 2st September 2008
S AM Swiss Architecture Museum, Basel
Exactly 100 years after Adolf Loos wrote Ornament and Crime, a manifesto that effectively relegated ornament in architecture to the peripheries of the discourse, “Re-sampling Ornament” takes a first step towards tracing its re-emergence. For decades the language of architectural ornament has remained largely unspoken, but for a few memorable post-modern architectural experiments. Yet from Owen Jones 'Grammar of Ornament' to John Ruskin, Gottfried Semper, Louis Sullivan and William Hogarth – and contemporaries such as Kent Bloomer, a rich vocabulary of opposing and often contradictory theories exists to be readapted, re-sampled, and once again applied at the heart of architectural practice.
Oliver Domeisen's research at his unit at London’s Architectural Association into the history and contemporary application of ornament in architecture has made it possible to embellish and enrich a mutual selection of new architectural projects with terminology drawn from many dictionaries; allowing for associations and groupings that can identify vital traces of ornament in current practice and at the same time rethink its boundaries, creating a new context within which contemporary projects can be redefined and rethought.
Whilst the ideological rigor of Modernism once rejected the supposed decadence and wastefulness associated with the mass production of ornament, it is undeniable that over the past 10 years entirely new construction and manufacturing processes have made the return of ornament economically viable. 3D computer modelling can now steer mass-customisation processes from CNC milling to laser cutting. This has transformed the work of Barkow Leibinger as they explore a myriad of possibilities for modulating tubular steel, creating rotating screens that give the structural properties of metal the added effect of a delicate textile. Gramazio Kohler programmed a robot to construct brick walls that appear woven or soft. The architects Berthelier Fichet Tribouillet have impregnated acrylic façade panels with brass shavings in a redeployment of manufacturing debris.
Crucial to a new reading of ornament in architecture is its enduring relationship to nature. Toyo Ito and Hitoshi Abe have translated and abstracted nature to implant architectural metaphors within the corporate, urban environment of Japan. Again, it is digital production that enables Abe to create a thoroughly contemporary manifestation of a forest canopy in all its intricacy, whilst Ito's structural abstraction of an adjacent Zelkhova tree becomes a pertinent reference to the origin myth of architecture: the primitive hut. François Roche / R&Sie(n)embeds the trauma of nature’s gradual erosion into the morphology of his design for a Swiss glacier museum in the alpine region of Evolène. The machinic transformation of locally sourced wood for the museum’s structure “corrupts” the twigs from the nearby forest into alienating spikes, creating ornament as a nightmare of potential loss.
Re-sampling Ornament reasserts the right to enjoy the intelligent conceptual play with beauty and to rediscover sensuality in current manifestations of ornament in architecture. According to the architectural historian Kent Bloomer, there are malleable and erotic 'Bio-Keys' that span cultures and histories, as though there were some deeply rooted genetic code of ornament. Ruskin's "Curves of Temperance and Intemperance" sought the geometry of virtue in ornament, one that William Hogarth traces with scientific exactitude in the curvature of bones and the lines of a woman's pelvis.
Today, computer-aided design can bring forth organic forms in architecture as well as stretching artifice to its extremes. Evan Douglis describes his invasive Helioscopes as ‘vision orifice and wire flesh’. Oliver Domeisen sees the resurgence of Rococo’s exuberance in these morphed curls. Whether or not the gigantic cumulus curves of Jürgen Mayer H’s Danfoss Universe building in Denmark count as ornament is open to speculation, yet the historical references certainly anchor his radical aesthetic in a picturesque tradition of ornamental architecture.
Ornament is the home of metamorphosis uniting and transforming conflicting worldly elements. It is an image of combination and a spectacle of transformation. Ornament is a method to subsume almost anything into the architectural idiom: human bodies, plants, militaria, microscopic patterns, fantastical beasts – it is the realm of monsters and hybrids. Ornament is transgressive. It sits comfortably between realism and abstraction, antiquity and modernity, mechanical objectivity and artistic subjectivity, convention and expression, and the real and the ideal.
In our age of conspicuous consumption, brand culture also becomes a welcome resource for the architecture of ornament in all its opulence. Jun Aoki has translated the Louis Vuitton brand iconography to create a veritable glut of architectural signage. Manuelle Gautrand found a timeless way to resolve the tricky issue of the brand design in architecture by embedding Citroen’s logo within an ornamental folded façade. The icons of our age are perhaps the logos that define the corporate world that surrounds us; the manufacturers of desire. The architects featured as defining new styles and languages to accommodate this iconography are distinguished by the elegance with which they resolve the dilemma of representation in unique ways – uniting ornament with a pertinent commentary on contemporary visual culture. Realities United have resolved the ubiquitous banality of the media screen applied to architecture by investing the pixel simultaneously with ornamental and architectural, and communicative qualities. The graphic designers 2x4 in turn create a multi-layered commentary with contemporary signage, as Shumon Basar points out: the pixel becomes ornament, ‘impish iconography’ and blasphemy all rolled into one; one of Rem Koolhaas’s intended Mies-takes within his masterplan for the IIT Mc Cormick Tribune Center in Chicago.
Just as Hild & K have carved the historical image of ornament - shadows and all - back into a Berlin façade for posterity, so we hope that by excavating and implementing a rich repertoire of past discourse, Resampling Ornament reinstates ornament in contemporary architecture with an abundance of new conceptual and aesthetic possibilities.
Ornament operates trans-historically and trans-culturally. It is constant dynamic movement and expansion. Ornament is not truth – it is mimesis, material transubstantiation, deception, artifice, pleasure and beauty that render utility acceptabl​
 

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مدیر انجمن‌ها
Correctional conversion

[LTR]
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'De Maasberg', in Overloon, Netherlands is converted from a prison for *****s into a functioning juvenile detention institution.

The buildings are renovated and two new living rooms are added. A new pavilion for education, visitors and offices is main part of the master plan.
The resoluteness of a world focusing on the interior is partly removed. A new and more intensive interaction with the surrounding nature is aimed at the youngsters. The open structure stimulates the daily shifts between living, learning and recreation.
The concept aims at an open, transparent building between the closed prison and the outside world. Visitors can throw a glance at the prison life and the youngsters can look outside, the society in which they will later return.
By means of the light appearance and placement of the steel frame on metal feet in the woodland soil, the volume seems to float in the wood. The façade in steel, aluminium and Bankirai allows the building to merged wth the surrounding woodland scenery, showing different shades of grey. For the flexibility at future changes in the program and treatment, the construction is situated in the side façades, the service pipes have been integrated centrally and the side façades are composed of elements which can be changed modularly.
The classrooms on the first floor and the visiting rooms and offices on the ground floor are functioning separately from each other by means of the two outside stairways. At the entrance to the visiting room there is a hall in which both functions combine, dramatizing the moment of the meeting between the youngsters and the visitors.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 995x789 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 870x999 است.[/LTR]
 

.:taymaz:.

مدیر انجمن‌ها
Visitor Center - at Lincoln Center for the Performing Arts, New York, United States

[LTR]

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Design unveiled for Visitor Center at Lincoln Center

Lincoln Center for the Performing Arts today unveiled the design for its new Visitor Center. Designed by New York architects Tod Williams Billie Tsien, the Center transforms the former Harmony Atrium, an indoor, underutilized, privately owned public space (POPS) located between Broadway and Columbus Avenue, into a vibrant community gathering space. Performances and civic events will be at the space which will also act as a gateway to the 16-acre arts complex, which is currently undergoing a multi-billion dollar transformation.
The 7,000 sq ft atrium is being transformed into a “theatrical garden” where residents and visitors can purchase discount theatre tickets, lounge and dine, and connect to the worldwide web. The design blurs the distinction between indoor and outdoor space. At the Center’s entrance on Broadway, is a large canopy that is treated with the same materials as the ceiling on inside of the space. Once inside, the space has been opened to the outdoors with large overhead “occuli” and two twenty foot high moss walls that constitute “the garden”. Stone benches made of Connemara Irish Moss marble contribute to the sense of a garden.
Complementing the green walls is prominent water element incorporating roads of water falling from ceiling to floor. Working with Pentagram, the architects have re-imagined the north wall of the atrium as a 40-foot long Media Wall for digitally projected images and information.
The project, which is currently in the public review process, is expected to open in the fall 2009, to coincide with Lincoln Center’s 50th anniversary celebrations.

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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x1011 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x333 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x799 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x783 است.[/LTR]
 

.:taymaz:.

مدیر انجمن‌ها
Today, the Los Angeles Business Council (LABC) honored the region’s finest architecture design projects, including the new Los Angeles Green Building Award, at the 38th Annual Los Angeles Architectural Awards. The Awards Program, which recognizes entire project teams (architects, developers and contractors) , spotlighted the abundance of world-class architecture and sustainable development being built in Los Angeles today. Co-chairs Andy Cohen, FAIA, Executive Director, Gensler and Brooke Lauter, First Vice President - Corporate Communications, Arden Realty and key leadership from sponsoring companies presented the awards to more than 30 project teams across 17 architectural and building categories.
In a new award category this year, the LABC and Mayor Villaraigosa presented the first Los Angeles Green Building Award. This new category was created in order to properly acknowledge deserving projects that advance sustainable development in the city. Reinforcing Los Angeles’ growing prominence in the world of contemporary architecture, 2008 Pritzker Architecture Prize Laureate Jean Nouvel of France was the event keynote speaker.
“For all of us that believe that growth and business and sustainability and the environment can go hand in hand, our time is now,” said Los Angeles Mayor Antonio Villaraigosa. . “The demand in Los Angeles for building greener, more efficiently and earth-friendly has never been greater.”
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10000 Santa Monica Boulevard, Ateliers Jean Nouvel

In addition, the LABC presented a special Community Impact Award to the City of Los Angeles along with the exceptional architects and contractors who together comprise the City of Los Angeles Green Building Program. This award recognizes the 56 active sustainable municipal building projects, one of the largest municipal building programs in the nation. The LABC especially commended the Bureau of Engineering as a green building leader in the City, for their management of 49 active LEED projects.
“It’s an honor for the city to be recognized for its environmental leadership,” said Los Angeles City Council President Eric Garcetti, who helped write the legislation that created the Green Building Program. “With the most expansive green building ordinance in the country, we are reducing our carbon footprint and acknowledging the advances of the green building industry.”
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Hotel Ray, Belzberg Architects

The LABC Architectural Awards honor project teams whose developments improve the quality of architecture and enhance the urban fabric of Los Angeles. Awards were presented in 17 categories: Civic, Design Concept, Education, Green Building, Healthcare, Housing, Interiors, L.A. Pride, Landscape Architecture, Mixed-Use, New Buildings, Preservation, Renovated Buildings, Retail, Sustainability, Unbuilt and Grand Prize.
“For over a year, the LABC has worked with the City to develop a private sector green building program and today we congratulate those design teams who have voluntarily complied and are building sustainable in Los Angeles,” said Mary Leslie, President of the Los Angeles Business Council.
38_la_arch_awards_34.jpg

Edmunds.com, STUDIOS architecture

Also for the first time, the LABC sent a Call for Entries to local high schools and universities and awarded the Rising Star Award to a student team from UCLA. Famed architectural photographer Julius Shulman, a legend himself, honored the next generation and presented the award.
All awardees were selected by a thirteen-member jury of distinguished peers including architects, developers and contractors. To receive an award, projects must be located within Los Angeles County and completed during 2006 or 2007 ("design concept” and “unbuilt” categories exempt). The Broad Contemporary Art Museum at LACMA received the grand prize for developing and supporting the vision for a new LACMA campus. The team designed a series of buildings, connective walkways, grand stairways, open plazas, sculpture gardens, and public art, all in an effort to connect the campus and establish an environment that would unify the new exhibition of contemporary art, with the balance of their current collection.

Winners of the 38th Annual Los Angeles Architectural Awards:

ALLEN MATKINS
GREEN BUILDING AWARD
Built
38_la_arch_awards_01.jpg

Project: Luma
Architect: Ankrom Moisan Associated Architects
Contractor: Howard S. Wright Construction
Owner: The South Group

Unbuilt
38_la_arch_awards_02.jpg

Project: W Hollywood
Architect: HKS Architects, Inc.
Contractor: Webcor Builders
Owner: Gatehouse Capital

Design Concept
38_la_arch_awards_03.jpg

Project: Los Angeles Museum of the Holocaust
Architect: Belzberg Architects
Owner: Los Angeles Museum of the Holocaust

MACERICH
GRAND PRIZE
38_la_arch_awards_04.jpg

Project: Broad Contemporary Art Museum at LACMA
Design Architect: Renzo Piano Building Workshop
Executive Architect: Gensler
Contractor: MATT Construction Corp.
Owner: Los Angeles County Museum of Art

AEG
CIVIC AWARD
Project: Broad Contemporary Art Museum at LACMA
Design Architect: Renzo Piano Building Workshop
Executive Architect: Gensler
Contractor: MATT Construction Corp.
Owner: Los Angeles County Museum of Art

CRESA PARTNERS
DESIGN CONCEPT AWARD
Affordable Low-Rise
38_la_arch_awards_05.jpg

Project: Sierra Bonita Housing
Architect: Tighe Architecture
Owner: West Hollywood Community Housing Corporation

Residential High-Rise
38_la_arch_awards_06.jpg

Project: 10000 Santa Monica Boulevard
Design Architect: Ateliers Jean Nouvel
Executive Architect: House & Robertson Architects, Inc.
Owner: SunCal Companies

Commercial
38_la_arch_awards_07.jpg

Project: Hotel Ray
Architect: Belzberg Architects
Owner: The Ambrose Group

PERKINS + WILL
EDUCATION AWARD
38_la_arch_awards_08.jpg

Project: LAUSD Miguel Contreras Learning Complex
Architect: Johnson Fain
Owner: Los Angeles Unified School District
Contractor: Clark Construction

L.A. PRIDE AWARD
38_la_arch_awards_09.jpg

Project: Los Angeles Dodgers Stadium
Architect: HKS Architects, Inc.
Contractor: DPR Construction
Owner: The Los Angeles Dodgers

ARDEN REALTY
SUSTAINABILITY AWARD
Commercial
38_la_arch_awards_10.jpg

Project: Symantec - Culver City
Architect: HOK
Contractor: Webcor Builders
Owner: Symantec Corporation

Civic
38_la_arch_awards_11.jpg

Project: Santa Clarita Transit Maintenance Facility
Architect: HOK
Contractor: Intertex General Contractors, Inc.
Owner: City of Santa Clarita

Housing
38_la_arch_awards_12.jpg

Project: LivingHome
Architect: Ray Kappe Architects and Planners with LivingHomes
Contractor: Profile Structures INC - modular
Owner: LivingHomes

HOK/FIVEKILLER CONSULTING
HEALTHCARE AWARD
38_la_arch_awards_13.jpg

Project: Ronald Reagan UCLA Medical Center
Design Architect: Pei Partnership Architects
Executive Architect: Perkins + Will
Consulting Architect: RBB Architects Inc.
Contractor: Tutor Saliba
Owner: UCLA Capital Programs

WATT COMPANIES
HOUSING AWARD
Single Family
38_la_arch_awards_14.jpg

Project: Altamira Residence
Architect: Marmol Radziner and Associates
Contractor: Jerico Development Inc.
Owner: Eric and Susanne Johnson

38_la_arch_awards_15.jpg

Project: House in West Los Angeles
Architect: Barton Myers Associates, Inc.
Contractor: Peck Homes

38_la_arch_awards_16.jpg

Project: Skyline
Architect: Belzberg Architects
Owner: Skyline LLC
 

.:taymaz:.

مدیر انجمن‌ها
Winners of the 38th Annual Los Angeles Architectural Awards

Today, the Los Angeles Business Council (LABC) honored the region’s finest architecture design projects, including the new Los Angeles Green Building Award, at the 38th Annual Los Angeles Architectural Awards. The Awards Program, which recognizes entire project teams (architects, developers and contractors) , spotlighted the abundance of world-class architecture and sustainable development being built in Los Angeles today. Co-chairs Andy Cohen, FAIA, Executive Director, Gensler and Brooke Lauter, First Vice President - Corporate Communications, Arden Realty and key leadership from sponsoring companies presented the awards to more than 30 project teams across 17 architectural and building categories.
In a new award category this year, the LABC and Mayor Villaraigosa presented the first Los Angeles Green Building Award. This new category was created in order to properly acknowledge deserving projects that advance sustainable development in the city. Reinforcing Los Angeles’ growing prominence in the world of contemporary architecture, 2008 Pritzker Architecture Prize Laureate Jean Nouvel of France was the event keynote speaker.
“For all of us that believe that growth and business and sustainability and the environment can go hand in hand, our time is now,” said Los Angeles Mayor Antonio Villaraigosa. . “The demand in Los Angeles for building greener, more efficiently and earth-friendly has never been greater.”
38_la_arch_awards_32.jpg

10000 Santa Monica Boulevard, Ateliers Jean Nouvel

In addition, the LABC presented a special Community Impact Award to the City of Los Angeles along with the exceptional architects and contractors who together comprise the City of Los Angeles Green Building Program. This award recognizes the 56 active sustainable municipal building projects, one of the largest municipal building programs in the nation. The LABC especially commended the Bureau of Engineering as a green building leader in the City, for their management of 49 active LEED projects.
“It’s an honor for the city to be recognized for its environmental leadership,” said Los Angeles City Council President Eric Garcetti, who helped write the legislation that created the Green Building Program. “With the most expansive green building ordinance in the country, we are reducing our carbon footprint and acknowledging the advances of the green building industry.”
38_la_arch_awards_33.jpg

Hotel Ray, Belzberg Architects

The LABC Architectural Awards honor project teams whose developments improve the quality of architecture and enhance the urban fabric of Los Angeles. Awards were presented in 17 categories: Civic, Design Concept, Education, Green Building, Healthcare, Housing, Interiors, L.A. Pride, Landscape Architecture, Mixed-Use, New Buildings, Preservation, Renovated Buildings, Retail, Sustainability, Unbuilt and Grand Prize.
“For over a year, the LABC has worked with the City to develop a private sector green building program and today we congratulate those design teams who have voluntarily complied and are building sustainable in Los Angeles,” said Mary Leslie, President of the Los Angeles Business Council.
38_la_arch_awards_34.jpg

Edmunds.com, STUDIOS architecture

Also for the first time, the LABC sent a Call for Entries to local high schools and universities and awarded the Rising Star Award to a student team from UCLA. Famed architectural photographer Julius Shulman, a legend himself, honored the next generation and presented the award.
All awardees were selected by a thirteen-member jury of distinguished peers including architects, developers and contractors. To receive an award, projects must be located within Los Angeles County and completed during 2006 or 2007 ("design concept” and “unbuilt” categories exempt). The Broad Contemporary Art Museum at LACMA received the grand prize for developing and supporting the vision for a new LACMA campus. The team designed a series of buildings, connective walkways, grand stairways, open plazas, sculpture gardens, and public art, all in an effort to connect the campus and establish an environment that would unify the new exhibition of contemporary art, with the balance of their current collection.

Winners of the 38th Annual Los Angeles Architectural Awards:

ALLEN MATKINS
GREEN BUILDING AWARD
Built
38_la_arch_awards_01.jpg

Project: Luma
Architect: Ankrom Moisan Associated Architects
Contractor: Howard S. Wright Construction
Owner: The South Group

Unbuilt
38_la_arch_awards_02.jpg

Project: W Hollywood
Architect: HKS Architects, Inc.
Contractor: Webcor Builders
Owner: Gatehouse Capital

Design Concept
38_la_arch_awards_03.jpg

Project: Los Angeles Museum of the Holocaust
Architect: Belzberg Architects
Owner: Los Angeles Museum of the Holocaust

MACERICH
GRAND PRIZE
38_la_arch_awards_04.jpg

Project: Broad Contemporary Art Museum at LACMA
Design Architect: Renzo Piano Building Workshop
Executive Architect: Gensler
Contractor: MATT Construction Corp.
Owner: Los Angeles County Museum of Art

AEG
CIVIC AWARD
Project: Broad Contemporary Art Museum at LACMA
Design Architect: Renzo Piano Building Workshop
Executive Architect: Gensler
Contractor: MATT Construction Corp.
Owner: Los Angeles County Museum of Art

CRESA PARTNERS
DESIGN CONCEPT AWARD
Affordable Low-Rise
38_la_arch_awards_05.jpg

Project: Sierra Bonita Housing
Architect: Tighe Architecture
Owner: West Hollywood Community Housing Corporation

Residential High-Rise
38_la_arch_awards_06.jpg

Project: 10000 Santa Monica Boulevard
Design Architect: Ateliers Jean Nouvel
Executive Architect: House & Robertson Architects, Inc.
Owner: SunCal Companies

Commercial
38_la_arch_awards_07.jpg

Project: Hotel Ray
Architect: Belzberg Architects
Owner: The Ambrose Group

PERKINS + WILL
EDUCATION AWARD
38_la_arch_awards_08.jpg

Project: LAUSD Miguel Contreras Learning Complex
Architect: Johnson Fain
Owner: Los Angeles Unified School District
Contractor: Clark Construction

L.A. PRIDE AWARD
38_la_arch_awards_09.jpg

Project: Los Angeles Dodgers Stadium
Architect: HKS Architects, Inc.
Contractor: DPR Construction
Owner: The Los Angeles Dodgers

ARDEN REALTY
SUSTAINABILITY AWARD
Commercial
38_la_arch_awards_10.jpg

Project: Symantec - Culver City
Architect: HOK
Contractor: Webcor Builders
Owner: Symantec Corporation

Civic
38_la_arch_awards_11.jpg

Project: Santa Clarita Transit Maintenance Facility
Architect: HOK
Contractor: Intertex General Contractors, Inc.
Owner: City of Santa Clarita

Housing
38_la_arch_awards_12.jpg

Project: LivingHome
Architect: Ray Kappe Architects and Planners with LivingHomes
Contractor: Profile Structures INC - modular
Owner: LivingHomes

HOK/FIVEKILLER CONSULTING
HEALTHCARE AWARD
38_la_arch_awards_13.jpg

Project: Ronald Reagan UCLA Medical Center
Design Architect: Pei Partnership Architects
Executive Architect: Perkins + Will
Consulting Architect: RBB Architects Inc.
Contractor: Tutor Saliba
Owner: UCLA Capital Programs

WATT COMPANIES
HOUSING AWARD
Single Family
38_la_arch_awards_14.jpg

Project: Altamira Residence
Architect: Marmol Radziner and Associates
Contractor: Jerico Development Inc.
Owner: Eric and Susanne Johnson

38_la_arch_awards_15.jpg

Project: House in West Los Angeles
Architect: Barton Myers Associates, Inc.
Contractor: Peck Homes

38_la_arch_awards_16.jpg

Project: Skyline
Architect: Belzberg Architects
Owner: Skyline LLC
 

.:taymaz:.

مدیر انجمن‌ها
Winners of the 38th Annual Los Angeles Architectural Awards

Multi Family High-Rise
Project: Luma
Architect: Ankrom Moisan Associated Architects
Contractor: Howard S. Wright Construction
Owner: The South Group Multi Family Low-Rise
38_la_arch_awards_17.jpg

Project: Habitat 825
Architect: Lorcan O’Herlihy Architects
Contractor: Archetype, Inc.
Owner: Habitat Group Los Angeles

HAWORTH
INTERIORS AWARD
Commercial
38_la_arch_awards_18.jpg

Project: Edmunds.com
Architect: STUDIOS architecture
Contractor: Warner Constructors Inc.
Owner: Edmunds.com

Civic
38_la_arch_awards_19.jpg

Project: Ahmanson Founders Room
Architect: Belzberg Architects
Contractor: SAS Construction
Owner: Music Center

Retail
38_la_arch_awards_20.jpg

Project: Paperfish Restaurant
Architect: Clive Wilkinson Architects
Contractor: Corporate Contractors
Owner: Patina Restaurant Group

SUNCAL COMPANIES
LANDSCAPE ARCHITECTURE AWARD
Civic
38_la_arch_awards_21.jpg

Project: Santa Monica Airport Park
Architect: ah’be landscape architects
Contractor: L.A. Engineering
Owner: City of Santa Monica

Residential
38_la_arch_awards_22.jpg

Project: South Park Streetscape
Architect: ah’be landscape architects
Contractor: Kato Landscape
Developer: The South Group Partnership
Owner: City of Los Angeles

G&C EQUIPMENT CORPORATION
MIXED-USE AWARD
Design Concept
38_la_arch_awards_23.jpg

Project: Hotel and Residences at LA Live
Architect: Gensler
Contractor: Webcor Builders
Owner: AEG

2000 AVENUE OF THE STARS/CENTURY PLAZA TOWERS
NEW BUILDINGS AWARD
Commercial
38_la_arch_awards_24.jpg

Project: Wallis Annenberg Research Center at the House Ear Institute
Architect: Perkins+Will
Contractor: Rudolph & Sletten
Owner: House Ear Institute

Civic
38_la_arch_awards_25.jpg

Project: Santa Monica College - Theatre Arts Building
Architect: Leo A Daly
Contractor: Turner Construction
Owner: Santa Monica College

MARSH
PRESERVATION AWARD
38_la_arch_awards_26.jpg

Project: Ennis House Rehabilitation
Architect: Eric Lloyd Wright & Wiehle-Carr, Associated Architects
Owner: Ennis House Foundation
Contractor: MATT Construction Corp.

CHICAGO TITLE
RENOVATED BUILDINGS AWARD
Residential
38_la_arch_awards_27.jpg

Project: The Biscuit Company Lofts
Architect: Aleks Istanbullu Architects
Owner: Linear City, LLC
Contractor: Linear City, LLC

Civic
38_la_arch_awards_28.jpg

Project: Cloverfield Services Center
Architect: Killefer Flammang Architects
Owner: OPCC
Contractor: Mackone Development, Inc.

GENSLER
RETAIL AWARD
Design Concept
38_la_arch_awards_29.jpg

Project: Santa Monica Place
Design Architect: Jerde Partnership
Executive Architect: Omniplan
Owner: Macerich
Contractor: Whiting Turner

UNISOURCE SOLUTIONS
UNBUILT AWARD
Civic
38_la_arch_awards_30.jpg

Project: Hollenbeck Replacement Police Station
Architect: AC Martin Partners
Owner: City of Los Angeles
Contractor: FTR International, Inc.

Commercial
38_la_arch_awards_31.jpg

Project: Red Building
Design Architect: Peli Clarke Pelli
Executive Architect: Gruen Associates
Owner: Pacific Red, LLC
Contractor: Jones & Jones​
 

.:taymaz:.

مدیر انجمن‌ها
The Treehouse, Victoria, Australia



House on hazardous hill
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Australian design captures its surrounding landscape

Jackson Clements Burrows Pty Ltd Architects were formed ten years ago and have since been making architecture which empathises with its surroundings and according to their mission, their design methodology “is often informed by making intelligent decisions about perceived constraints”. Such constraints are not obvious in this angular design perched on a steep hillside at Separation Creek in Victoria, Australia.
The hazardous-looking balcony ledge appears so large as to be capable of toppling the structure from its roots on the rocky hillside, but the building stands strong in its foundations and the balcony juts outwards, hopeful of integrating with and surrounding itself with the spectacular landscape. The house covers an area of 220 sq m and rests on two levels which, aside from the jutting balcony, hug the steep incline as a slim, wide design. With three bedrooms, a dining room and kitchen, the structure would be considered modest if it were not for the modular additions of a sun-room, study and living area (including the decked patio) on the upper level. The house uses and blends with the surrounding landscape camouflaging itself with shades of green and using the land to create design features such as steps heading to the base of the building and rock mounds which both integrate the building within the landscape and bolster the house, providing further support.


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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x665 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x568 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x1515 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x665 است.
 

.:taymaz:.

مدیر انجمن‌ها
The future of the skyscraper

New York-based eVolo Architecture has published a book on the future of the skyscraper, presenting the best 60 projects arising from an ideas competition the firm has been running annually since 2006.
The idea behind the competition, which has received nearly 1,000 entries from around the world, is to speculate about the reality and future of the skyscraper, exploring new ideas and concepts for vertical density, eVolo said.
The brief calls for designs that take into consideration the historical and social context, the existing human scale and the environment. There is no restriction of height or shape in a bid to give architects the freedom to produce creative and innovative design.

2008's winner (pictured above) was Elie Gamburg who designed a 270m tower sited above the existing Belaruskia train station in Moscow.

GivensWEB.jpg

Credit: Rugel Chiriboga - Ted GivensRugel Chiriboga and Ted Givens' design for Singapore – inspired by a flower
OrtegaWEB.jpg

 

.:taymaz:.

مدیر انجمن‌ها
BNA Cube 2008 Award winner announced

10098_C385.jpg



The Royal Institute of Dutch Arhcitects has granted its highest honour to cepezed for its complete body of work.
The extraordinary qualities of cepezed's architecture and work methods have been unanimously praised by the jury who underlined the practice’s professional skills and consistent quality of work. The panel of adjudicators emphasized that cepezed never deploy the technical and innovative approach for which they are known solely for the sake of technique and innovation itself, but always for the benefit of high architectural quality. cepezed do not distinguish architecture from construction but employ integral design methods that have brought the practice an enormous know-how and competence in fields such as the organization of the construction process, innovation and the development of construction components; all exerted for the purpose of architectural excellence. In cepezed’s words:” Success has many fathers, particularly in an industry like construction, which is so knowledge-labour- and capital-intensive and in which so many parties are involved, joining forces is an absolute must.” In the domain of sustainability they intensely collaborate with consultants from different subject fields, ranging from stability consultants to construction physicists and from climate professionals to lighting specialists. In order to further develop and test specifically designed construction elements, cepezed team up with producing industries both in and outside the field of construction: this has repeatedly resulted in innovative solutions which by now are widely applied in contemporary architecture.
Following the motto:” Architecture that does not think about its future has no future.” the Delft based practice founded in 1973 has become a synonym of sustainability, efficient execution techniques, technological progression coupled with sober and stylish open and human architecture . Some of their distinguished latest projects include the extension and renovation of the Audax Textile Museum in Tilburg and the intricate and large-scale combination of new and existing construction for various sections of the Dutch Department of Public Works for the Westraven office complex in Utrecht. Associated architects of cepezed are Jan Pesman, Michiel Cohen and Ronald Schleurholts.
BNA Kubus Award has been presented yearly since 1965 and is the highest decoration of the institute and arguably the most prestigious Dutch architecture prize. Last years’ Kubus was awarded to Office for Metropolitan Architecture.



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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x1176 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x1543 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 869x789 است.
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اندازه ی اين عكس تغيير داده شده است. برای ديدن كامل عكس اينجا را كليك كنيد. اندازه ی عكس اصلی 1000x1333 است.



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.:taymaz:.

مدیر انجمن‌ها
Grave City Hall by Erick van Egeraat


[LTR]August 29, 2008
eeagrave02_sq.jpg
Dutch architect Erick van Egeraat has completed the new City Hall at Grave in the Netherlands.
eeagrave06_sq.jpg
Here’s the lowdown from the Erick van Egeraat Associated Architects:
Erick van Egeraat designs for unity and diversity
Rotterdam, 25 August 2008 - The new building for the City Hall in Grave, designed by Erick van Egeraat, was officially opened this summer. The municipality shares the building with housing corporation Maasland and the regional historic archive of the Province of North Brabant, BHIC.
eeagrave03.jpg

Seen from a distance, the building presents itself as a singular ensemble. Up close, however, specific identities of the users become
apparent. The three parties present themselves to the public in the main entrance hall, an open environment on the ground floor, thereby
stimulating interaction among the tenants and between tenants and visitors.
eeagrave04.jpg

The building is part of a masterplan developed by EEA for Grave in 1998. The masterplan distinguishes between two zones; the historic centre of Grave and the green space surrounding the old fortress. The new city hall is situated on the border between these two zones, on the exact location of the former fortification. The city hall’s design refers to both, the historic centre and the surrounding landscape.
eeagrave05.jpg

According to Erick van Egeraat, this urban transition influenced his design significantly: “I wanted the building to blend into its
environment unobtrusively, while making it very accessible to the public. We mainly used natural materials, such as wood, natural stone and a grass roof. The design is sturdy and subtle at the same time. In this manner, the city hall opens itself towards the entrance of the town
and invites the public to enter.”
eeagrave01.jpg

The surroundings were not only an inspiration for the building’s materials, but also influenced its shape. The fluent form of the complex refers to the former city walls, the interior structure of the building integrates the town’s characteristic alleyways as a theme into its
layout: “At the front, the building establishes itself as a city wall, with the office of housing corporation Maasland marking the highest and
most prominent point; the back side, where the building encloses a public square, has a smaller-scale appearance.”
eeagrave02.jpg

“Typical for this design is the unity and diversity,” says Erick van Egeraat. “The complex unites three very different tenants under one
roof, it has an open character and it blends into its historic surroundings.”
eeagrave06.jpg

__________________​
[/LTR]
 

.:taymaz:.

مدیر انجمن‌ها
Ordos villa by Estudio Barozzi Veiga ordos-villa-by-estudio-barozzi-veiga-squsud-ejec

[LTR]
ordos-villa-by-estudio-barozzi-veiga-squsud-ejecuci_n-final.jpg
[​

Spanish architects Estudio Barozzi Veiga have designed a house for Inner Mongolia, China, as part of the Ordos 100 project.
ordos-villa-by-estudio-barozzi-veiga-norte-ejecuci_n-final.jpg
The house is one of 100 private residences, all designed by different architects selected by Herzog & de Meuron for the Ordos 100 project, which is masterplanned by artist Ai Wei Wei.
ordos-villa-by-estudio-barozzi-veiga-este-ejecuci_n-final.jpg
EBV’s design aims to “create a space that absorbs and intensifies the character of the place and the surrounding elements.”
ordos-villa-by-estudio-barozzi-veiga-oeste-ejecuci_n-final.jpg
The following information is from Estudio Barozzi Veiga:

Private Villa
Ordos, Inner Mongolia, China
Private commission
It was our challenge in this project to find an original architectural expression for the program, which is compatible with the beauty of the site and the cinematologic elements.
ordos-villa-by-estudio-barozzi-veiga-3.jpg

Our proposal intends to translate this idea of essence and pureness present in the context, in the composition of the project. It will create a space that absorbs and intensifies the character of the place and the surrounding elements.
ordos-villa-by-estudio-barozzi-veiga-2.jpg

In contrast with the rough open space of the surrounding. The plan of the house is a pure form, a perfect square. The building appears like a monolithic cube, raised from the earth as an archaic stone. This sensible and pure building is defined by two essential elements: a glazed patio and an expressive roof.
ordos-villa-by-estudio-barozzi-veiga-1.jpg

This patio refers to the traditional Chinese houses, organised around a patio. At the same time, it allows the house to change its inner climate from winter to summer and offers the possibility to create a complex interior world with different visual and spatial relations.
ordos-villa-by-estudio-barozzi-veiga-panorama-final-panel.jpg

The roof defines the house as the solidification of a traditional nomadic tent, an element that covers, protects and marks the place.
ordos-villa-by-estudio-barozzi-veiga-plan-4.jpg

The result is an introverted cube characterised by its expressive roof. In this way, living in the interior is associated with the sensation of being under a tent, a protected skin, an extended sail.
ordos-villa-by-estudio-barozzi-veiga-plan-5.jpg

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مدیر انجمن‌ها
Olympic architecture

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OLYMPIC ARCHITECTURE
Innovative Buildings

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National Stadium
Architects: Herzog & de Meuron


The $423 million National Stadium has become a rare architectural celebrity. Everyone calls it the "Bird's Nest," which in China means it is something much prized. Because the architects disliked the massive parallel beams necessary to support the retractable roof, they developed a lacy pattern for the other steel elements to disguise them. Although the stadium's curving steel nest grabs the most attention, the building actually combines a pair of structures: a bright-red concrete bowl for seating and the iconic steel frame around it.

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National Swimming Center
Architects: PTW Architects, CSCEC+Design, and Arup


Called the Water Cube (even though it's a box 584 feet square and 102 feet high, not a cube), this building's skin is made of ethylene tetrafluoroethylene (a transparent form of Teflon) cells with either 14 or 12 sides. A space frame assembled on site from 22,000 steel tubes welded to 12,000 nodes holds the cells in place and provides a column-free structure with spans of 396 feet in either direction.

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Digital Beijing
Architects: Studio Pei-Zhu


Digital Beijing, a nine-story, 1-million-square- foot building, rises solemnly just northwest of the effervescent Water Cube and the curvaceous Bird's Nest. The building will serve as the control center for the Olympics, home base for technical and security teams, and as a hub for the routers, computers, and servers needed to run the Games. Inspired by computer circuitry, the architects organized the building into four parallel slabs that recall a set of motherboards.

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Terminal 3 at Beijing Capital International Airport
Architects: Foster + Partners and Arup


Terminal 3 reimagines circulation for passengers and vehicles alike, resulting in the world's biggest airport building. Terminal 3 measures almost 14 million square feet and cost $3.65 billion to build. It comprises three buildings, aligned on a two-mile-long, north-south axis, that form an elongated hourglass shape in plan. Columns at the center of the canopy are painted red, while outlying ones fade to orange then yellow—all part of a sophisticated color scheme that plays on traditional Chinese themes.

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National Center for the Performing Arts
Architects: Paul Andreu Architect Paris


Ultimately, for all the time (eight years) and money (at least $400 million, in a country where construction costs are minimal) that went into it, the Center doesn't pack much of a punch. Andreu's titanium Egg (the Center's nickname) has a brushed ************ ********* ********* **ure, perhaps to prevent glare—though Beijing's polluted air usually does the trick. It is so carefully detailed that its surface is scaleless; except when window washers are climbing the exterior, it is impossible to grasp the building's size.

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China Central Television Headquarters
Architects: Office for Metropolitan Architecture


A radical, looping structure, the headquarters of China Central Television (CCTV) stands as an antidote to the typical skyscraper. With its dramatic overhang suspended 36 stories in the air and a diagonally braced, continuous-tube frame expressing the forces of its structural system on its facade, it became a Beijing landmark even before its completion.

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Olympic Green
Architects: Sasaki Associates


Olympic Green holds 50% of the competition venues for the Olympics, and is located at the north end of the central axis of Beijing City. Sasaki saw its job as creating a framework for the Olympics as well as integrating the 2,800-acre site with the city as a whole. The design comprises three key elements: a Forest Park on the north, a diagonal Olympic Axis connecting existing sports facilities from the 1985 Asian Games to the new venues for the Olympics, and a Cultural Axis extending the ancient imperial route that runs north from Tiananmen Square through the Forbidden City.



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Archery Field
Architects: BlighVollerNield with China Construction Design International


A temporary facility (shown here under construction) , the 93,000-square- foot archery center comprises three fields: one for the preliminary rounds and two for the medal competitions. The project provides seating for a total of 5,384 people; fans at the final-round competition field will sit in 46-foot-high stands that are the steepest of any outdoor venue. After the Olympics, the prefabricated steel frame, along with other materials, will be recycled.


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Basketball Gymnasium
Architects: Beijing Architecture Research Institute


Located west of the Forbidden City, the 18,000-seat basketball venue occupies four floors above ground and three below. The architects wrapped the exterior with aluminum-alloy cladding and equipped the building with solar panels and a rainwater-recycling system. According to Gu Yonghui, an architect at BARI, fans will enjoy upholstered seats and a high-definition LED display system that meets NBA standards.

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Tennis Center
Architects: BlighVollerNield with China Construction Design International


The 285,000-square- foot Olympic Tennis Center occupies a 41-acre site on the west side of an artificial hill in the Olympic Forest Park. It comprises 10 competition courts on four platforms and provides seating for 17,400 spectators. The architects designed the three structures containing the main courts as dodecagons, symbolizing the 12 petals of a lotus, a flower that has long associations with Chinese culture. All of the center's wastewater will be treated and recycled for use in irrigation, while solar cells will heat water for use in the buildings. Other green strategies include a geothermal heat system for one of the courts and natural ventilation for all courts

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National Indoor Stadium
Architects: Glöckner3 Architektur und Städtebau with Beijing Institute of Architectural Design


Just north of the Water Cube, the National Indoor Stadium will host the gymnastic, trampoline, and handball events during the Olympic Games, and wheelchair basketball competitions during the Paralympics. The $125 million stadium is 873,000 square feet and has a seating capacity of 18,000. The architects designed the building to resemble an unfurled Chinese fan, wrapping it with a high-tech curtain wall made of 205,000 square feet of glass in front of 1,124 energy-generating photovoltaic panels.

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Convention & Exhibition Center
Architects: RMJM


This 2.9-million- square-foot facility will house the International Broadcasting Center, a temporary site for journalists during the Olympic Games. More than 21,000 reporters and photographers will gather news and broadcast from studios in the building as they cover the 29th Olympiad. The building will also serve as the venue for fencing and pistol-shooting competitions. After the Olympics, the interiors will be refitted and the building will serve as the National Convention & Exhibition Center of China.


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Shun-Yi Olympic Aquatic Park
Architects: BlighVollerNield with EDAW


Set in the northeast part of Beijing, the Shun-Yi Olympic Aquatic Park will host all canoe and kayak events.. The 343,000-square- foot facility occupies the largest site of any of the Olympic venues. It provides permanent seating for 1,200 fans, temporary seating for 15,800, and standing-room spaces for 10,000. Plans call for additional residential and commercial developments and for the location to be used after the Games as a swimming resort.


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Hockey Field
Architects: BlighVollerNield with China Construction Design International


Another temporary venue, the 167,000-square- foot Olympic Green Hockey Stadium comprises two fields and 14 auxiliary facilities. Field A, which sits at the west end of the site and accommodates 12,000 viewers, will be used for the final rounds of competition. Field B, on the east end, seats 5,000 fans and will be used for preliminary events. After the Olympics, the sites of the hockey and archery venues will be turned into parkland extending from the Olympic Forest

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