Art Pavilion - Metro Arquitetos Associados

September 8, 2014, 2:36 am

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This project is composed by three structures placed in a 2200 sqm garden, in a residential neighborhood in São Paulo. The main construction is a pavilion for the exhibition and storage of an important private contemporary and modern Brazilian art collection.

Photo: © leonardo finotti. Image courtesy of metro arquitetos associados. Published on September 08, 2014.

It is a simple volume, with 5.5 m wide by 28 m long, made by two concrete walls and a steel structure as a roof. Besides a central rounded skylight, a gap between the roof and the walls allows for natural lighting. The pavilion has two different floor-to-ceiling heights.

Photo: © leonardo finotti. Image courtesy of metro arquitetos associados. Published on September 08, 2014.

The second structure is a concrete cube that houses a guest room in two levels.
As a complementary structure there is an irregular wooden grid covered by glass, supported by only three steel columns, that covers an area of 80 sqm.

Photo: © leonardo finotti. Image courtesy of metro arquitetos associados. Published on September 08, 2014.

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MOBILE LIBRERIA - dino antonio coringrato

September 8, 2014, 2:39 am

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mobile-libreria in legno palissandro

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SFERE IN GEOLITE - dino antonio coringrato

September 8, 2014, 2:48 am

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QUESTI OGGETTI SONO STATI PENSATI COME COMPLEMENTI D’ARREDO SIA PER SPAZI ESTERNI CHE PER AMBIENTI INTERNI.

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Nestlé chocolate factory - Metro Arquitetos Associados

September 8, 2014, 2:58 am

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The main intention of the design for Nestle factory’s visiting areas was to create a landmark in the generic landscape of the highway that connects São Paulo and Rio de Janeiro, revealing the existence of a public and accessible space. This visibility is achieved by the installation of two steel framed glass towers, which are connected to bridges that roads and wraps the existing building, granting access to the elevated walkway inside the factory. This way, visitors and services traffic are kept away from each other. The structural geometry and the materials used were designed as to trigger a sensorial and perceptive experience and to contribute to the comprehension of the information about the history and production of the chocolate throughout the visitation. This work is an intervention inside the existing Nestlé chocolate factory. Built in the 60’s, it was designed to receive the public, but in a very precarious way and without any museological attribute.

The design solved the major issue witch was the organization of visitors and production flux, transforming the simple visitation circuit in a museum with interactive content and that also adds a strong character to a building which was, until then, ordinary. Two external towers and footbridges were created. Each tower houses stairs and an elevator and the shortest bridge serves for the entrance, and a longest one, for the exit, both parallel to the highway.

The steel structure of the towers and footbridges is made up by tubular pieces, making up also for the support for the glass and expanded metal sheet panels. The floors made up of perforated metal sheet contribute to the natural ventilation and draining; the roofs are made of a steel panel with an EPS core to improve its thermo-acoustic perfomance. The structure is made up of non-coplanar triangular meshes 2.5m high and which repeat every 10m. That shape, besides making the structure more rigid and more slender, makes the glasses reflect different parts of the landscape. Footbridge I, supported by metalic columns and beams with varying sections, has 10m spans between the supports and a 27.5m span between the last column and the tower. Footbridge II has 15m spans and a 5m cantilever to the building.

Inside the circuit, 10 thematic cores were designed, based on the production of the factory, from the raw materials, going through the different stages of production until the final packaging phase. Circular windows were opened in strategic spots. Each core has specific colours and materials, as well as soundtracks and scenography.

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RISTRUTTURAZIONE EDILIZIA FABBRICATO DI CIVILE ABITAZIONE PROPRIETARIO LIGUORI NICOLA - dino antonio coringrato

September 8, 2014, 3:04 am

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Il progetto mira alla ridefinizione del disegno delle due facciate prospicienti gli spazi pubblici al fine di apportare un miglioramento ad una zona del centro storico particolarmente degradata.

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Muri e territori del vino - Giorgio Teggi, Antonella De Nisco

September 8, 2014, 5:56 am

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La griglia con lato pari a tre chilometri riportata sullo schema territoriale del Monferrato ed aree limitrofe mette in evidenza le caratteristiche di scala del territorio considerato. In particolare si nota il tipo di densità insediativa presente formata da un gran numero di nuclei abitati, ognuno dotato di propria microstruttura urbana, collegati fra loro da una fitta rete di strade provinciali. L’osservazione a scala più ridotta del territorio rileva nel paesaggio vitato la presenza dei muri di contenimento del terreno in cemento armato come fattore di disturbo visivo. I muri, tuttavia, mettono semplicemente in risalto il carattere “trattenuto” del terreno che già l’ampia superficie vitata nei suoi metodi di allevamento a girappoggio, cavalcappoggio o a rittochino denuncia. Il paesaggio in questione è un perfetto esempio di naturalità artificiale in cui la qualità visiva dell’insieme è determinata e mantenuta dal costante lavoro dell’uomo intento a regimare il dilavamento da precipitazioni atmosferiche e mantenere stabili i pendii in un disegno di trama regolare fatto di allineamenti rigorosi di viti che sottolineano la teoria di colline. La presenza diffusa dei manufatti in cemento armato è considerata in positivo come dotazioni, insieme di supporti per realizzare una rete di “accessori da terra”, oggetti, manufatti, allestimenti, installazioni con cui decorare, vestire, modificare in modo sorprendente il terreno e il paesaggio.

La rete è costruita da punti di eccezione, ornamenti che assumono compiuta definizione in diversi periodi dell’anno in occasione di momenti pubblici specifici o eventi artistico-ludici che si possono all’uopo programmare. Ogni “accessorio”- muro- assume una caratterizzazione in rapporto alle suggestioni del singolo luogo o agli eventi che nel luogo si svolgono. Il riferimento formale è ai manufatti in ferro, inferriate, balconate, pergole sempre abbinate all’elemento vegetale che sia una serie di piante in vaso o un rampicante. Accessorio da terra come struttura tutore che sostiene il verde che in questo modo acquisisce spessore e corpo, materialità diventando forma urbana, paesaggio. L’idea di percorso che si propone non è associabile ad una linea aperta o chiusa con un inizio ed una fine stabiliti ma ad una rete di punti di interesse visibili/raggiungibili/visitabili durante il normale spostarsi per crue e abitati. Durante l’anno, in modo più strutturato, potranno essere organizzati eventi specifici che comprendano una serie di muri.

GRAZZANO BADOGLIO La struttura metallica è pensata come un giardino verticale urbano che avvolge il muro esistente lasciato a vista; il bordo del piazzale è azzerato dai muretti esistenti e risolto con le strutture del giardino che si concludono in forma di lunga balaustra affacciata al paesaggio.

MONCUCCO Il muro esistente è considerato parte integrante del giardino dell’Abbazia. La vegetazione in esso presente deborda dal chiostro e discende sulla superficie guidata dalla struttura filiforme in barre di Corten. La struttura non è semplicemente ancorata al muro ma ne fuoriesce essendo concepita come se appartenesse al terrapieno con le radici che perforano il muro stesso.

PIEA Il muro circolare è rivestito da una struttura di aste da 18-24 millimetri di varia lunghezza inclinate fra loro e recanti a diverse altezze anelli di varia grandezza saldati alle barre. La struttura funge da supporto per la vegetazione e, periodicamente, durante la festa della Zucca è utilizzabile per realizzare una installazione di zucche decorative che, alla fine della festa, verranno vendute all’asta.

TECNOLOGIA/MATERIALI La struttura degli accessori da terra è prevista in Corten nelle forme di barre, tondi, lamiere tagliate opportunamente calandrate secondo i disegni sviluppati in riferimento allo sviluppo della Vite e a piantumazioni rampicanti/discendenti. Le strutture metalliche prenderanno forma e disegno compiuto dalla ripetizione di moduli semplici ribaltati in senso verticale e orizzontale in modo da costruire sequenze variabili. Queste “seconde pelli” dei muri verranno ancorate al cemento armato con semplice tassellatura meccanica.

MANUTENZIONE La manutenzione degli accessori consisterà nelle seguenti operazioni: - cura del verde; - verifica periodica degli ancoraggi strutturali; - verifica di eventuali parti danneggiate da sostituire; - azioni di manutenzione poetica L’impiego dell’acciaio Corten rallenta di molto il degrado delle parti metalliche; l’ossidazione superficiale, infatti, interviene a formare una patina protettiva. Il disegno stesso delle superfici è concepito per essere mutevole e variabile per la presenza della vegetazione. L’onere di mautenzione per strutture del medesimo tipo è molto limitato nel tempo. Per i casi presi in esame si possono ipotizzare, di massima, i seguenti costi manutentivi strutturali annui:

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Artist’s House and Atelier - MoDus Architects

September 8, 2014, 6:05 am

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Perched atop a ridge on the outskirts of the historic city-center, the house splits into two interlocking volumes to open up and look out over the valley of the South Tyrolean town of Castelrotto. A bifurcated concrete plinth negotiates the sloping site from which the twin wooden elements rise up on a stilted timber structure to free up the view across the site at the ground level. Tightly wedged between the house that the artist Hubert Kostner grew up in and a neighboring traditional house, the constricted site prompted a more vertical solution where the roof plays a dominant role.

Photo: Niccolò Gandolfi. Published on September 08, 2014.

Joined together at the hip with a spiral staircase, the constituent programs of the atelier and the house pivot outwards and elbow their way into one volume or the other like two cantankerous siblings. The work spaces of the artist’s studio, along with a small gallery, are located in the basement level and are accessed by a ramp to facilitate the loading and unloading of unwieldy materials and artwork. One of the work spaces is a double-height, north facing studio with an even, indirect sunlight ideal for artistic production.

Photo: Niccolò Gandolfi. Published on September 08, 2014.

At the ground level, the zigzag of the timber structure makes for a porticoed walkway that wraps around the retracted glass perimeter where one can look down into the double-height studio or step into the small office. The front entry is marked by the widening of the covered walkway to provide a spacious transition from outside to in. The private quarters for the artist and his family are located on the upper levels: the kitchen, living room and main bedroom occupy the first floor while two separate rooms with adjoining bathrooms and separate staircases are nestled below the pitched roofs. The kitchen and living room share a south-facing terrace that serves as the entryway overhang below.

Photo: Niccolò Gandolfi. Published on September 08, 2014.

With exception to the concrete stair core, the building above-ground, inside and out, is characterized by its material construction of unfinished, industry grade wood and combines light-frame and cross-laminated timber (CLT) building systems. The concrete base below, on the other hand, is finished on the outside with a reddish brown plaster that reflects the native porphyry bedrock and on the inside the perimeter concrete walls are left unfinished. In contrast, the cylindrical concrete stairwell offers a smooth polished surface and is punctuated by a few pinewood doors and a small wood-framed window.

Photo: Niccolò Gandolfi. Published on September 08, 2014.

The “V” timber structure is pulled up into the elevations, dividing the larch wood, paneled façades into an expression of its very structural system to give a flattened interplay between structure and cladding. The façade is also a site of artistic intervention whereby Kostner has incised two “tattoos” of his very own house, communicating not only the close collaboration between architect and artist throughout the design process, but also signs the façade as the beginning of a new canvas, transforming the house itself into a work of art.

Photo: Niccolò Gandolfi. Published on September 08, 2014.

As a final note, in building a house and atelier for the artist in his touristic yet scenic hometown, Kostner persistently engaged us in a bantering dialogue of irony between tradition and tourism, structure and ornament, that which is necessary and that which is not—to name but a few—while demanding that we hold steadfast an expression of architecture where no detail was left unturned, where everything was neither standard nor frivolously custom made. This way of working applied not only to the scale of the building, but also to the scale of all the things, objects, and surfaces within the building. For example, while much of the cabinetry and furniture is made specific for the project, an eye for simple but surprising solutions along with a limited budget kept the design process in check.

Photo: Niccolò Gandolfi. Published on September 08, 2014.

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Leehan Headquarter - Pune 2014 - Francesco Mottini

September 8, 2014, 6:25 am

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Progetto di interior design di un ufficio direzionale a Pune in India. Avendo come base di progetto un layout molto denso, con spazi destinati alle percorrenze assai limitati si è optato su uno modello ispirato ad un alveare. Gli ambienti si susseguono con un disegno fluido e senza interruzioni. I colori sono chiari e l’illuminazione è studiata per integrarsi con l’arredo in un gioco continuo di flussi e colori.

reception

md cabin

cabin

plan

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Preschool, Kindergarten and Family Center - MoDus Architects

September 8, 2014, 6:32 am

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The project is the winning entry of an international competition issued by the city of Bolzano for two new school buildings and a public square located at the center of a new residential neighborhood planned on the southern outskirts of the city. The preschool, kindergarten and family center is the first of the two schools to be completed and is equipped with a large kitchen at the lower level, serving all the kindergartens within the area. The local city governance, aware of the inherent challenges of forging a new neighborhood within the city, made a concerted effort to cast the school complex as a meeting place for the local residents. Over the course of the years and as the neighborhood began to take shape, the project underwent a series of evaluations in efforts to best tailor the building at the center of this new quarter.

Photo: Hannes Meraner. Published on September 08, 2014.

Taking its cue from the regulating masterplan which outlined at once a curvilinear and rectilinear footprint, the two-story building bends and sways to accommodate the three programmatic functions into one structure and opens up on the inside with three outdoor courts of varying sizes. These bamboo-lined courts make for a transparent, light-filled interior and provide a common buffer-space between the various schools that delineates each program with their own distinct, dedicated areas. The preschool (ages 0-3) occupies the orthogonal, west facing side of the building while the kindergarten (ages 3-6) occupies the east-facing, curvilinear side of the building with 4 classrooms located on the ground floor and 6 activity rooms on the first floor. At the head of the building is the double-height space of the children’s center along with a small office and kitchen used not only to accommodate support services to the community and their families but used also as an open workshop dedicated to reinforcing social ties within the new residential quarter.

Photo: Hannes Meraner. Published on September 08, 2014.

n dialogue with the various stakeholders of the building, particular attention was paid to the intersecting discourse between pedagogical and architectural considerations and as a result, the design proposes a number of strategies to stimulate the interchange between the spaces of the school and the various didactic approaches. First and foremost, visual connections are designed to promote participation between the three programs, and are conceived to sustain a continuity across the formative years as the children move from one school program to another as they grow older. Secondly, the project offers a diversity of spatial configurations (indoor and outdoor) in an effort to stimulate a child’s incredible sense of space. Sectional changes in height, together with variegated natural lighting solutions provide not only different scales of spaces but also different qualities of those spaces. The courts themselves are closed rooms open to the sky that affirm all kinds of learning possibilities. On one occasion one of the courts was transformed into a rabbit habitat where the kids could tend to them. Furthermore, many surfaces within the activity rooms are themselves sites of exploration for the children, offering different ways in which to engage the senses of touch, sight, and sound. This variation of spatial and surface conditions works at the didactic level in many ways, providing places of solitary-parallel and/or cooperative play.

Photo: Hannes Meraner. Published on September 08, 2014.

In other initiatives, the corridors have become vibrant places of exchange and learning. The spacious corridors ebb and flow along the perimeter of the courts to provide spill out spaces for small groups and special activities. Niches within the walls separating the hallway from the activity rooms are carved out for the children’s changing area and ample space is also given over to the parents to promote inclusion and participation.

Photo: Hannes Meraner. Published on September 08, 2014.

The interiors of the three constituent programs use a palette of warm hues and materials to create a “quiet” and comfortable environment in both visual and acoustical terms. The corridors are clad with an oak-paneled wainscoting below and a series of textile-clad, sound absorption panels. This wood wainscoting is threaded throughout the building and in combination with acoustic gyp-board and acoustic textile-clad discs, the school remains a comfortable place with radiant floor heating and radiant cooling in the exposed concrete slab construction of the ceilings.

Dimensions
square meters: 5.245 m²
volume: 18.966 m³
Chronology
competition: 2004
design: 2005-2009
construction: 2009 – 2012

Photo: Hannes Meraner. Published on September 08, 2014.

Missing image

Photo: Hannes Meraner. Published on September 08, 2014.

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Landmann Farmhouse - MoDus Architects

September 8, 2014, 6:49 am

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A farmhouse, abandoned years ago and surrounded by uncontaminated fields, woods and orchards, themselves left untended and uncultivated, are the first striking impressions of a site visit with the client wanting to transform and bring back to life this alpine settlement.