Ze House - PARATELIER_monica ravazzolo, PARATELIER_leonardo paiella

September 4, 2014, 6:49 am

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Abitata fin dai tempi preistorici, per la sua posizione privilegiata e strategica, Palmela presenta tracce di culture differenti che si succedettero nelle diverse epoche fino ai nostri giorni. Palcoscenico delle lotte delle conquiste cristiane sui mori, fu Don Afonso Henriques che gli attribuì il primo titolo nel 1185.

Fortissima é la presenza del Castello Medievale di Palmela. Nei giorni limpidi dal suo ‘Mastio’ (torre principale) la vista si apre fino a raggiungere Lisbona….

Oltre a questa forte identità storica, il territorio integra due tra le più importanti aree protette del Portogallo: il Parco naturale di Arrabida e La riserva Naturale dell’estuario del Sado.

Storia e Paesaggio, si condensano in un unico luogo.

Nel cuore di questo piccolo centro urbano, un vuoto da ricostruire é assoggettato dalla presenza del castello e dal paesaggio circostante, la valle del Barris.

Prende così forma un corpo nuovo saldamente fissato al terreno, un monolite di cemento dalle linee semplici che, dialogando con la figura massiccia del castello, si relaziona alla geometria articolata dei tetti circostanti. Il nuovo volume ridefinisce il limite e conclude lo skyline del Largo de Boa Vista, rafforzando la struttura di piazza. Le superfici e i materiali rivelano il processo costruttivo dell’edificio, che stabilisce così non solo relazioni geometriche con il contesto ma anche cromatiche attraverso l’uso del pigmento ocra addizionato al cemento, tonalitá presente nella copertura e nelle facciate esistenti.

I pannelli lignei utilizzati per il getto di calcestruzzo scandiscono la superficie continua delle facciate esterne, imprimendo sul cemento la vena naturale del pino. Puliti, piallati e recuperati i pannelli vengono riutilizzati all’interno, con la stessa metrica, facendo corrispondere l’esterno con l’interno. Pavimento, pareti e tutto il mobiliario vengono costruiti con le cassaforme riciclate.

Il programma é diviso per livelli distribuiti da una scala lignea. Al piano terra uno spazio libero ribassato rispetto alla quota della strada si costituisce come hall di accesso caratterizzata da una luce naturale. Al primo piano la zona più privata dell’abitazione si organizza lungo un patio ricavato su uno dei lati del lotto assicurando condizioni ottimali di illuminazione e areazione. Il secondo piano, ospita le aree designate alla vita sociale della casa in un contesto suggestivo di viste studiate per captare paesaggi a diverse scale in diversi momenti della giornata: dalla ‘zona studio’ della sala, il vano ‘vivibile’ che si affaccia sul largo di Boa Vista controllandone il movimento, a mezzogiorno l’apertura della sala da pranzo verso l’immagine statica del castello, al tramonto il vano che incornicia il paesaggio profondo degli estesi vigneti verdeggianti della valle del Barris.

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Long Museum West Bund - Atelier Deshaus

September 4, 2014, 7:55 am

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Long Museum West Bund is located at the bank of Huangpu River, Xuhui District, Shanghai Municipality, the site of which was used as the wharf for coal transportation. Before the commencement of the design, a Coal-Hopper-Unloading-Bridge of about 110m in length, 10m in width and 8m in height, which was constructed in the 1950s, is remained with a two-storey underground parking completed as early as two years ago.

Photo by Xia Zhi. Published on September 04, 2014.

The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure. As to the overground space covered by the “vault-umbrella”, the walls and the ceiling feature as-cast-finish concrete surface so that their geometrical dividing line seems faint. Such structure cannot only shield the human body in conformation but visually echoes with the Coal-Hopper-Unloading-Bridge at the wharf. Moreover, the building’s internal space can also represent a kind of primordial and tameless charm while the spatial dimension, large or small, and the as-cast-finish concrete surface with the seam among moulding boards and the bolt holes bring a sense of reality as well. The directness and simplicity resulting from this “literal” structure, material and space plus the sense of force or lightness because of large-scale overhanging style enables the overall building’s continuation of the industrial property of the original site, not only in time but in space.

Ancient art gallery and the sunken courtyard

Photo by Xia Zhi. Published on September 04, 2014.

The flowing exhibition space under the overground as-cast-finish concrete “vault-umbrella” and the “white box” exhibition space on the first underground floor are connected with spiral ladders downward. The parallel tensility highlighting the space, primordial but realistic, and the art exhibition from the ancient, modern and contemporary periods, has displayed an exhibition space featuring the temporality.

Photo by Xia Zhi. Published on September 04, 2014.

Location: No. 3398, Longteng Avenue, Xuhui District, Shanghai
Design: November 2011 to July 2012
Completion: March 2014
Project area: 33007sqm
Site area: 19337sqm

Photo by Xia Zhi. Published on September 04, 2014.

South-east facade

Photo by Xia Zhi. Published on September 04, 2014.

photo by Su Shengliang. Published on September 04, 2014.

Photo by Xia Zhi. Published on September 04, 2014.

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CONCORSO DI IDEE - MI10studio

September 4, 2014, 8:16 am

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Il Cimitero della Confraternita della Misericordia di Campi Bisenzio si presenta oggi come un complesso cimiteriale articolato senza un carattere determinato, ma che è piuttosto la somma di tanti episodi storici stratificati nel tempo. La proposta progettuale parte dal concetto di recinto inteso come limite fisico che racchiude l’assemblea dei fedeli, il moto e le soste generando un ambiente intimo con spazi per la preghiera, la riflessione, il dialogo e la relazione.

Planimetria Cimitero esistente e ampliamento progettuale con indicazione delle direttrici fondanti il progetto

Il recinto è definito dai fronti caratterizzati da linee semplici e geometriche, pieni e continui. In corrispondenza dell’ingresso si apre un portale che si dirige verso la città.

Nel primo blocco di ingresso è collocata una corte commerciale in cui si affacciano le attività necessarie al cimitero e un bar dotato di uno spazio verde. Dall’ingresso iniziano 2 percorsi principali: uno coperto che costeggia il blocco dei loculi e ossari; uno, costeggiato da cipressi, che taglia diagonalmente il grande spazio centrale in cui sono stati alloggiati gli sterri. Come fondale di tutto l’impianto si trova il Tempio Crematorio.

I LOCULI Il blocco in cui vengono alloggiati i loculi, lungo 85 metri, è stato progettato, come tutto il resto del cimitero, in modo da rendere possibile la ripetibilità al momento di necessità. Esso è caratterizzato da una parete in calcestruzzo armato che in alcuni punti viene forata e rivestita da lastre in pietra di Santafiora, che crea un gioco di luci e ombre all’interno del percorso.

STERRI E CAPPELLE Gli sterri sono disposti al centro dell’impianto proposto lungo delle direttrici che collegano il blocco dei loculi con le cappelle. Il sistema degli sterri è stato studiato in modo tale da mantenere una unitarietà in tutto il cimitero e rendere più semplice la ripetibilità in fasi successive. A conclusione di ogni direttrice degli sterri si posiziona una volume di pianta 5m x 5m, diviso internamente in due cappelle da 8 posti ciascuna.

TEMPIO CREMATORIO Il tempio crematorio fa da fondale all’intero impianto: Si tratta di un’area studiata per dare vita ad un centro delimitato da muri pieni e chiusi. I percorsi e gli spazi all’interno sono organizzati in modo creare ambienti per la cremazione, spazi per le onoranze funebri ed aree di servizio. Nascosto tre le mura del tempio, un unico spazio verde: il Giardino delle Rimembranze, caratterizzato da 4 alberi di diversa specie che hanno la particolarità di raggiungere il massimo splendore per la loro fioritura, o per la peculiarità del loro fogliame ognuna in una stagione differente.

MATERIALI I materiali preponderanti nella proposta progettuale sono il calcestruzzo faccia a vista per le parti strutturali (efficace sia dal un punto di vista concettuale che manutentivo), la pietra Santafiora come rivestimento verticale, il Serizzo per le pavimentazioni e il marmo bianco per le lapidi.

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New Building in ‘El Redín’ High School - Otxotorena Arquitectos

September 4, 2014, 8:46 am

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The program’s requirements of the project is based on the expectations of the growing number of students of the College, given the evolution of the demand for places. And it is built around the requirements of current legislation, under the specificities of the educational project.

 The construction of a new set of classrooms is understood from the outset as an excellent opportunity to reset the suitability of the center’s facilities. It seeks to satisfy the criteria that the experience has been settled regarding the design of teaching spaces. The building faces with ambition the discussion on the size of the expected local, its space and comfort qualities, the resolution of their functional requirements, evidence, and clarity of the circulations, the choice of materials and efficient facilities. The project undertakes the orderly arrangement of a total of 10 basic teaching classrooms beside the current building of the College, in the orchards Aranzadi Pamplona, according to the following structure: 7 secondary classrooms, 2 Laboratories, and a Music Hall. The result is a compact building connected to the existing one and dependent on it. It is a trapezoidal volume (14 meters centerline by 45 long), and consists of 4 floors which are arranged in continuity with the center. The proposal chooses to exploit the particular conditions of the lot, with a geometry that adapts to the planning regulations and assumes an offset of 5 meters with respect to the perimeter of the plot and internal roads, given the decision of the property about its location and connections.

 This scheme tries to solve optimally the relationship between the uses and communication, based on the needs in the field of evacuation and access control. Taking advantage of the topography, the elevation of the ground floor matches the playground located on the North facade, while the basement is directly associated to that in the existing building. The building has two entry points: one in the basement, which relates the general facilities of the center with the new building, and the main, located on the ground floor, overlooking the playground. Arguments of experience brought to school to show their preference for a ceramic coating for the entire new building towards greater assurance of maintenance and robustness.

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MODERNIZATION OF LIMA DE FREITAS SCHOOL - Ricardo Carvalho + Joana Vilhena Arquitectos

September 4, 2014, 9:12 am

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The renovation and expansion of Lima de Freitas School, in Setúbal, is based on a strategy of appreciation of architecture and landscape on the eastern edge of Arrábida Natural Park. We sought to preserve the forest that works today as the unpredictability of the interior space of the building, building the new volumes only in the spaces where it was not necessary to fell trees.

The project also seeks make the school more dense, giving complexity to the relationship between its parts. This complexity has meant building spaces between pavilions for group activities. The project provides a profound transformation of the relationship between exterior and interior spaces, and especially the creation of a new and clearer programmatic relationship between the parts. To minimize the impact of the construction on the space available, the design strategy is to build embankments that separate the three topographic levels.

Various spaces of noble scale were created for students and teachers, as chimneys between halls, courtyards, and a central space that brings together and celebrates the everyday life of the school.

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Baita M&M al Peuterey - Fabrizio Luccio

September 4, 2014, 9:26 am

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La ristrutturazione di un antico rustico in una delle frazioni montane di Courmayeur nel cuore della Val Veny ai piedi del Monte Bianco, ha portato all’adattamento della struttura originaria alle nuove esigenze abitative, nel pieno rispetto della tradizione costruttiva e dell’uso dei materiali.

La passione dei committenti per la montagna e per la barca a vela, ha consentito di sfruttare al meglio i piccoli ambienti, nel pieno rispetto di una ricerca filologica di recupero dell’esistente, con il riuso di tutti i materiali lapidei e lignei già presenti in loco. Grazie a ciò si è riusciti a creare ambienti accoglienti, con l’inserimento anche di una vasca idromassaggio e di una sauna.

L'edificio prima dell'intervento

La passione della proprietaria per gli arredamenti antichi e vintage ha creato la prticolare atmosfera che si respira all’interno degli ambienti.

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Baita M&M a Pra Neyron - Fabrizio Luccio

September 4, 2014, 10:07 am

≫ Next: Shrine of the Virgin of “La Antigua” in Alberite - Otxotorena Arquitectos

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Un grande rustico situato nel cuore del comprensorio sciistico di Courmayeur è stato recuperato nel rispetto degli elementi costitutivi, con la creazione di ampi spazi per accogliere i numerosi amici, già in previsione di una futura suddivisione in due unità abitative per i giovani figli.

Prima dell'intervento

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Shrine of the Virgin of “La Antigua” in Alberite - Otxotorena Arquitectos

September 4, 2014, 10:18 am

≫ Next: house PD - Paolo Didonè

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The site corresponds to a plot on the outskirts of the town of Alberite. This is a 2.000 people village, very close to Logroño in La Rioja, Spain. The place is located on a gentle hill, overlooking a ravine opened into the road running through it. This was a plot of land given to the Parish by the Town Council for the construction of the shrine of the Virgin.

First of all, the project aims to fulfill all the program requirements, concerning the nature and typical use given to this type of buildings, which, in its immediate environment, serve both for private devotional practices as well as for popular traditional temple fairs. This is a key ingredient in the way of considering the design, since we are obliged to expect a large influx of people within isolated intervals.

On the other hand, the design also takes into consideration the characteristics of the place in terms of geometric, orientation and topographical measurements. It is also characterized by the appeal and width of its views.

Finally, there is added an absolutely fundamental premise: the need to incorporate a preexisting stone archway in the design. This archway was rescued from a previous demolition in the town and it was preserved by the locals. This way, it is intended to re-use the archway and to put more value on it. It was obviously called to assume a main role in the shape and perception of the building from the beginning.

When applying this set of arguments, however, we can remark some of the closely related choices chained to outline the design process:
a) The basic choice of the creation of a relatively wide outdoor space, which provides the interior of the shrine with some anteroom, protects the visitors from sun and rain and frames the view.
b) The attention given to the impact the building will cause in the landscape, even noticeable at long distances, that consists on a horizontal gesture correlative to the extent of the slope overlooking the ravine it faces.
c) The care given to the relationship between the few spaces created, both external and internal, as well as the hierarchical location of the entrances to the site and confined spaces of the chapel.

The building volume is conceived, in any case, considering the idea of framing the archway by building a parallel roof and floor to wrap and protect it.

For its construction we are to use a single material, concrete, for immediacy and simplicity reasons, considering its suitable conditions of abstraction, continuity, stability and robustness.

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house PD - Paolo Didonè

September 4, 2014, 10:28 am

≫ Next: Alloggio PDP a Chaffiery - Fabrizio Luccio

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Progetto di interni realizzato a Rosà in provincia di Vicenza con budget molto ridotto.

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Alloggio PDP a Chaffiery - Fabrizio Luccio

September 4, 2014, 10:42 am

≫ Next: Parco Cimiteriale di Utena - Vitalijus Jankūnas, Marius Morkūnas, Kunas Architektai, Vito La Spina, Vitalijus Daugėla

≪ Previous: house PD - Paolo Didonè

L’intervento di restauro e risanamento conservativo di un grosso edificio rurale in una delle frazioni montane di La Salle, ai piedi del Monte Bianco, ha portato alla realizzazione di un’unità abitativa disposta su tre livelli, per la quale le caratteristiche “rustiche” degli ambienti sono state enfatizzate dal contrasto scelte progettuali molto moderne.

La suite padronale in mansarda

L'angolo bagno della suite padronale

Il bagno della suite padronale

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Parco Cimiteriale di Utena - Vitalijus Jankūnas, Marius Morkūnas, Kunas Architektai, Vito La Spina, Vitalijus Daugėla

September 5, 2014, 3:37 am

≫ Next: Nuovo asilo nido, Volterra - rosso19, Studio settanta7, Tommaso Rossi Fioravanti, luca bani, federica de blasi

≪ Previous: Alloggio PDP a Chaffiery - Fabrizio Luccio

Tutto ruota. Polvere – vita; vita – morte; morte – polvere. In un approccio tradizionale il cimitero è un luogo sempre uguale a sé stesso, dove prevale la staticità in un contesto pensato quasi unicamente per i morti. In un approccio culturale contemporanea, il cimitero diventa invece un luogo pensato anche per i vivi che vogliono trascorrere del tempo con i propri cari defunti, un luogo umano e naturale, accogliente e rispettoso. La proposta per il mantenimento del cimitero di Utena e per l’espansione della nuovo area va in quest’ultima direzione, cercando di dare alla città non un semplice cimitero. ma un parco cimiteriale al servizio della collettività.

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Nuovo asilo nido, Volterra - rosso19, Studio settanta7, Tommaso Rossi Fioravanti, luca bani, federica de blasi

September 5, 2014, 3:53 am

≫ Next: CCC - Skopje - Vincenzo Casali, TA s.r.l. - Alberto Torsello

≪ Previous: Parco Cimiteriale di Utena - Vitalijus Jankūnas, Marius Morkūnas, Kunas Architektai, Vito La Spina, Vitalijus Daugėla

Tipo di intervento: Gara d’appalto per la progettazione di un nuovo asilo nido “ La Mongolfiera” a Volterra. Superficie: 376 mq Anno: 2013-2014 Luogo: Volterra (PI) Capigruppo: Studio77, Tommaso Rossi Fioravanti Progettisti: Luca Bani/Federica de Blasi Strutture/structure : AEI Progetti

La gara bandita dal comune di Volterra richiedeva nuove proposte per il miglioramento di un progetto preliminare già in possesso del Comune. Per ovviare alle problematiche dovute ad un terreno in forte declivio l’edificio è stato orientato longitudinalmente, secondo l’andamento delle curve di livello, permettendo di recuperare l’allineamento con gli edifici circostanti e migliorando di conseguenza l’inserimento della struttura nel contesto; inoltre, prevedendo l’accesso ad una quota più bassa rispetto al progetto posto a base di gara, si è riusciti a minimizzare le movimentazioni del terreno. Pur partendo da geometrie semplici come quelle del preliminare, il progetto definitivo articola maggiormente il complesso scolastico, ma sempre attraverso l’assemblamento di corpi puliti, quasi stereometrici come le vecchie case coloniche toscane. Le linee di gronda e di colmo restano sempre costanti, la movimentazione dell’insieme è data dal semplice scorrere dei volumi. L’articolazione planivolumetrica dell’asilo crea infatti uno spazio di gioco aperto, ma protetto dai venti di tramontana, ed è pensata per permettere la migliore illuminazione naturale durante le varie ore del giorno. A questo scopo la distribuzione interna è impostata in modo tale che tutti gli spazi destinati ai servizi siano compresi nella stecca controterra affacciata a nord, mentre tutte le aree dedicate alle attività siano esposte a sud/est e sud/ovest, con accesso diretto al giardino. Il ritmo delle finestrature, gli elementi schermanti a rullo e i brise-soleil, insieme all’uso ponderato del colore, contribuiscono a sostenere l’espressività e la caratterizzazione dell’edificio.

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CCC - Skopje - Vincenzo Casali, TA s.r.l. - Alberto Torsello

September 5, 2014, 4:01 am

≫ Next: Army Housing Foundation Headquarters - MGS + Associates

≪ Previous: Nuovo asilo nido, Volterra - rosso19, Studio settanta7, Tommaso Rossi Fioravanti, luca bani, federica de blasi

The CCC Centre for Contemporary Culture has been conceived for the benefit of students, academies, universities, schools and more general youth approaches and programs.

The spatial and architectural plan is organized around an almost empty space, which can be filled each time by the different events envisioned by the cultural program. This empty space can easily be transformed and it works like a theatre stage.

A Youth Festival for Contemporary Culture, involving arts, music, dance, theatre, visual and technological activities and expressions, could be held here in Skopje every two years, and become an important international event. We can’t conceive a youth festival in a “rigid” space as that of the exhisting Opera-Theatre – and this goes for the exhibition area as well- because the contemporary way of dealing with space on stage and the idea of interaction with the public is, all over the world, extremely different from the classical one.

Of course, the building should be used for similar purposes at all times, not only for special events. This building must be seen as an open resource for the area: a new bright opportunity for exchanges of info, fast exhibitions, data bases, virtual library and bookshop dedicated to the subjects of the youth culture. Music, art, performing arts, addresses and links with the Skopje University and art galleries, and with Universities and art institutions throughout the Country and Europe, will be available to the users.

Urban contest

The longitudinal shape of the building underlines the direction from-and-to the Turkish ancient quarter and the Shopping Centre across the river. A pedestrian bridge is at the moment under project, to connecting the river banks. The project represents the perfect opportunity to bring new life and energy to this part of the city that, now, seems to wait for something.

The big glass openings on both sides, almost in the center of the building, as well as the organization of the outside pedestrian area, give the structure the opportunity to be crossed from side to side, making it work like a simple covered place; like a big tent hosting different free performances. The direction of this cross-gallery creates the physical link between the two main cultural structures already existing on site: the Opera-Theatre and the Music Academy.

Short architectural description.

The proposal is that of a covered space, almost empty, to allow the freest contemporary performances in art, music, dance and/or whatever could be referred to the contemporary youth culture. All these activities are related to what already exists in that specific urban contest, even if on a different and more institutionalized level, e.g. the Theatre, the Music Academy, the Museum of Modern Art. One section of the building can host exhibitions related to those materials already present in the nearby Art Museum, and permit the circulation of art materials not exhibited at the moment. The building can also host temporary exhibitions centred on the art scene in Skopje and in the Country, or of Macedonian artists residing in the Country or abroad, etc.

The building is conceived as a simple technological structure: concrete bearing system, inbuilt heating system, a natural cooling air circulation system working by opening simple vertical windows in different points of the upper skylight. An industrial lighting system for the everyday use, and devices currying specific lighting systems during performances and other events, are envisaged. Each part of the building is easily accessible to disabled people: no difference in level between the inside and outside. Elevator to underground floor.

Brief technical description: • Exposed reinforced concrete structure, with external covering in vertical panels of local red travertine stone slabs, conceived as pre-cast panels of concrete and stone. • Outside paving all around in travertine stone. • Glass panes with a minimal metal frame for window openings in the wall “skin”. • Metal (steel or aluminium) frame for window and door openings. • Indoor floor: concrete, smooth finishing, painted black. • Steel structure painted black for the skylight • Metal frames for all skylight openings • Concrete staircases, .... finishing. • Mechanical heating system room on the fartest side of the building. • Heating system inbuilt. • No cooling system: air circulation by opening through skylight openings in specific points. • waterproof Roof system: membranes or similar. • Neon track lighting wall to wall length side • Internal elevator. • Lavatories • Lavatories for disabled people. • fire-fighting systems. • Caféteria furniture and technical devices.

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Army Housing Foundation Headquarters - MGS + Associates

September 5, 2014, 4:27 am

≫ Next: The New Crematorium at the Woodland Cemetery - Johan Celsing Arkitektkontor

≪ Previous: CCC - Skopje - Vincenzo Casali, TA s.r.l. - Alberto Torsello

The Army Housing Foundation Headquarters (Fundação Habitacional do Exército –FHE) is the combination of a 30 thousand square meters office building and a 700 seats auditorium and other public spaces which resulted from an invited competition in Brasilia, Brazil.

Accordingly to the goals of this financial institution, the building conveys the principles of solidness, accessibility and transparency. The simple-volume setting establishes dialogue with the surrounding landscape, referring to the Soldier’s Chapel – designed thirty years ago by Milton Ramos.

The office-building is composed by two blocks displaced in levels and separated by a central atrium, which provides diffuse sun-lighting and natural ventilation in a comfortable and economic way. Landscape complements the buildings as a mimesis of the cerrado – the natural surrounding vegetation – in a language related to the Duque de Caxias square nearby – by the famous Brazilian designer Roberto Burle Marx. The adopted building technology allies the tradition and simplicity of the cast-in-place reinforced concrete structure to the fast-assembling and to the finishing quality of modulated industrialized materials adopted for roofing, ceiling, walling and flooring.

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The New Crematorium at the Woodland Cemetery - Johan Celsing Arkitektkontor

September 5, 2014, 4:37 am

≫ Next: House R - Benjamin Hafner - Architect

≪ Previous: Army Housing Foundation Headquarters - MGS + Associates

The new crematorium is located in an undulating terrain in a wild wood section of the Woodland Cemetery. Surrounding the building is an area of massive, century old, pines. The building is a compact brick structure about 150 meters away from the major chapel complex by Eric Gunnar Asplund of 1940. The motto of the project in the anonymous international competition in 2009 was ” A stone in the Forest”.

The arrangement of the plan and the characters of the interiors have been major concerns in the design of the new crematorium. The compact figure of the plan gives the staff overview as well as making a limited encroachment in the precious forest. Exposed white concrete has been used for the structure of the building. The aim has been to achieve the robust as well as to give a sense of clemency in the interiors. The concrete is from all-white Danish white cement and with Dolomite cross as ballast. No treatment has been done to the surfaces when the formwork has been dismantled. Thus walls and ceilings give a subtle but palpable sign of the construction process.

For acoustics perforated bricks are used in some interiors. Being white glazed they reflect and accentuate the light from the openings and slits in the roof. One of the public spaces in the building is a Ceremony Room where mourners can have a ceremony by a coffin or urn. Inside the building block is an atrium open to the sky where staff can get together at breaks without interferring with mourners. Brick has been chosen for facades and roof to bring the small scale to the surfaces as well as for how it relates to the trunks of the surrounding pines. Mourners and visitors reach the building on a path of large granite slabs that are laid out between the pines. At the public entrance there is a generous brick canopy under which mourners may gather or rest in close proximity of the natural woodland. At the canopy all the surfaces are of brick laid on different edges. They are on the facades, on the ground and cast into the ceiling of the canopy. Adding to the surfaces of brick is one massive load bearing granite column.

Competition: 2009
Date of completion: November 2013
Gross floor area: 3000 sqm

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House R - Benjamin Hafner - Architect

September 5, 2014, 6:18 am

≫ Next: Oficinas VILT group Madrid - iglesias-hamelin [arquitectos]

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The renovation of apartments is based on a purified layout and relaxed facade membrane. Relaxed floor plan allows a transition from the living room into a private room. Freed glass facade membrane acts as a medium that connects the indoor and outdoor space. It allows natural lighting eastern and western sides and connects the interior space with mountains to the east and the west. Great cantilevered balcony frames that are attached to the structure are floating in the air and allowing outdoors, as an extension of the interior space.

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Oficinas VILT group Madrid - iglesias-hamelin [arquitectos]

September 5, 2014, 6:36 am

≫ Next: Folon e Riva, "disegnare il mare" - Vincenzo Casali

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Oficinas VILT group Madrid

Photo by Salva López.

Photo by Iñaki Iglesias.

Photo by Salva López.

Photo by Iñaki Iglesias.

Photo by Salva López.

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Folon e Riva, "disegnare il mare" - Vincenzo Casali

September 5, 2014, 6:45 am

≫ Next: APPARTAMENTO AR1 - Chiara Angioli

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Al Porto Antico di Genova, sotto la tensostruttura disegnata da Renzo Piano, è stata ricoperta la superficie del pavimento in quel momento grezzo, con moquette nera. Il percorso è stato disegnato dalle passerelle in compensato. La parete di fondo che raccoglie le opere di Folon costituisce il fondale oltre il quale rimaneva l’area ancora in cantiere. Il rivestimento della parete è in lamiera di acciaio.

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APPARTAMENTO AR1 - Chiara Angioli

September 5, 2014, 7:03 am

≫ Next: "Atelier of the Future" - THE LIGHT BOX - fabio damiani, Marco Quistini, Daniele Cremaschi, Silvia Pezzetti

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1. Tipologia d’intervento Intervento di rimodellazione degli spazi abitativi di un alloggio preesistente, sito in un fabbricato di civile abitazione, attuata tramite un leggero spostamento dei tramezzi esistenti e creazione di un secondo bagno. I materiali di finitura, gli elementi di arredo e i colori sono stati selezionati per amalgamarsi con la struttura architettonica dell’alloggio e metterne in evidenza la ricca spazialità interna. Allo stato attuale l’alloggio, avente una superficie lorda complessiva di circa 110 mq, si compone di un comparto giorno localizzato nella porzione rivolta a nord-est del corpo di fabbrica e di un comparto notte nella porzione rivolta a sud-ovest. Il primo si articola intorno ad un disimpegno posto in posizione baricentrica che connette la cucina abitabile dotata di portafinestra e veranda di servizio, ed una sala adibita a pranzo, soggiorno e studio, illuminata da due portefinestre che immettono nel balcone principale dell’appartamento. Il secondo risulta composto da bagno e due camere da letto, di cui una dotata di guardaroba e bagno proprio. In fase progettuale sono previsti una serie di interventi di ridistribuzione interna e di manutenzione straordinaria, volti all’ammodernamento e ad una migliore fruizione dell’unità immobiliare in oggetto, che possono essere sintetizzati nei seguenti punti: demolizione dell’attuale unico bagno dell’alloggio e realizzazione di due nuovi bagni sul sedime del preesistente infatti viene creato un tramezzo con presa di luce che collega il bagno cieco a quello areato ed illuminato naturalmente dalla finestra esistente. Il secondo bagno (privo di finestra esterna) viene dotato di aspirazione meccanica collegato con l’impianto di illuminazione e con smaltimento dell’aria in facciata o dove sia possibile. Uno dei bagni viene attrezzato con lavabo, wc, vasca, doccia, l’altro con lavabo, wc, bidet e doccia. 2. Descrizione opere edili ed impiantistiche Demolizione degli attuali tramezzi in mattoni forati colleganti il vano bagno con il vano camera matrimoniale e vano ripostiglio e realizzazione con spostamento di nuovi tramezzi in mattoni forati con applicazione di intonaco civile e/o di piastrelle di rivestimento pareti bagno. Rifacimento, in tutto l’appartamento tranne i balconi, del massetto dove necessario e del piano di posa per il nuovo pavimento (con battiscopa) di qualsiasi natura (ceramica, legno, gres, etc), in linea o a rombo. Rimozione delle piastrelle della cucina e del bagno e rifacimento dello schienale della cucina con elementi in grès o ceramica mentre il resto del locale verrà pitturato. Preparazione delle superfici (pareti e soffitto) dell’intero appartamento, porzione della veranda e lato interno del parapetto murato del balcone principale mediante raschiatura, stuccatura, rasatura, carteggiatura, fondo fissante e uniformante; applicazione di intonaco civile e successiva pittura, tinteggiatura, velatura e/o spazzolatura eseguite in maniera uniforme con tempera e/o idropittura lavabile oppure altro materiale adeguato. Realizzazione di controsoffitto alla stessa quota della trave emergente esistente con gola luminosa e faretti sul disimpegno. Smontaggio di finestre e porte esistenti; compresa smuratura del controtelaio e posa in opera di controtelai per sostituzione, comprensiva dell’intonacatura del telaio, di tutte le porte interne con porte tipo scrigno per i bagni e quelle a un’anta a battente per le camere e cabina armadio. Allargamento porta cucina con demolizione di porzione della parete e realizzazione di porta scorrevole. Sostituzione della serratura e del rivestimento del portone di ingresso all’unità immobiliare. Opere di sostituzione degli infissi esterni con nuove finestre a trasmittanza termica “U” inferiore rispetto alle esistenti. Demolizione di porzione del pavimento esistente in piastrelle di graniglia compreso il sottofondo di colla e cemento, parte del massetto e del battiscopa per creazione di tracce a terra per la realizzazione degli impianti. Eliminazione del vecchio impianto elettrico esistente e sua sostituzione per messa a norma con installazione dei nuovi impianti elettrico, domotico, adsl, etc…in traccia e o su canaline. A tale scopo si procederà con l’apertura di tracce; fornitura e posa di corrugati e cassette; chiusura tracce; infilaggio cavi; fornitura e posa in opera di frutti (es.: prese, interruttori, tv), cavi a pavimento, parete e a soffitto (es.: cappa cucina, applique, luce specchio bagno) ed installazione di quadri elettrici. Sostituzione del citofono esistente con realizzazione del videocitofono. Interventi di adeguamento dell’impianto idro-termo sanitario in relazione alla realizzazione dei due bagni e della modifica della cucina esistente (rimozione dei sanitari, realizzazione impianto di distribuzione e di scarico dell’acqua, montaggio dei nuovi sanitari) e all’integrazione dei corpi scaldanti con lo spostamento di alcuni e relativo prolungamento delle tubazioni dalla vecchia alla nuova posizione Messa a norma della rete di distribuzione del gas dei locali cucina e veranda con installazione di tubazioni in traccia incamiciata. Realizzazione di attacco acqua fredda con vaschetta sul balcone principale e attacco lavatrice più vaschetta nella veranda. Nella veranda verrà installato uno scalda acqua con camera stagna. Realizzazione caminetto a bioetanolo e griglia di ventilazione ib basso per smaltimento monossido di carbonio. Tutti gli impianti saranno eseguiti in traccia o canaline esterne. Le sopraccitate opere saranno eseguite a regola d’arte ed in conformità alle norme di riferimento vigenti.

Soggiorno visto dal portone d'ingresso

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"Atelier of the Future" - THE LIGHT BOX - fabio damiani, Marco Quistini, Daniele Cremaschi, Silvia Pezzetti

September 5, 2014, 7:06 am

≫ Next: Studio Pellegrin - Vincenzo Casali

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THE PROJECT Increasingly saturated urban contexts lead us to intervene on existing sites that, having lost their original function, can be reclaimed from deterioration through reuse, enhancing their existing potential. Working on projects, the sustainability of the intervention has always been our primary objective. On these grounds, we have chosen off-shore oil platforms for the project, as there are more than 6500 of these huge machines dispersed throughout the world’s seas. An off-shore platform is used to extract oil for an average of 30–40 years. Once the underlying mineral deposit has been exhausted, the platform reaches the end of its life cycle, when it is decommissioned ready for disposal. The total removal of the platforms is not the only option taken into consideration, and it is here that new and interesting alternatives come into play that entail their conversion.

overview

DECOMMISSIONING The theme of reuse is highly topical in today’s society, particularly so in the world of architecture, first and foremost expressing a renewed shared sensitivity. The LIGHT BOX project conveys present awareness of the finite nature of the available environmental resources and the need to avoid wasting materials, spaces and resources during the processes of transforming the built-up environment. The awareness that thousands of off-shore oil platforms worldwide have been abandoned after the deposits dried up is one of the driving factors behind our project, which aims to reuse these places, preserving their identity and potential for the purpose of sending a strong new message to society through a revisited structure. These platforms can be transformed from pollutant structures into innovative spaces devoted to art and culture, to promote encounters where creativity plays the leading role.

section

ATELIER OF THE FUTURE The LIGHT BOX is a place of cultural exchange, residence and production where artists, architects, designers and creatives of all kinds can meet together, work, exchange ideas and converse with society, generating new ideas and giving life to a tangible project for the development and promotion of cultural activity. Art is the bonding agent, the reason for the encounter between artists and the public, the fuel that powers an imposing machine for the reassessment of a decommissioned site. Wherever possible, a real incubator of ideas, a factory where activities and cultural projects will be developed. Several galleries, platforms and ramps moves in the huge and open space inside the concrete cube and host a interesting range of exhibitions, changing regularly. According with the architecture project, life inside the building is not immovable but it changes creating many different situations that inspire artists and visitors’ creativity. The contest where the LIGHT BOX is located is not strictly linked to a country. Being in the middle of the sea favourites the meeting of different cultures and the dialogue between artists, young or famous, who can find inside the ateliers a perfect place where share their creative points of views. In fact, the LIGHT BOX exhibition plans include artists and pieces of art coming from all over the world. This open, various, heterogeneous and changeable space gives life to the appropriate mood to stimulate creative and artistic visions. The project gives life to a eterritorialisation process, an interesting across-political, geographycal and cultural boundaries flow of ideas and creative dialogue that leads to innovative visions, new spaces for new visions.

up and down

SPACES/FUNCTIONS The project involves a prismatic volume to be installed on the existing structure of the platform, in which the functional arrangement of the spaces forms a consistent relationship with the structure of the extraction plant. This volume is divided into three macro levels: the above-water volume that houses the artists’ ateliers and the exhibition spaces open to the external public (upper ateliers), the technical areas in the deck area and the underwater volume that houses the residents and the exhibition and creative spaces (lower ateliers). The above-water space houses the exhibition areas and the artists’ ateliers, while on the deck there is a large covered square that forms a continuum with the outdoor public space, welcoming visitors with dining areas, multimedia material for consultation and exhibition spaces, and identifying itself as a place where art is what brings people together and fosters an encounter between artists and the public. In the rest of the upper volume, walkways and platforms unfurl in an unexpected combination of spatial superimpositions, creating amazing work and production places. The imposing glazed roof (skylight) is situated in the centre of the volume, in the focal point of the exhibition – the box, a transparent showcase that hosts temporary shows. Inside the deck itself are the technical compartments and all the functions that contribute to the operating of the systems. The artists’ accommodation and visitors’ rooms (residence) are situated just below the deck, at the levelf of the jacket in a five-floors concrete volume “half-submerged”. The vertical distribution body links a lower volume that houses the underwater atelier (lower atelier), an exhibition space and a completely submerged creative workshop.

inside the upper atelier

THE LIGHT BOX The Light Box, the above-water volume, is the hub of the project. Its shape is inspired by a hypercube. Indeed the volume consists of two cubes, with a 1:5 size ratio: the big one, in reinforced concrete, and the internal small one, entirely made of glass. The contrast between the materials is one of the key features of the project. Closure and openness, opacity and transparency, solidity and lightness give rise to a balanced and interesting architectural dialogue. This can be clearly perceived both outside, thanks to the glazed cut of the foyer that separates the concrete cube from the deck level, making it floating, and inside where the materiality of the side walls and the internal structures forms a relationship with the ethereal glazing. The external cube comprises the body of the building that hosts the ateliers, creative workshops and exhibition spaces linked by ramps that, in their turn, are transformed from time to time into galleries for hosting temporary shows. The volume has an introverted nature because it does not feature openings to the outside. This design choice seems to contrast with the location of the structure in the middle of the sea. In design terms, a decision was made to make the surrounding context visible only from the outdoor square and from the large glazed foyer on the ground floor, and to block all views from the upper floors so as to boost the creative concentration of the artists. On the contrary, the completely glazed roof (skylight) offers a visual opening towards the inside of the building and, together with the spatial arrangement of the ateliers and the walkways, encourages dialogue between the creatives working inside the LIGHT BOX. The huge glazed walls of the roof concetrate in “the box”, the transparent showcase that houses temporary shows, situated at the centre of the volume in the focal point of the exhibition. Through the glazed roof, a huge zenithal beam of light comes inside the concrete volume and moves between ateliers and walkways. Anything inside is white covered, fostering a deep sense of bright environment. The roof is 45 dergrees inclined and guarantees a plantiful natural lighting increasing the well-being inside of ateliers and exhibition spaces. The roof is composed by a metal frame that defines 250×100 cm modules in which are inserted, depending on indoor air and lightening needs, three different FAKRO innovative products: high pivot window FYP-V U3 proSky – roof window for combination FTP/D L3 – balcony window FGH-V P2 Galeria, which are placed in correspondance to the ateliers and allow to open the indoor space to the central patio over the glassed box. Every single module has smart glasses (switchable glasses) that changes thanks to a remote control light transmission properties under the application of voltage light or heat. When activated, the glass changes from transparent to translucent, blocking some (or all) wavelengths of light. In addition, glasses oriented from south-east to south-west are transparent solar glasses that collect solar energy and allow the transmission of sun light inside the building. In order to create intimate spaces for creative work every window has a roller blind ARF Z-Wave that, thanks to a wireless control, provide perfet protection form the sunlight ensuring complete room interor black out. Roof windows have various electrical devices and are installed in place difficult to access. For this reason every single window is equipped with FAKRO Z-Wave, a remote control that regulates all the windows devices. Moreover, Z-Wave is a radio communication system that combines into a single network such electric device as lighting, thermostats, alarms, computers, telephones, air conditioning, electric windows and blinds. Furthermore, we decide to use a special kind of glass for the submerged glazed surface of the lower ateliers in the underwater part of the building. These glasses are specifically made to resist with high water pressure in the underwater ambient. We suggest this aquatic advanced solution to start an innovative and amazing research in the FAKRO’s R&D offices…

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