Showing posts from category: Sculpture
As you are climbing uphill; what seems like a continuous climb throughout the many hills of Parc Guell, you bravely steel a glance or two downwards and think that this is it. This must be one of the more beautiful experiences of your life. Gingerly you take each step with your camera in hand, careful not to drop the camera or anything else as you find yourself looking at, well, everything. It’s an overwhelming experience, and in a good way. Earlier in the year, my dad passed away, thereby making this my first vacation in a decade where I did not suffer from any family distractions. No worries, but did I ever miss him! I still do. But it was one less thing to ponder as I was transversing uneven stone steps with nary a handrail in sight. But I was just starting to speak of the beauty about this park, a must-see for anyone who travels to Barcelona, when I hit a few detours. Count Guell was a prominent businessman in Barcelona at the early part of the last century. He engaged a prominent architect, Antoni Gaudi, to design a garden city with sixty houses on a hill called Montana Pelada. The venture was not successful and only two houses were built. But an unsuccessful venture led way to one of the more beautiful parks you will ever see. At the entrance, you will find the main staircase with a dragon fountain made of broken bits of glazed ceramic tile, a signature style for Gaudi. This leads to the Salon of a Hundred Columns which really number eighty-four, but who cares? The ceiling of the salon has more tiled mosaics. In fact, they’re everywhere in sight. The on-site museum contains splendid furniture that Gaudi designed. And so it goes; you’ve walked for three hours, and have a big smile on your face. You can’t wait to tell the story to all you know.
You’ve planned a week in Barcelona because you are wise and know that you will not be bored for a second. You will want to come back. As you continue drinking in the various Gaudi shrines throughout this beautiful city, you get to understand a bit more about the architect with each building. Casa Batllo is truly amazing and I would suggest to go early in the day to avoid crowds. The details on the doorknobs and locks; the center court and other means of ventilation were ahead of their time. The rooftop dragon is not to be believed. Next up is Casa Mila, his iconic monument to the Modernist movement. It does not seem very livable, but once again, it’s all in the details. The Sagrada Familia is no problem for anyone familiar with waiting on lines at Disney. Wear comfortable shoes! If you are able to go to the top of the towers, then you are lucky for you will view this beautiful city in the most unique way and it is breathtaking.
Okay, I lied. It’s not all about Gaudi. It’s also about the food. As I’m re-reading my diary, the secondary descriptions that do constant battle with architecture are of the fantastic food. As I read about the various meals of fish, meats and risotto, my mouth waters and I desire to savor them all over again. Since we are incapable of dining at 10:00 PM, we chose instead to have our main meals of the day at lunch and have a more casual al fresco experience in the evening.
I lied some more. It’s all about the walk. Ever since I was twenty and I traveled to San Francisco with friends, I have always made note of how compatible I am with the place I am visiting. San Francisco was fine but I quickly realized I couldn’t live with Californians. In Barcelona, at some point we stopped and thought, “could I live here?” Yes was the answer. It is walkable; it is friendly; it is safe and clean; it is modern; it is old. Barcelona is ideal. The week was brimming over with a travelogue of lists consisting of everywhere we ambled and places we didn’t quite get to at this time. Maybe, next time? Because there was so much good stuff that really good architects had the sense to design and get built all in walking distance of each other. More Gaudi, so much to see in the Gothic Quarter as you walk past what is left of a Roman aqueduct, the Picasso Museum and the Palau de la Musica Catalana (a music hall with a gorgeous stained glass ceiling). And then there’s Gehry’s Fish. Barcelona’s golden fish sculpture sits in Port Olimpic at the base of one of the tallest buildings in the city. Frank Gehry was commissioned to build the piece for the 1992 Summer Olympics and brought the city to the attention of the world! Wow!
aia, architect, architects, architecture, architecture critic, Art, buildings, built environment, Design, Engineering, modern architecture, modern buildings, new buildings, Sculpture
architects, architecture, Barcelona, Disney, Frank Gehry, Gaudi, Gehry, Palau de la Musica Catalana, Parc Guell, Picasso Museum, Spain
House in Carapicuiba by spbr Architecture is set in a small valley far below street level. To design a house that provided for both living and work in this unique site, the architects created a multi-level structure that separates private and professional space. The entrance to the concrete and glass building, reached via a steel-grid bridge, provides two options upon entry: a descending staircase to the living space, or an ascending staircase to a tube-like structure that serves as the office.
Full story and all photos in Architizer
architecture, Design, Engineering, Interior design, modern architecture, Sculpture
architecture, Brazil, Carapicuiba, David McFadden, design, spbr Architecture
After Sandy, the lifeguard stations on New York’s beaches were destroyed. But these new versions are built to withstand a storm–and might be a model for how to think about building better for the future.
Garrison Architects has created a plan to introduce net-zero energy, flood-resistant, modular structures along the beaches of Coney Island, Staten Island, and Rockaway Beach
Jim Garrison is a busy man. Just before Christmas, his architecture firm got a call from New York City officials asking if he could design and build nearly 50 lifeguard stations and other beach structures to replace the ones wiped out by Sandy. The one catch: The new units needed to open to the public in five months, on Memorial Day weekend, the symbolic start to summer.
The new structures will be constructed in a factory offsite, and later installed into site-specific support structures and access ramps on the beaches. Relying on quick-to-install modular structures in the future might serve as the foundation for the reconstruction of whole neighborhoods (as opposed to throwaway, temporary trailers).
When Garrison Architects needed shop drawings done so the contractor could begin fabrication, they called Consulting For Architects (CFA) to find them an architect to execute the drawings. “Within 24-hours, we closed the deal with Garrison Architects and a talented CFA Consultant who started this week.” stated CFA owner David McFadden.
Since then, “it’s been a wild ride,” Garrison told me over the phone on Tuesday. After 40 days worth of 16-hour planning sessions, Garrison Architects emerged with a plan to introduce net-zero energy, flood-resistant, modular structures along the beaches of Coney Island, Staten Island, and Rockaway Beach. He says his designs are not only economical and aesthetically interesting– but could help lay new groundwork for the way that cities respond to climate change-related disasters in the future, by relying on quick-to-install modular structures that serve as the foundation for the reconstruction of whole neighborhoods (as opposed to throwaway, temporary trailers).
Better lifeguard stations are nice, but their design could also help lay new groundwork for the way that cities respond to climate change-related disasters in the future
He says the initiative is the first time he can think of that any American city is “confronting the reality of starting to build infrastructure that can deal with these enormous storms and can live beyond them.”
Garrison’s designs for new lifeguard stations, comfort stations, and beach offices include a number of features that make them both flood-resistant and sustainable: they’re elevated above the new FEMA storm surge numbers, and they rely on photovoltaics, solar hot water heating, and skylight ventilators as part of a net-zero energy system. The wood siding was salvaged from boardwalks wiped out by Sandy.
The project also involves relandscaping the beaches, reintroducing dunes in certain places to help protect the shore, and eliminating boardwalks. “The waves basically just roll under [boardwalks] and sometimes take them away with them,” Garrison says.
The new structures will be constructed in a factory offsite, and later installed into site-specific support structures and access ramps on the beaches. According to a briefing by Garrison’s firm, “New York has only a handful of modular buildings, such as low-income trailer housing or modular classrooms, most of which essentially qualify as manufactured boxes on chassis, not unique designs. Our modules are a premier example of cutting edge modular building practices and sustainable design solutions for the future.”
The new buildings are elevated above the new FEMA storm surge numbers, and they rely on photovoltaics, solar hot water heating, and skylight ventilators as part of a net-zero energy system. The wood siding was salvaged from boardwalks wiped out by Sandy
What’s perhaps more impressive than the speed of the design is the way the city’s bureaucracy got out of the way to let the project unfold under tight deadlines. “I’ve never seen anything like it on [the city’s] part,” Garrison says (and he’s been designing buildings in New York for more than three decades).
Garrison hopes that the project serves as a model for disaster rebuilding efforts in the future, when it’s possible that Sandy-strength storms will be the norm. “Next time it hits, can we mobilize [modular design] as disaster housing? And I mean good stuff–not FEMA trailers that make people sick, stuff people can really live in for the long term?” Garrison wonders. “This is a way to build in an era of congestion, ecological challenges, and the need for permanence.”
Credit Zak Stone
Zak Stone is a staff writer at Co.Exist and a co-founder of Tomorrow Magazine.
aia, architect, architects, architecture, architecture critic, architecture jobs, built environment, construction, Consulting For Architects, Design, Engineering, Green Architecture, Green Built Environment, Landscape Architecture, Sculpture
beach offices, Co.Exist, comfort stations, Coney Island Beaches, David McFadden, flood-resistant, Garrion Architects, Hurricane Sandy, lifeguard stations, Modular, modular structures, net-zero energy, new york city, photovoltaics, Rockaway Beaches, Solar, Solor Technology, Staten Island Beaches, sustainable design, Tomorrow Magazine, Zak Stone
The City Council has unanimously approved plans to redevelop the historic Pier 57 at 15th Street and the Hudson River, turning the eyesore into an urban, cultural and retail hub.
The approval clears the way for construction to begin at the pier, which has served as a dock for ocean liners, a former MTA bus depot and a holding pen for rowdy protesters arrested at the 2004 Republican National Convention.
WITHOUT ‘PIER’: An artist’s rendering of Pier 57 after a City Council-approved restoration that will create 425,000 feet of retail space.
Calling it “a major victory for Manhattan’s West Side community,” Council Speaker and mayoral hopeful Christine Quinn said the pier will provide “a new, sorely needed source of revenue” for the Hudson River Trust, which oversees the pier.
“Soon they will transform Pier 57 from an unused waterfront space into an innovative hub, a culture of recreation and public market activity, all located within a restored historic structure,” said Quinn, whose district encompasses the pier.
The plan calls for creating roughly 425,000 square feet of retail and restaurant space built from re-purposed shipping containers, designed by Young Woo & Associates — the same firm that designed Dekalb Market in Brooklyn, also built from old shipping containers.
It will be an “incubator for cutting-edge local and international brands and merchants,” the company said.
It will also feature an amphitheater and a marketplace area made from old airplane fuselages and 160-square-foot “incuboxes” — small spaces for local merchants, artists and start-up companies.
There will also be educational components, such as cooking schools, art galleries, photography labs and music-recording studios. The Tribeca Film Festival will use the 100,000 square feet of outdoor space as a permanent venue.
A 141-slip marina and water-taxi landing space will surround the pier. Construction will begin in October, the company said.
The approval comes after years of wrangling by developers and community activists and after a more elaborate design — a $330 million proposal from real-estate developer Douglas Durst — was killed in favor of the less expensive plan offered by Woo’s company.
The now rusted pier was built in 1952 from three concrete slaps floated down the Hudson River.
“Today’s approval brings us one step closer to transforming Pier 57 into a recreational, cultural and retail center that will provide yet another great destination for the Hudson River Park community,” Hudson River Park Trust President and CEO Madelyn Wils.
Via NY Post [email protected]
architect, architects, architecture, architecture critic, architecture jobs, construction, Consulting For Architects, Engineering, Sculpture
architecture, Christine Quinn, City Council, David McFadden, Dekalb Market, design, Douglas Durst, Hudson River Trust, jobs, Madelyn Wils, MTA, Pier 58, recession, Republican National Convention, shipping containers, tribeca film festival, unemployed architects, Woo’s company, Young Woo & Associates
north eastern corner overlooking the northern forecourt. images courtesy lyons, dianna snape, michael evans, nils koenning
the la trobe institute for molecular science (LIMS) by australian lyons architecture is a major new building on university’s bundoora campus, which will meet the school’s long-term needs in terms of student learning and research in the science disciplines. the project seeks a‘transformative’ identity of the campus, which had previously been built within the strict guidelines for materials and heights.
the lower levels of the building accommodate first to third year undergraduate learning spaces – with large open flexible labs (accommodating teaching cohorts for 160 students) connected with ‘dry’ learning spaces. this allows people to move between laboratory based project work, to digital and collaborative learning activities within the adjacent spaces. at ground level, these learning areas breakout to new landscaped interior environments, extending the idea of placing students at the centre of outside social and learning hubs.
the upper three levels of the building are research focused and based around a highly collaborative model. all laboratories are large open flexible spaces where teams are able to work together, or expand and contract according to research funds. these large ‘super labs’ are located immediately adjacent to write-up spaces, allowing a very direct physical and visual connection between all research work sections. the plan includes a major conference room, staff ‘college’ lounge and informal meeting spaces, are also located on the research levels. the design is fully integrated with the adjacent existing structure, which accommodates a number of other lims research staff and laboratories.
a major stairway rises through the centre of the building, connecting the student and research levels – as a form of representation of the ‘pathway’. the cellular exterior of the building is derived from ideas about expressing the molecular research that is being undertaken within the building, and is adjusted via the materiality of the building itself. the walls are primarily precast concrete, with the cells providing a ‘lower’ and ‘upper’ window into the various spaces, aiding the penetration of daylight. the cellular concept also creates a framework for a number of distinctive spaces for students to occupy or for research staff to meet and collaborate.
Continue reading on DesignBoom
architect, architects, architecture, architecture critic, Art, buildings, Consulting For Architects, Design, modern architecture, modern buildings, Sculpture
bundoora campus, climate, designboom, interior environments, la trobe institute for molecular science, lyons architects, research, science, science disciplines
All I can say is did we really need to do this?
New sign design by pentagram
Full article via design boom
architecture critic, Art, built environment, Design, Landscape Architecture, Sculpture, Urban Planning
architecture, city signage, clutter, eye sore, Mayor Michael Bloomberg, new york city, pentagram, sign design
While many architects and engineers have been vying to construct the world’s tallest tower, a group in China has looked to build in the opposite direction.
Construction began last month on Shanghai’s first “groundscraper”—a structure built almost completely below the surface. The massive project will eventually take form as the InterContinental Shimao Shanghai Wonderland, a 19-story, 380-room luxury hotel surrounded by a 428,000 square-meter theme park.
The hotel broke ground about 30 miles from the city of Shanghai in an abandoned quarry at the foot of Tianmashan Mountain. The building, located in the district of Songjiang, will be grafted onto the side of the quarry with 16 floors descending down and three floors resting above the crater.
Just as the top levels of a skyscraper are often filled with elegant restaurants and the most luxurious of rooms, the bottom two floors of the groundscraper will include an underwater restaurant, an athletic complex for water sports and 10-meter deep aquarium.
The quarry’s surrounding cliffs will be used for extreme sports like bungee jumping and rock climbing.
The project’s developers at the Shimao Property Group worked with British engineering firm Atkins to bring the idea to fruition and expect to near completion in late 2014 or early 2015.
The theme park and hotel are expected to cost at least $555 million and nightly room rates should start at approximately $320.
architecture, buildings, built environment, Green Architecture, Green Built Environment, Landscape Architecture, modern architecture, modern buildings, Sculpture
architecture, Atkins, China, Hotels, InterContinental Shimao Shanghai Wonderland, room luxury hotel, Shimao Property Group, skyscraper, Tianmashan Mountain, travel
Design is complex. There is little that is more complex to design than a home, however fundamental issues offer an architect a starting point; where is the sun? How do we capture it in winter, how do we exclude it in summer?
The thin allotments that dominate Melbourne’s northern suburbs often provide indomitable constraints to solar access and therefore require the production of unorthodox ideas to overcome these constraints and convert them into opportunities.
The site faces north therefore relegating the backyard, the family’s primary outdoor space, to shadow throughout the year. In the 90s a two storey extension was added reducing solar access even further while creating deep dark space within the house. A family of five wished to create a long-term home, which could meet the requirements of three small children and their slow transformation into young adults over the years.
Rather than repeating past mistakes and extending from the rear in a new configuration, the proposal was to build a new structure on the rear boundary, the southern edge of the block, upon the footprint of what had been, until now, the back yard. The new structure faces the sun, the pure cantilevered box above acts as the passive solar eave, cutting out summer sun, while letting winter sun flood in.
Following the decision to build at the rear of the block a ubiquitous modern box was first imagined. Soon it seemed necessary to pursue the opportunity to activate this new, once shaded, now sunny facade. A seat along the new northern facade? Perhaps a series of steps like the Scalinata della Trinità dei Monti? But how does one lounge in the sun on steps. Perhaps a slope instead …. And the hill house evolved/emerged.
The new structure faces the original house. The backyard is now the centre of the house activated by the built form around it. Beyond solar gain, the benefit of the new structure being in the backyard is that it borrows landscaping from its neighbours’ gardens. The high windows about the entertainment cabinetry and the dining area are enveloped in trees. Internally one gets the sense that Hill House is enveloped by bush rather than part of the suburban mix.
Along one boundary a 2m high fence was created, but unlike most houses the Hill House has a one metre wide fence; a corridor lowered into the site to achieve head height. This in turn creates a lowered dining area. One rises into the living space. The change in floor level creates a bench seat for the Maynard designed ZERO WASTE TABLE.
Front Street no longer provides the main entry to the home. Family now enters via the side lane. The original house, now private dormitory spaces, no longer has a typical relationship to the N#@$%k street’s “front” door. The original house, as with most narrow blocks throughout Melbourne, demanded that visitors walked a long corridor past bedrooms to the living area. Stolen quick glances into dark private spaces always occurred along the journey. At the Hill House the entry is reorientated. The kitchen, the nerve centre, the hub of the house, is the new greeting point. Beyond is the park. Adjacent is the living space, the yard and the “kids’ house” beyond.
The old house is converted into “the kids’ house”. The old house is as it once was. The rear of the simple masonry structure, though spatially connected, is not reoriented, a face is deliberately not applied. It is left honest and robust. With a restrained piece of “street art” to be applied.
Andrew Maynard Architects was established in 2002 following Andrew’s receipt of the grand prize in the Asia Pacific Design Awards for his Design Pod. The core principles in the establishment of AMA was a balance between built projects and broad polemical design studies. This is demonstrated in AMA’s highly crafted built work and socio-politically based concepts both of which have been widely published and have garnered global recognition.
Andrew Maynard Architects explores architecture of enthusiasm – AMA treats each project as a unique challenge, offering unique possibilities and prides itself in experimentation. All of AMA’s designs are concept rich, left of centre and sustainability conscious; styles and singular themes are avoided. AMA specializes in ideas rather than building type, whether the project be a house in Fitzroy, a library in Japan, a protest shelter in Tasmania, a plywood bicycle or a suburb eating robot. Andrew Maynard Architects continues to be published in many prestigious international journals such as Mark Magazine [Amsterdam], Architectural Record [US], Architectural Review [London], Monument. Houses A + T [Spain], Architecture Australia, Wallpaper [London] and Pol Oxygen. AMA’s conceptual and built work has been exhibited in New York, Budapest, Melbourne, Sydney, Osaka, Milan, Sao Paulo, Tokyo and more.
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architecture, Design, eco building, green building, Green Built Environment, Landscape Architecture, modern architecture, Residential, Sculpture
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The Big Dig by Topotek1, at the Xi’an International Horticultural Expo. All Photos: Geng Wang
You were seven, it was summer, and you were bored to tears. Somehow you got the idea in your head that you could dig a tunnel to China. You grab a spade or shovel (of hard plastic) and begin to dig. You’re determined, and nothing—not the limitations of your physical strength, hunger, networks of piping, dangerous levels of air pressure, lack of oxygen, the earth’s molten core, or, if you managed to get past all that, the fact that you’d end up in the middle of the Indian Ocean and should have started in Argentina—will keep you from digging. But after 30 minutes, but what seems like hours, night fall or dinner time precludes the conclusion of your journey.
A thin glass barrier encircles the hole and prevents the visitor from falling into the abyss and, presumably, ending up in an unknown land.
“The Big Dig” is designed as the emerging point of your trans-national travel. More than a hole in a two dimensional surface, the installation is a suctioned chasm, where space is curved and stressed. Existing site features, such as nearby trees, were untouched, reinforcing the conceit that you’ve just surfaced into an arcadian garden. A discrete audio system plays recorded sounds from the other side of the world—“cows from the pampas of Argentinas, commuters rushing among transit through New York City, the maritime life of Stockholm, and layers of history so audible among the streets of Berlin”—transporting visitors far from China to Western Europe or South America.
Topotek1’s installation at the 2011 Xi’an International Horticultural Exposition presents the question, “what if we did dig a tunnel to the other side of the world.”
Source: Architizer Blog
Cool benches under one of the many futuristic silver buildings which have popped up recently in West Chelsea.
The anticipation of the second section of the High Line has more in common with that of summer blockbusters than urban renewal projects. With two million visitors last year, the elevated park has garnered praise usually reserved for Manhattan’s original icons. The park was even featured in an episode of “Family Guy” late last year, featuring a Sketch-up like rendering of the hunkering Standard Hotel straddling the elevated walkway whose terminus disappears in a wash of low rise brick buildings.
Due to its overwhelming popularity and appeal, the park has, as some have pointed out, become more than a dynamic urban project — it’s become a brand, and one with remarkable influence in shaping the future of Manhattan’s real estate and elsewhere.
Aerial View, from West 30th Street, looking West toward the Empire State Building. ©Iwan Baan, 2011
Phase II of the High Line keeps all of the original features of the elevated promenade that flipped the Olmstedian park on its head, while introducing some new baubles, including a wide glass screen framing traffic criss-crossing 26th street below and a “cut-out” view of the deck’s substratum, where the trademark concrete planks are stripped away to reveal the platform’s substructure.
There’s also the “flyover” (above), a catwalk ascending above the main path into a “shady canopy of sumac and magnolia trees, allowing an undulating terrain of shadowy groundcover to fill in below”—a narrative apparently warranting donors’ name—and what will probably be the park’s most welcomed addition, a long, unobstructed lawn for lounging or picnicking.
Philip A. and Lisa Maria Falcone Flyover, aerial evening view at West 26th Street, looking South. ©Iwan Baan, 2011
But more has changed since the opening of the first section of the High Line. The architecture looming over the sides of the park has grown increasingly flashy, with starchitects and others being called in to furnish silver-screen backdrops to the spectacle. Of course, Gehry’s IAC building is nearby, accompanied last year by Jean Nouvel; further along, Neil Denari’s HL23 glistens like some Jetson-age aluminum bombshell. And Renzo Piano is set to make his mark at the foot of the High Line’s main entrance with typically ascetic designs for the new extension of the Whitney Museum.
The rapid production of such marketable architectural clout, along with the openings of countless art galleries, chic eateries, and high-end shopping have attributed to the construction of the High Line Effect. The dream is that this gleaming model of gentrification can be reproduced ad absurdum, given the tangentially right conditions, the involvement of fashionable architects, and, the most important ingredient, the procuring of salvageable decaying urban infrastructure. Cities far and wide, from Chicago to Philadelphia, Jerusalem to Rotterdam, have expressed interest in building their own elevated parks, going so far as to contacting Field Operations to consider plans (no doubt, willfully derivative) for their respective cities.
The original conception of the High Line project surely holds the most promise and the most applicable lesson to all venturing cities and urbanizing areas, that is, untapping the potential hidden within the obsolescent and the forgotten made possible through the tireless efforts of a stubbornly committed group of people dedicated to preserving and improving their city.
A ribbon of grass lawn just above 23rd Street
Source and more photos: Architizer
High Line Website