Smart House - Oliviero Baldini - Studio O

May 19, 2015, 12:55 am

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Smart House in Brescia (Italy)

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Paper Bridge - Steve Messam

May 19, 2015, 1:28 am

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A full sized bridge made entirely of paper. A temporary art installation by Steve Messam.

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MATAHARI TERBIT - Vudafieri Saverino Partners

May 19, 2015, 1:28 am

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Un’azienda manifatturiera di Bandung, Indonesia, ha la necessità di ingrandirse il suo impianto produttivo e trasforma la sua strategie produttive, commerciali e di comunicazione. Il progetto richiama l’immagine di una fabbrica-giardino con standard qualitativi di vita e lavoro determinanti per il risultato del prodotto. La qualità diventa il tema centrale: qualità di prodotto, qualità degli spazi architettonici, qualità dei processi produttivi.

Il progetto architettonico si snoda all’interno di un tessuto urbano denso che si affaccia su un canale a cielo aperto. Due gli ingressi, unici e nascosti, su strada.

Il fattore clima diventa l’essenziale punto di partenza: il volume dell’impianto è caratterizzato da una grande copertura ventilata che permette l’aerazione interna e l’ingresso di luce naturale, proteggendo allo stesso tempo dalle grandi piogge.

Details

Alla fabbrica si affianca il centro di progettazione e prototipazione, gli uffici e showroom, negozi su strada con abitazioni al primo piano, una villa privata per la proprietà e una guest house di dieci stanze per gli ospiti.

Internal details

Details

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Artscapes - Luca Galofaro

May 19, 2015, 2:40 am

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Artscape is a term that tries to sum up the idea of intervention in the landscape based on an artistic approach. In art, sculpture and music the idea is not to reproduce or invent forms, but to harness forces. Architecture has to go further, to not only channel the forces but also to organize them. The first aim of this book is to try to inter- pret the territory through artscapes that have been specifically created to help us re- discover its essence and potential for use. The “territory” as such does not exist in na- ture. It is the result of a lengthy evolution of the settled population and the environ- ment. Artists have always had the capacity to make it visible, to shed light on certain of its characteristics through analysis. Architects, on the other hand, have always stood out for their desire to redefine the territory, differentiating it from the land- scape. In recent years architects have turned to the operative modes of art in search of stimuli capable of restoring force to their increasingly self-referential discip- line. Thus the landscape, as happened in the works of the land artists of the 1970s, becomes a material with which to recon- struct the territory in which to live. Some of the works of architecture seen in this book evoke veritable works of Land Art which are enhanced, in their formation, by the force of utilization and the flows related to activity. Through an apparently arbitrary analysis the artworks and architecture are presented without a predetermined order, in such a way as to discourage application of formal definitions and categories. Thus the architecture follows “a logic of sensa- tions” capable of generating spaces con- ceived in a new way. The book is divided into six chapters (not necessarily to be read in sequence), each with a different approach to the art/archi- tecture/landscape relation. The disciplines meet, swapping suggestions and methods of interpretation, analysis and action. A space to be discovered examines the intu- itions of Gordon Matta-Clark, one of the first to break down the confines between art and architecture. In Redefining the space of the territory architects interact with the landscape in unexpected ways, shedding light on certain characteristics. Casagrande & Rintala make floating gardens on sal- vaged boats, Makoto Sei Watanabe records the movement of wind in his installations, transforming the natural into the artificial. In When art becomes landscape artists like Christo & Jeanne-Claude supply a method in which the value lies not exclusively in the artwork, but also in the process of its con- struction and organization. Art + architecture + context come to terms with the mental spaces capable of generat- ing a field of emotional reactions among place, subject and artist. Richard Serra marks urban space by triggering interfer- ences between the artwork and those who experience it. Peter Eisenman produces the same type of interference when construct- ing a Holocaust memorial. In this project real space confronts the mental space gen- erated by the physical sensations the archi- tecture produces in the person crossing it. Mary Miss builds functionless places that could easily be works of architecture, while The Next Enterprise offers artworks that turn out to be architecture in constant transformation. And on to the interventions of Diller & Scofidio and West 8, which slow- ly set in motion a process of metamorphos- is, Transforming landscape, creating places in which there is almost no difference be- tween the space of architecture and the art installation. Blur is simultaneously an instal- lation, a natural place and a building. Finally, in Programming the land surface ar- chitects redesign an artificial landscape through the transformation of the spaces between the surfaces, an attempt to erase any difference between territory and archi- tecture. Foreign Office Architects and Shuhei Endo try, in a different way, to re- cover and make better use of places, focus- ing on their individuality and identity. The conclusion is that today many archi- tects seem finally to have assimilated the words of Paul Klee: “Art does not reproduce the visible, but makes visible [...] because the artist observes the things nature places before his eyes, with a penetrating gaze. And the deeper he penetrates, the easier it is for him to shift the viewpoint from today to yesterday, the more he be able to fix in his mind, in place of a defined image of na- ture, the unique, essential image, that of creation as genesis.”¹

¹ Spiller, Jürg von (ed.), Paul Klee. Das bildenerische Denken: Schriften zur Form- und Gestaltungslehre, Benno Schwabe, Basle/Stuttgart, 1956. (English version: “Creative Credo”, in Paul Klee, The Thinking Eye. The Notebooks of Paul Klee, Lund Humphries, London, 1961).

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Water Tank - Luz Village -

May 19, 2015, 7:43 am

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A reportage by Helder Sousa

The tower at the Water Treatment Station, which also acts as a viewing tower, is a bold infrastructure planned for Nova Aldeia da Luz (Southern Portugal). This unique element in the arid landscape of Alentejo pursues the modern utopia through a pragmatic and rigorously functional detailing process. The visible bare concrete emphasises this imagery. However, its design could not be more paradoxical. It recalls the chimney of Le Corbusier’s Unité d’Habitation, but it now stands on the ground, suggesting that the entire building has been buried. This is a metaphor that demonstrates a significant movement away from the more radical theories of the Modern Movement and towards the process of participation involved in the construction of the new village. Rejecting the antagonism between a shamefacedly erudite culture and the tyranny of popular taste, above all, this reservoir is a place of active tolerance.

Co-operation: Pedro Bandeira, João Figueira e Associados; Filipe Bandeira

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Private House - Foster + Partners

May 19, 2015, 7:43 am

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Designed for a Japanese collector of modern and Buddhist art, this house was conceived as a contemporary retreat with traditional influences. The house occupies a site rich with historical associations, including a Shinto shrine and man- made caves that once formed part of a workshop for crafting samurai swords. The house is one of three buildings originally planned for the site, those yet to be built comprising an art gallery and function space, with specialised storage. The overall composition is intended to tie these buildings together in a harmonious arrangement, informed by the Japanese belief that nature is at its most beautiful when considered in relation to the man-made.

A series of parallel structural walls organises the interior spaces of all three buildings, and these are further articulated by perpendicular infill walls that carry the service functions. The house is planned around the rugged landscape and focuses on a mature cherry tree. Circulation is organised so as to capture a sequence of carefully framed landscape views, the route through the house progressing from darkened to fully lit rooms, revealing and framing en route items from the client’s extensive art collection. A comprehensive integrated lighting system, which includes fibre-optic installations, dedicated spotlights, and naturally backlit glass blocks, further emphasises major individual art works. Special attention has been paid to the subtle use of colour, with muted tones and dark grey ceilings that add a degree of intimacy.

The design team developed a number of specialised materials for the project. The primary walls are clad with a custom-manufactured reconstructed stone, while glass blocks made from recycled television tubes provide diffused daylight. The floors are covered in part with antique Chinese tiles, and the indoor pool is finished in glazed volcanic stone. Throughout the house, the play of light and shade, created through a combination of materials and finishes, artificial and natural light, is intended to evoke the quietude of traditional Japanese architecture.

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MASTERPLAN - Alessio Scarano

May 19, 2015, 8:41 am

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Il progetto prevede la realizzazione di nuove zona di espansione in tutto il territorio del Gabon avendo come riferimento le città di Mouila, Oyem, Franceville e la capitale Libreville. Il nostro concept fornirà l’esempio in scala ridotta dell’intervento più ampio e complesso da noi ipotizzato. l volumi definiti sono strutture di media dimensione (opportunamente dimensionata) tutte collegate tra loro con collegamenti orizzontali (camminamenti)e verticali. Tali volumi saranno dimensionati per soddisfare il fabbisogno iniziale di 5000 persone.Parte dei volumi saranno dedicati all’ E-Learning, mentre altri saranno adibiti all’insegnamento frontale.

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The Andy Warhol Temporary Museum - LIKEarchitects

May 19, 2015, 8:42 am

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The Temporary Andy Warhol Museum is a cultural space within a commercial space. It was designed to host the exhibition ‘Andy Warhol – Icons | Psaier Artworks and the Factory’ and included a total of 32 original works by the American artist. The museological space avoids the idea of having neutral white exhibition spaces and relates to the exhibited artworks through the creation of a strong visual context that refers to the artist’s imaginary. It recreates an environment that is both pop and industrial, through an unusual materiality resulting from the use of metal paint cans. The expository structure, set in the mall’s central plaza, features an appealing abstract exterior and assumes an iconographic identity with links to the Pop Art.

The interior was designed as an enclosed introspective space, entirely defined by continuous walls, benefiting from a transparent cover in plastic screen, which has the dual function of allowing light to enter from the exterior and assuring the visual relationship between the two confronting spaces (museum / higher galleries of the shopping mall). A fluid succession of four exhibition rooms, thematically organized, creates an organic pathway that challenges the symmetry and rationality of the shopping mall main square.

Warhol’s artwork influenced the overall design. Besides reflecting the consumer society – in a literal way, through the raw aluminium sheet of cylindrical cans, – other strands patent in his work were also fundamental for the creation of the architectural space as the idea of repetition (silkscreened) or the idea of sublimating everyday objects, regardless of their original function, transforming them into tangible icons. Used as a constructive element, the paint can is the module that determines the metric of entire project, defining dimensions and drawing the voids – doors – and generating glamorous aesthetics. The structural stability was solved by filling the first three rows of cans with sand, working as foundations.

Having received more than 100,000 visitors, The Temporary Andy Warhol Museum have contributed for the dissemination and promotion of art, free and accessible to all visitors.

Production – Curatorship: State of the Art / Maurizio Vanni
Awards: International Space Design Award – Idea Tops 2013 – Exhibition Design (finalist)

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Fountain Hacks - LIKEarchitects

May 19, 2015, 9:12 am

≫ Next: complesso parrocchiale san paride - Davide Vargas

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Situated in the interior of Portugal, Guimarães has several fountains in the public space with the quest to reduce the summertime heat. To be implemented during the hottest months, Fountain Hacks intervenes directly on these fountains, enhancing their use by creating a new (water)land of urban opportunities. Conceived as a new temporary water circuit, Fountain Hacks is a ready-made strategy of playful interventions, making the city a better place to live.

The concept is to promote an occupation of the water public spaces by redefining city’s physical limits and deleting the social predefined boundaries. Extending the current notions of public space, the inhabitants are invited to take the maximum revenue of these (waterful) mo(nu)ments. Alike Anita Ekberg’s scene at Fontana di Trevi in Federico Fellini’s ‘Dolce Vita’, Guimarães inhabitants experience the city fountains in a real, uninhibited, way. Being aware of the fountains centrality in public spaces, this project seeks to promote these daily actions as a freshly social happening – fountains will become the stage where citizens and tourists are the real-time performers.

Fountain Hacks is a system of fountain-use upgrade design that takes advantage of the dichotomy between traditional and new – adding elements to valorise the pre-existence. (Re)Using standard pool stairs, typical waterslides or domestic showers, Fountain Hacks promotes new places to enjoy and refresh. Asking the participation of passers-by, Fountain Hacks (re)creates the contemporary use of the public space in a continuous dynamic of surprise.

Fast and easy to implement, low-tech urban hacks shows city-users they must be part of the city urban planning, calling for a use of public space where hacking becomes an energetic, optimistic design approach. Bringing joy to the city, this playful strategy is a Masterplan based on the notion that the key to evolve into a pulsating city is to promote the active inhabitancy into the community.

Curatorship: Pedro Gadanho

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complesso parrocchiale san paride - Davide Vargas

May 19, 2015, 10:03 am

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La chiesa non c’è. Un taglio nel dislivello del suolo conduce all’ingresso. Si procede in trincea.

Le funzioni si sviluppano lungo il percorso. Il parcheggio. La casa canonica aperta al cielo attraverso i cortili. Le aule del catechismo. La Chiesa. Interrata parzialmente. La copertura piega e si slancia verso l’lato. Fa entrare la luce. Un fascio nella materia nera.

All’esterno solo il portale del campanile. Nero. Una cornice per il cielo. Emerge dal parco superiore. Lavanda. Forsizia. Narcisi. Gli olivi sul bordo. Campiture geometriche colorate. Fiori di campo. Il sacro è il cielo. Immenso. Mutevole. Limpido o annuvolato. Attraversato dal vento e dalla pioggia. Dai suoni della natura. Gli uccelli. I rombi. Gli scrosci. E i suoni delle campane.

Il cielo portato agli uomini. Poi si specchia e moltiplica. Avvolgente. Lo specchio contiene l’immagine e al tempo stesso si confonde in essa. Come un universo. Solo un contorno. Gli uomini ne hanno bisogno. Come un limite. L’infinito e il nulla trascende dalla rappresentazione.

Dio si rappresenta da sé.

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Ristrutturazione casa M - Massimo Rinaldo

May 19, 2015, 10:08 am

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Ristrutturazione di un appartamento e riadattamento alle esigenze di una giovane coppia con due bambini. La committenza chiedeva di reinterpretare un alloggio costruito negli anni 70 avente perciò ampi spazi ma organizzazione piuttosto tradizionale e ambienti rigidamente separati. Il progetto propone di eliminare alcune tramezze sostituendole con un sistema di piastri in ferro. Tutta la zona giorno viene fruita senza soluzione di continuità e l’ingresso è segnalato dal controsoffitto che ospita l’illuminazione ad incasso. Il vano scala chiuso viene disimpegnato al piano terra e reso visibile dal soggiorno dal quale è separato solo da un parapetto in vetro. L’alto volume sopra la scala è poi sfruttato da una libreria a gradoni di aspetto organico su disegno.

Soggiorno visto dall'ingresso

Pranzo e cottura viste dall'ingresso

Pianta piano primo

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Casa EG - ES arch enricoscaramelliniarchitetto

May 19, 2015, 10:26 am

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Il progetto intende recuperare il sottotetto attraverso un’operazione di ridefinizione volumetrica dell’edificio.