Rebildporten - CEBRA

December 4, 2014, 7:53 am

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The RebildPorten visitor’s centre establishes a new en- trance to the characteristic rolling landscape of Rebild Hills and Rold Forest – one of the most popular tourist des- tinations in northern Denmark.

Up until now the entrance to this unique nature reserve and national park has only been marked by a series of red wooden gates. Back in 2012 Danish studio CEBRA won the competition to design a new visitor’s centre. The task was to create a gateway to the cultural history and nature expe- riences in these beautiful surroundings – a gathering point that informs, inspires and activates the many visitors.

The winning project’s distinctive expression and character are derived directly from Nature’s own formal language and elements, which makes the building stand out from its surroundings and blend in with nature’s scenery at one and the same time.

The centre is designed as a hymn to Nature and the hills and forest, next to which it is situated. It is created in the encounter of building and nature and appears as a sculp- tural structure made of bluff timber.

The building gradually opens itself to the approaching visi- tors through the transparent facade – similar to the way a forest opens and closes when one moves through it, looking upwards through the branches’ chaotic network of crossing lines.

By shaping the building out of raw cut timber, the visitor not only experiences a ‘walk in the forest’, but also the scent of wood and nature, which sets the mood for the visit to the forest and hills.

With its location between Rebildhus and The Fiddler’s Mu- seum, the building stands out from its surroundings as a place of significance – a small piece of stylised forest pro- jected out into the built environment.

CommuniCation and guiding
Rebild Hills and Rold Forest are centrally located in North- ern Jutland and attract approx. 400.000 visitors a year. The visitor’s centre is the gateway to this area, acting both as a key to information and inspiration and as a ‘Chinese box’ where experiences are folded out continuously and new layers are added.

ReboldPorten is the visitor’s window to the unique nature, history and the many activities in the area. At the same time, it aims at contributing to the creation of synergy and a collective identity in a strong and lively local environ- ment with a variety of committed parties.

Thus, communication and guiding becomes a crucial fac- tor for the project’s ability to function as both usable and recognisable gathering point. The project incorporates an overall concept and appearance for communication and presentation, where key design elements ensure recognis- ability, whether you find yourself in virtual space, out in nature or in the building itself.

The building’s distinct characteristic – the ‘graphic’ strength of the timber’s structure and the visual reference to trees and branches – acts as a matrix for logos, com- munication elements, media, guiding landscape elements etc., in order to create an appearance and a guiding con- cept, which tie landscape, building and user experience to- gether in one consecutive narrative.

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Guggenheim Helsinki Design Competition - Davide Nigi, Angelo Salamone

December 4, 2014, 7:55 am

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Concorso internazionale per il nuovo Museo Guggenheim di Helsinki

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Melamara Store - Simone Vesco

December 4, 2014, 8:07 am

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Un negozio di abbigliamento sorge in un’area commerciale di nuova costruzione, in uno spazio a piano terra di 60mq con doppia vetrina che volge su una strada ad alto passaggio.

Il concept è ispirato al tema del bello, del riflesso e del mito di Narciso.

Lo spazio a pianta quadrata ruota attorno ad un nucleo centrale specchiato, che oltre ad inglobare camerini e primo deposito, riflette a 360°. Ciò libera le pareti perimetrali da funzioni contenitive. Le appenderie sono strutture tubolari dalle forme pure in ottone brunito, autoportanti, che salgono dal pavimento, o scendono dal soffitto o si innestano a parete, in modo etereo, tale da annullarsi ed esaltarne la sola funzione. Mensole e appoggi si uniformano al bianco neutrale delle pareti, una delle quali rivestita in mattoni di recupero stonalizzati. Le vetrine sono concepite in modo trasparente, senza filtri visivi, per catturare oltre alla poca luce naturale proveniente da est, anche gli sguardi fugaci della strada; sono risolte da pedane bianche che ne accolgono gli allestimenti. Oltre alle due vetrine sulla facciata, una terza ‘buca’ all’interno del locale continuando idealmente l’esposizione in una dimensione più intima, esaltando il rapporto in&out e creando un punto focale catalizzante che descrive il mood delle diverse collezioni. Sul fondo del locale un taglio a tutta altezza disimpegna il magazzino e i bagni.

Uno stile nel complesso vagamente metropolitano che avvicina concettualmente alla città, alla quale negli anni la zona si è avvicinata nel suo processo di urbanizzazione, quasi fondendosi alla periferia nord.

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The pulse park - CEBRA

December 4, 2014, 8:08 am

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Kildebjerg Ry is a rapidly growing and very popular busi- ness and residential area for families, mainly because of the beautiful surrounding countryside that lends itself to a wide variety of outdoor activities. Since the commu- nity wished to expand this attractive system of leisure and sports facilities, CEBRA was asked to design a series of ac- cessible, inclusive and innovative activity zones – each aim- ing at a different type of activity.

The aim of the project was to create optimal conditions for physical activity, which invite users of all ages to exercise, play or just hang out and relax. At the same time, the zones were laid out to form an integral part of the landscape, the area’s additional leisure activities and the residential area itself. The Pulse Park design is based on a user involve- ment process, which included residents, sports clubs and local companies and resulted in three distinctive zones with individual identities and functions.

The Play Zone invites to both play and physical exercise in a forest of different functions that relate to organised as well as freestyle activities. This forest is made up from three concentric circles. The centre is primarily for play, climbing and exercise in large tree-like elements. The in- termediate circle is for outdoor fitness and offers a series of primitive versions of well-known training devices. The outermost circle consists of a recreational zone for social activities and gives room for meeting, relaxing, picnicking etc. close to a fire place.

People of all ages can visit this forest right next to the lo- cal gym to either climb, swing, jump, balance or train with weights. There are several continuous obstacle courses through the trees to challenge the users on different skill and intensity levels.

The Pulse Zone is a literal bulge on the existing paths as it prompts horizontal movement and primarily addresses runners, skaters, BMX and mountain bikers, who use the network of tracks around Kildebjerg Ry for exercise. The Pulse Zone is surrounded by a mountain bike and BMX track. Its asphalt surface flows into the zone’s centre area in the form of hills, bulges and bowls that incite to obsta- cle races and artistic exercises.

The tracks surround a series of circular bowls for both run- ners and bikers. These bowls can also be used by runners, who can challenge themselves with gravity as an alterna- tive training partner. A centrally placed bulge is made from steps with different gradients – ideal as both stair master for pulse training and resting area. The zone includes sev- eral levels of difficulty and thus appeals to all ages and skill levels.

The third zone complements these active zones and pro- vides a more contemplative space: The Zen Zone is all about relaxation and activating all your senses. The zone is located between two ‘fingers’ of Kildebjerg Ry’s built-up area, with an upcoming business park on one side and a res- idential area on the other. The zone itself provides a green and quiet environment partly shielded under trellises and is placed on an artificial island in a small lake, which sup- ports its meditative purpose and relaxing atmosphere.

The island is shaped like a hill from a grid structure that creates an interior space for activities like yoga, Pilates and meditation as well as informal surroundings for a busi- ness meeting. In this small secluded oasis all senses are stimulated. Individual themes around the lake each focus on one of the senses, while the central Zen Zone represents all five senses. Different type of plants, which appeal to different senses, are planted around the lake and on the island structure so that they over time will form a sensory garden that changes the sensory perception as you move through the zone.

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Guggenheim Helsinki Design Competition. - kei_en.enzocalabresedesignstudio © srl | Enzo Calabrese

December 4, 2014, 8:19 am

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ON POETICS ART AND ARCHITECTURE The idea of public space as a series of events by the city and in the city. The inside-out and outside-in, the ambiguity becomes a design… The desire to be in a special place in the city. The park that slips on the wharf and takes itself to the sea.

The sea that welcomes it by giving it its own reflection. The city that moves forward and reaches the place of gathering. … In the middle— The space contracts and expands. Vital energy that creates the perception, prepares the sight and the mind for the silence of art. The city, the park, the sea, the people… all meet at the big celebration.

Art waits for them, at the top, inside the big volume: proud, simple, thoughtful, instinctive … autonomous! Here the space can be broken into many small places of creativity, but then becomes whole again. Above all and everyone, is the great covering…as a place where the architecture is manifested, showing his image to the city and to the world, with its ability to accept and be accepted… A fluid surface that caresses the light, and leads it inside the museum,to sculpt the pleasure of shapes and brings out the delight of being there at that moment.

ON FUNCTIONALITY AND ARCHITECTURE The Museum is conceived as a large covered full-height space, cut by paths suspended on different levels, strongly connected with the context. To the south, an artificial hill, climbs over the line of the tram and the road, connecting directly, the sea and the museum with the Tahtitornin Park .

The composition of the Museum is a simple sequence. A series of tree structures support a great cover. Two large volumes, meant to be exhibitions and conference hall, are suspended at half height, leaving the ground floor free, for people, reception activities, commercial, administrative, technical, temporary installations. Two technical skins made of glass, dab and protect the interior.

The large parallelepiped suspended meant to be exhibitions is extremely simple, flexible and functional, but also able to invent the space inside the museum, visible from the outside for being the place of all. Its design of 4200 m2 can be divisible up to 18 exhibition halls 200 m2, all technically capable to receive contemporary art and not.

It is also comparable to a huge radiant object, able to heat and cool the air, and thanks to the shape of the cover, collaborates with this on set in motion efficient convective loop able to make fast efficient the climate system. The same role for the conference hall, which is capable of switch from one large room to four small rooms. The cover has a main structure with large wooden arches, inside which are placed all the machines for the treatment the internal climate. It also has the ability to reuse the water coming from the partial melting of the snow thanks to technical features that allow the melting controlled.

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WDG Apartment - RARE Office

December 4, 2014, 8:29 am

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Located in Friedrichshain, the building is an Altbau (pre-WWII residential building). As many of the Berliner buildings in the former East Berlin, it underwent the so called “emergency renovation” in the time from the WWII and right after the Fall of the Berlin Wall.

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

The apartment at the 2nd level of the bulding, facing the street, presented a typical Berliner floorplan with all room revolving around an entrance corridor with no window.

View of the building

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

The bathroom, introduced after the war, was built at the center of the unit and directly ventilated through the top portion of one of the 2 kitchen windows. The bottom portion of the same window was devoted to the storage. Two coal furnaces, in the bedroom and in the living room, functioned as heating system for the whole apartment.

View of the main staircase

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

The renovation aims to maximise space and light in the unit. All the old partition walls have been demolished to reorganise the floor plan.

Before renovation

From the entrance door a newly conceived open space provide with kitchen area lets in as much light as possible from the windows facing the inner courtyard.

Entrance.

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

The bathroom was moved to the darkest corner of the unit, positioned on an elevated floor in which the technical systems and equipments are allocated. The bathroom can be accessed from both the living and the bedroom.

Dining area

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

Some portions of the wall with the post war painting are left visible in the dining, as well as the ceiling of the living is left untouched. The brick wall signing the property limit at the entrance has been treated and revealed. The original door, half sanded and finished with transparent lack, have been reused and converted to sliding doors.

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

Original wall of the kitchen

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

Light fixtures of former "Morlox", Berlin

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

Living room

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

View of the living room. Photo in the living room by Salvatore Di Gregorio Photography - "Red Kushti, an old fight"

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

The coal furnace of the dining room is left untouched, due to the beauty of its ceramics and still being perfectly functioning.

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

"Sunrise", Unknown artist

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

Sleeping room. Dittico by Giacomo Albano, italian artist

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

View of the sleeping room. Dittico by Giacomo Albano, italian artist

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

View of the sleeping room/bathroom. Dittico by Giacomo Albano, italian artist

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

View in the bathroom

Photo by Manuela Conti © RARE Office. Published on December 04, 2014.

Bathroom

Before Renovation

After Renovation

Sections

Photo by Manuela Conti. © RARE Office. Published on December 04, 2014.

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Cidneo Viaggi - Simone Vesco

December 4, 2014, 8:42 am

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Un Concept visionario in uno spazio urbano per il nuovo design della sede di Cidneo Viaggi, storica azienda cittadina di Via Benedetto Croce. Un progetto a 360° che ha coinvolto anche aspetti legati all’immagine e alla comunicazione.

I locali si sviluppavano, partendo dal piano terra con affaccio su strada, scendendo ad un mezzanino e poi ad un livello seminterrato. L’intervento ha previsto l’eliminazione di elementi e rivestimenti superflui, portando al nudo la complessa struttura architettonica.

La dinamicità dei volumi è ampliata dall’alternanza sistematica tra bianco e nero, tra positivi e negativi, tra chiari e scuri, in modo da dilatare o allungare le prospettive. I pavimenti e la scala sono uniformati in un’unica superficie monomaterica, concepita in cemento e resina, che ne esalta la plasticità delle forme.

Il mood industriale, ispirato alla produttività della città e del contesto, continua negli arredi, realizzati su disegno in ogni declinazione del ferro, dal naturale, al verniciato, all’ossidato. In un’atmosfera cruda e neutrale, il colore veicola lo sguardo sui display wall composti dai cataloghi di viaggio, che fanno da sfondo alla vendita e diventano un’installazione visiva sempre nuova e mutevole. L’illuminazione è puntuale, illumina ciò che va illuminato, segna il passo o esalta i volumi. Aree lounge, display, oggetti di viaggio e arredi di design anni ‘50 e ‘60 completano e contestualizzano l’insieme. Nel complesso un progetto che fa dell’arte visiva una nuova esperienza commerciale.

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Guggenheim Helsinki - Paolo Venturella

December 4, 2014, 9:31 am

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The Guggenheim Helsinki Museum is a “multi-functional” project that presents the Museum and other related services such as a multi-purpose space, a conference area, a retail plus a restaurant and a bar and lounge areas , and is positioned close to the historic center of the city in the harbour area just along the sea coast. The location on the site is made in order to allow the view on the sea from Etelainen Makasiinukatu as requested and to have the main access from north where the main pedestrian flow comes from. The project takes into consideration the different functions of the program, dividing them in two main groups: the exhibition (with glass facing upwards for indirect lighting) and the connected services.

The main idea of the project starts from taking into consideration the ideal exhibition space for a museum: a continuous path that creates a direction for the visit, similar to the New York Wright’s museum where the ramp leads the people inside. In this way the visitor is invited to enjoy the galleries through a series of contiguous spaces. These spaces, thanks to special panels that rotate and fold, are easy to divide and to combine. All along the the gallery spaces are designed accessible walls so to place artworks installed on the walls.

In order to create a point in common to mix functions the continuous path is pushed at the center so that in a unique moment the activities converge creating the “Multi-purpose” space. The activities that requires sun and views to exterior are placed to the side of the sea while the activities that need a more controlled light and darker spaces, like the exhibition and the offices, turns to the north and west side where sun light is mostly indirect.

The volume is lifted up creating a cantilevered space for the main entrance. In this way the two courtyards become accessible. The first is open to the city and creates a covered exterior space for the public realm, while the second is closed on the port terminal side and hosts the conference area.

To connect the volume with the “glass on top” to the volume with the “glass on the side”, a simple move twists the shape creating two continuous surfaces: one is opaque and the other is glass. The passage between the direct to indirect light flows gradually to avoid the dazzling contrast fro one to the other. there is not a passage from a complete direct light to a darker space to avoid annoying blinding effects for the visitors.

All the exterior skin of the building is conceived for sustainability using renewable energies. The opaque surface is covered with “micro-eolic” blades that rotates on a single axis and the glass surface is cover with a system of louvers that varies the angle to be mostly directed to sun rays that at the Helsinki latitude has to be almost vertical.

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Contemporary Paleolithic Residence - Piero Speranza, Corinne Piera Speranza, sas&a - Studio di Architettura Speranza Associati

December 4, 2014, 10:15 am

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Contaminations between drawings, photos and architecture.

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Casas 2C - Vaíllo + Irigaray Architects, David Eguinoa Erdozain

December 4, 2014, 10:22 am

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En el campo de la ribera, como en muchos otros, hileras serpenteantes de chopos suelen acompañar a los cauces de ríos y acequias. A lo lejos, se detecta el cauce por esas hileras sinuosas: es un gesto que la naturaleza ofrece como signo de vida en un entorno árido y seco. Este pueblo de la ribera, está ensartado por el omnipresente cañete, riachuelo serpenteante que aparece y desaparece en cada esquina.

El encargo de tres casas, para tres diferentes clientes, propone una reflexión acerca de la unidad y la diversidad, de la imagen de la individualidad y el conjunto.

La parcela –también atravesada por el cañete- situada en la nueva línea de expansión del pueblo, tiene un desnivel hacia el sur…ocasión que se aprovecha para organizar una casa protegida del norte y abierta al sol.

Las casas proponen una imagen cambiante provocada por la geometría quebrada de la fachada y por el movimiento vertical de las celosías que ofrecen una lectura serpenteante similar a las hileras de chopos.

La estrategia constructiva se basa en excavar, contener el terreno mediante un muro longitudinal e introducir una caja de vidrio que va adquiriendo el tamaño de los usos que cada cliente requiere. Entre el terreno y la caja de vidrio se liberan pequeños patios que actúan como pequeñas burbujas de aire y luz. Sobre el zócalo zig-zagueante de vidrio se apoyan pequeños volúmenes destinados a garajes y estudios.

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CASA b3 - Vaíllo + Irigaray Architects, Daniel Galar Irurre

December 4, 2014, 10:32 am

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El lugar es todavía tierra de nadie, una pequeña área intersticial entre diferentes tramas, donde la ciudad se ha desdibujado repetidas veces. Parece que estos lugares de nadie, apropiados por todos, se encogen y se estiran caprichosamente, generando pequeñas parcelas en torno a minúsculos nodos (entrecruzamientos de estrechos viales).

La vivienda ocupa uno de esos trozos de tierra lotizados en torno a un micro-nodo.
La casa opta por no encerrarse en los muros que la definen, pretende no ser una casa “con jardín”…lo cerrado y lo abierto la conforman. La casa pretende apropiarse del jardín, como parte de la propia casa.

La construcción se genera mediante una doble geometría cruzada-maclada que obedece a una obsesión repetida en situaciones cercanas similares: la apariencia exterior de la casa frente a la vivencia interior.

Exteriormente la casa ofrece una lectura hermética, ciega, abstracta y rotunda…Interiormente la vivienda ofrece una vivencia abierta, fluida, clara y transparente, ligera e iluminada, permeable hasta tal punto que el propio jardín la atraviesa…

La planta baja se ve atravesada por una gran perforación que permite la conexión de ambas partes del jardín (norte y sur) con las tres alturas (sótano, baja y primera), proporcionando luz, vistas y espacio en el centro de la vivienda.

La planta primera, destinada a zona de noche – dormitorios, se organiza mediante un sistema de pastillas paralelas espaciadas entre ellas – patios – por los que captan la luz; cada pastilla posee su propia personalidad expresada en sus diferentes alturas… Contraponiendo un esquema riguroso -planta elevada – a uno orgánico – planta baja -, la propia geome tría genera las pautas de vivencias y las posibilidades de uso – función -.

La macla de las dos geometrías ofrece espacios “quánticos”, llenos y vacíos, dobles y triples alturas, rellenos, huecos y perforaciones,… introduciendo tensiones espaciales propias de una escala mayor, y por tanto trascendiendo la propia dimensionalidad doméstica.

Zinc y madera,…expresan también esa dualidad contrastada.

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Bodega Tandem - Vaíllo + Irigaray Architects, Iván Fernández

December 4, 2014, 10:48 am

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Recibimos el encargo para la realización de una bodega de nueva creación. Los promotores aún no disponían de ninguna parcela, únicamente deseaban que se encontrara dentro del valle de Yerri (Navarra), una zona cuya climatología y características edafológicas permitían disponer de los viñedos adecuados para crear un vino de calidad lleno de personalidad propia. El encargo se complementó con la imagen gráfica de la marca y los productos que nosotros mismos realizamos.

En estrecha colaboración con nuestra oficina comenzamos a buscar una parcela que tuviera las condiciones de orientación y topografía más adecuadas para la consecución de los objetivos fundamentales del proyecto vitivinícola: por un lado evitar la climatización artificial de las salas de elaboración y envejecimiento, y por otro que la propia concepción del edificio permitiera “llevar la uva por gravedad”, prescindiendo de la utilización de bombas mecánicas y que el personal requerido para el proceso fuera el mínimo posible.
Encontramos un terreno con pendiente natural decreciente hacia el norte, con vistas hacia los viñedos de la zona y por la que atraviesa en su parte inferior el Camino de Santiago, ruta de peregrinación por donde en el siglo XII miles de peregrinos de toda Europa, dirigen sus pasos hacia el fin del mundo conocido. Hoy en día el tránsito de estos sigue siendo muy frecuente. 45.000 personas pasaron en 2007 convirtiéndose en la mayor ruta de peregrinación del mundo.

Con esas premisas se concibe un edificio que pretende adaptarse al máximo a las condiciones naturales del terreno, evitando modificaciones artificiales de la topografía existente. Este se concreta en la ordenación de dos volúmenes básicos, uno bajo la rasante del terreno y otro que descansa sobre este. El edificio se plantea con gran rotundidad volumétrica sin renunciar a su voluntad de hito en el paisaje. El aspecto exterior del edificio queda definido por el paralelepípedo de la nave de elaboración que mira al Norte a través de un gran lucernario, que por la noche se convierte en una referencia del Camino, como lo eran en otros tiempos las antorchas de las iglesias para atraer a los peregrinos.

El programa se organiza en dos plantas más una entreplanta. En la baja (nivel -2) se desarrollan la mayor parte de las actividades propias de la bodega: nave de elaboración, lavado de barricas, embotellado, salas de barricas y botellero, almacén de materiales y almacén de producto terminado, junto al muelle de carga y el acceso independiente de vehículos pesados. La relación entre todas estas salas es directa, sin obstáculos en suelo ni cambios de nivel.

En la entreplanta (nivel -1) encontramos las dependencias destinadas al personal, aseos y vestuarios junto con el laboratorio. La ubicación de éste es muy importante. Dispone de acceso directo a la nave de elaboración y conexión visual con la nave de embotellado y con el patio que separa las naves de barricas y jaulones. Para reforzar la posición de epicentro del laboratorio dentro de esta bodega, la sala de catas se incorpora a éste destinando una zona del laboratorio a tal efecto, todo ello en continuidad con la zona de trabajo de la enóloga.
La planta de acceso (nivel 0) acoge el control, la zona administrativa, y un área destinada a eventos gastronómicos por parte de los socios, todo ello ubicado en un alargado pabellón de aspecto liviano, cuyo cerramiento está formado enteramente de vidrio, que dialoga con la superficie pétrea que le antecede y el paisaje. Por uno de sus extremos se accede al volumen principal de la edificación que en esta planta funciona como vestíbulo de recepción al visitante donde puede gozar de las vistas del valle o bien comenzar su visita a las instalaciones sin perder de vista la perspectiva interior de la nave de elaboración y patio de barricas. El resto de instalaciones se completan con la zona de vendimia, ubicada en el extremo sur de la nave de elaboración y con acceso directo desde el exterior.

El edificio consta de cubierta plana ya que la actividad requiere una altura libre constante.
La fachada del volumen soterrado deja ver su composición estructural, formada mediante muros de hormigón visto. Su ubicación y el espesor de estos dotan a las naves de envejecimiento de una gran inercia térmica que garantiza una temperatura apropiada y constante. Las grandes luces se resuelven mediante un forjado alveolar de gran canto. Los paramentos verticales del volumen principal que se encuentra sobre este están formados por una combinación de muros de hormigón revestidos exteriormente mediante traviesas de tren simuladas que permiten crear una cámara ventilada que rebaje la temperatura de la cara exterior del muro de hormigón respecto a la que se verá sometido este volumen cuando reciba, fundamentalmente en los meses estivales, soleamiento directo.

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Canalla disco - Vaíllo + Irigaray Architects

December 4, 2014, 10:55 am

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El proyecto plantea la re-estructuración de una antigua discoteca ya existente, cuyo discurso se basaba en los destellos de las luces de colores en una caja oscura.

Conceptualmente la discoteca se concibe como un sintonizador de luz, sonido y movimiento… de este modo la organización se basa en un tratamiento gradual de los tres elementos. El centro del local se configura como zona de baile y máxima vibración ~~nervioso y compulsivo~~. Los extremos se presentan serenos y acogedores donde suelo, paredes y techo se conforman como cajas doradas capaces de captar los destellos de la zona central ofreciendo unos brillos matizados.

La barra longitudinal que recorre todo el local se muestra como hilo conductor de la graduación espacial.
Es un ejercicio de control del destello, la vibración y el reflejo; alejado, por tanto, de los habituales cánones de concepción espacial, que en este caso se desfiguran, promoviendo un entorno líquido capaz de absorber las tensiones entre lo compulsivo y lo sereno, entre la vibración y la reverberación. Acero negro y latón conforman la paleta constructiva del proyecto.

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Lounge MS - Vaíllo + Irigaray Architects

December 4, 2014, 11:07 am

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RESTAURANTE MARISOL, propone la construcción de un nuevo espacio como anexo a sus actuales instalaciones para albergar los usos complementarios en la celebración de eventos: situaciones variadas que tienen en común la necesidad de un espacio a cubierto, eminentemente abierto y con diferenciación de ambientes: suma de usos ambiguos, terraza cubierta: bar, estar, TV y baile… El nuevo espacio se sitúa en la esquina S-E, colmatando el triángulo existente entre la proyección de los dos viales y la edificación existente.

ESTRUCTURACION DEL PROGRAMA- El esquema organizativo obedece pautas similares a las de micro-estructuras orgánicas, más acordes con patrones de geometrías líquidas y/o gelatinosas que a estructuras cartesianas. El hecho de proponer un programa como suma de usos ambiguos y la necesidad de fundirlos en único espacio establece unas pautas de trabajo empleando una geometría “blanda” y un tratamiento espacial unificado “aireado”.

La introducción de burbujas de aire-luz en ese espacio y determinar unas leyes de conexión “magmáticas” establecen una geometría final similar a las visiones microscópicas de micro-organismos, donde la existencia de elementos flotando en un magma espeso que lo invade todo, establece una ley iso-mórfica sin dirección, únicamente deformadas por la presión de los contornos y con capacidad de crecimiento ilimitado.

En este tipo de geometrías los perímetros deben poseer una doble capacidad: la de cierre o contenedor y la de adaptación a la presión exterior: para ello se genera de nuevo una bolsa dentro de otra bolsa, consiguiendo un espacio intermedio que actúa como colchón, adaptable a cualquier geometría exterior (calles, edificio existente, etc.) sin perder su funcionalidad interior.

LUGAR- Ante la edificación existente se propone una intervención sin escala, buscando conexiones con el elemento unificador del conjunto: el seto vegetal perimetral que lo envuelve. De modo que tanto interior como exteriormente, el conjunto se identifica con ese perímetro vegetal amable y sugerente que lo envuelve.

El nuevo espacio, se concibe como continuación del seto existente, envolviéndolo todo y manifestando su nueva identidad como elemento re-forestado. La similitud escalar entre elementos “vegetales” hace de la propuesta un nuevo modo de entender el nexo de conexión con lo existente.

IMAGEN- Esta nueva especie vegetal propone un cierre permeable, transpirable, que actúa tanto como control solar, como filtro visual y térmico, a base de tubos de acero lacados en diversas coloraciones similares a las naturales y diferentes diámetros, que a modo de “juncos, cañas,…”organiza un trenzado flexible, orgánico y deformable capaz de adaptarse a cualquier situación y geometría.

Ello posibilita la adaptación a las trazas urbanas, a los perímetros y edificaciones existentes dotando al espacio y al conjunto de una visión homogénea sin perder el espíritu original como espacio para eventos.

INNOVACIÓN DE LA OBRA
ESTRUCTURA AUTARQUICA- Un bosque de esbeltos pilares (60 y 80mm de diámetro) transmite las cargas desde la losa de 20cm de cubierta a una losa de cimentación de 25cm sobre una sub-base compactada sobre relleno de grava. La cimentación contiene los conductos de aire acondicionado de hormigón de 15cm que a su vez sirven de contención perimetral de la sub-base. Cada pilar recibe una carga mínima y tienen las uniones articuladas, esto permite la auto-distribución de cargas en función del agrupamiento de pilares o no. Una serie de pilares inclinados absorben los esfuerzos horizontales.

CARPINTERÍAS CON VIDRIO PORTANTE- El cierre térmico se resuelve mediante un vidrio laminado 10+10 plano y curvo sobre carpintería oculta de aluminio anodinado de Vitrocsa. El sistema de rodamiento inferior hace que las puertas correderas funcionen apoyando el vidrio directamente sobre estos rodamientos. La carpintería, por tanto, queda reducida a un perfil que protege el canto del vidrio.

HORMIGÓN ACÚSTICO- Las superficies de vidrio y hormigón que componen los paramentos del proyecto tienen un mal comportamiento acústico. Es por esto, que se ha trabajado la superficie de la losa de cubierta mediante un sistema de “huevera” realizada con un encofrado cuyo molde es una lámina drenante impermeable normalmente utilizada en trasdosados de muro contra terreno. Este texturizado hace que la onda se rompa y reduzca la reverberación del local. Como apoyo, se superponen unos techos de rollizos de madera en las zonas con nivel sonoro más elevado.

RECICLAJE MATERIALES- En la medianera del edificio existente, se ha utilizado un revestimiento de salvaverde de polietileno reciclado, normalmente usado como protector de césped en zonas de tránsito pesado, volviendo al conceptualización vegetal del edificio. En los patios también se han reutilizado materiales de deshecho, tales como escoria de fábrica de vidrio, rechazos de piedra volcánica, etc.

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kindergarden#01 - andrea rubini

December 4, 2014, 2:45 pm

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Concept e progetto preliminare per la trasformazione di uno spazio industriale in asilo.

render by andrea baselli. Published on December 04, 2014.

render by andrea baselli. Published on December 05, 2014.

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Casa A+L - Enrico Brighi, Emanuele Dari

December 4, 2014, 4:07 pm

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Il progetto della ristrutturazione dell’appartamento posto nel centro storico di Faenza si basa sulle caratteristiche, positive ma, soprattutto, negative, dell’edificio. Si trattava di un appartamento caratterizzato da un lungo corridoio su cui si apriva una serie di porte che servivano le più svariate funzioni nell’ordine più vario possibile, gli impianti erano a vista e gli ambienti erano cupi, bui e un po’ squallidi. Ora è un appartamento caratterizzato da un lunco corridoio su cui si apre una serie di ambienti dalle funzioni omogenee, gli impianti restano in parte a vista e gli ambienti sono talvolta bui, talvolta luminosissimi, talvolta piccole case bi bambola.

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Europan 12 - Vincenzo Iovino

December 4, 2014, 5:15 pm

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This project seeks to transform Ås into an independent town, while preserving the positive characteristics of a village, by preserving and diffusing local culture and product, with a focus on sustainable development.

Masterplan

The buildings and public spaces are flexible and versatile, capable of adapting themselves to different seasons, functions, and activities. The re-conception of this central area of Ås will become an input to create a different model for a town based on the new sustainable and social prerogatives of to- day. By creating activities in the center of town, we aspire to involving all the members of the community.

On of the major goals of the project is to create a highly energy efficient building, utilising passive design principles such as solar energy, terminal inertia, natural ventilation, water recovery, and green roofs.

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Europan 11 - Vincenzo Iovino, Stefano Guarino, Domenico Silvestro, Domenico Fraterno

December 4, 2014, 5:55 pm

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This study aims to include construction sites in the concept of sustainable development, it is focused on self-sustaining buildings and new construction techniques aimed at enhancing worker safety and reducing environmental impact. The living areas are located south with a double ventilated glazed, designed to work like a greenhouse.

Our proposed design is one that not only respects the uniqueness and beauty of the landscape, but one that goes beyond to encourage interest within the environment with the idea of giving people the unique opportunity to live within it.

With such a versatile platform embedded within the fundamental design, the idea of sustainability will easily be able to flourish within the site and will truly become a new way of understanding by “experiencing”. Above all, we invision or design not just operating in a sustainable way, but bring the idea of sustainability to people that would otherwise not have thought of it. A sustainable way of thinking, is most important.

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AFLS Alpine Foundation for Life Sciences - enrico sassi architetto, Stefano Tibiletti architetto

December 4, 2014, 11:46 pm

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Sede dei laboratori della AFLS– Alpine Foundation for Life Sciences; ospita laboratori (tossicologico e bioanalitico) al primo piano e un laboratorio con con finalità didattiche al piano terreno. L’edificio è un prisma di legno (14,50×12 x 7,30 h). È definito da tre travi in legno dalla proporzione di 1 a 2 che ne definiscono l’aspetto, esprimendo il principio della facciata strutturale. Le tre travi sono appoggiate su pilastrini che sollevano l’edificio dal suolo. Gli alzati sono di due tipi: facciate cieche o facciate semi-trasparenti. Le entrate sono collocate sulle facciate cieche, la ventilazione e l’illuminazione naturale avvengono attraverso le facciate strutturali, semi-trasparenti.