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Divisare - Projects Latest Updates

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    L’intervento di ristrutturazione trova spazio all’interno di un’ala del palazzo storico realizzato da Biagio Rossetti a fine quattrocento, ad oggi vincolato dalla soprintendenza. Più precisamente l’intervento è localizzato all’ultimo piano confinante con il sottotetto del palazzo. Il progetto ha subito un totale riassetto in pianta. Strutturalmente si è intervenuto parzialmente sui solai e sulle murature perimetrali. Architettonicamente è stata rivista interamente l’unità abitativa. L’abitazione presenta un vano unico con zona cucina e soggiorno il quale è collegato dal disimpegno-cabina armadio al servizio igienico ed alla camera da letto. A soffitto sono state portate a vista le catene lignee decorate delle capriate facenti parte di un vecchio soffitto a cassettoni. La pavimentazione usata è di due tipologie: parquet industriale e cemento. Tutta l’illuminazione è stata fornita da Viabizzuno. Gli arredi della sala, camera letto e bagno sono stati disegnati su misura e realizzati in mdf. Per la climatizzazione invernale è stato installato un radiante a pavimento, mentre per la climatizzazione estiva un sistema a pompa di calore adottando split a scomparsa.

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    Bagno

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    Bagno

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    Bagno

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    Bagno

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    Doccia

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    Cabina armadio

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi

    dare-architettura, Rudy Davi — Ristrutturazione appartamento Palazzo Mazzucchi


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    Doors opened to the Beijing Conrad Hotel at the end of 2013 Through its unique built form MAD proposes a new conceptual possibility. “Living architecture” seeks to embeds itself within the fabric of the rectilinear city much as a plant rises through the crack of a concrete sidewalk.

    MAD architects — Conrad Hotel

    This platinum five-star hotel sits at a busy corner at the east 3rd ring road of CBD district; it is the most modernized district in Beijing. The exterior facade is a neural network that reacts to the interior grid structure. The softly undulating surface expresses the organic vitality of man-made structure. It moves sinuously as it reaches towards the sky.

    MAD architects — Conrad Hotel

    MAD’s design represents the subtle invasion of nature into our built landscape, softening the rigidity of efficient and anonymous structures. To the south of the hotel lies a rare piece of serene nature, the Tuanjiehu Park. The Conrad Hotel serves as a transition between this natural paradise and an otherwise urban and built-up terrain. The mutation of the form breaks the monotony of the city, adding fresh energy and raising the expectation of what one can hope for urbanity.

    MAD architects — Conrad Hotel

    With its changing curves, the window openings shape the rooms into bright and soft caves. Being in the space, people not only experience the protection that architecture naturally provides, but it is as if they are in a silvery future world. From here, you overlook the city from the eyes of future, surveying at the past that set in the various styles of architectures.

    MAD architects — Conrad Hotel

    Beijing, China Type: Platinum Five-star hotel Status: Completed Site Area: 7,779 sqm Building Area: 56,994 sqm Building Height: 106 m

    MAD architects — Conrad Hotel

    Director in Charge: Ma Yansong, Dang Qun Design Team: Liu Yixin, Flora Lee, Yuteki Dozono, Paul, Tse Yi Pong, Gabrielle Marcoux, Uli, Queisser, Tang Liu, Art Terry, Rasmus Palmqvist, Diego Perez, Alan Kwan, Helen Li, Albert Schrurs, Simon Lee, Dustin Harris, Bryan Oknyansky, Andy Chang, Matthias Helmreich, Huang Wei, Howard Kim

    MAD architects — Conrad Hotel

    Hotel Architect: Metamax Structural Engineer: Beijing Institute of Architectural Design (BIAD) Mechanical Engineer: Beijing Institute of Architectural Design (BIAD) Façade/Cladding consultant: King General Engineering, SuP Ingenieure GmbH Interior Designer: Lim. Teo + Wikes Design Works Pte Ltd. Landscape Designer: Earthasia Design Group

    MAD architects — Conrad Hotel

    MAD architects — Conrad Hotel

    MAD architects — Conrad Hotel

    MAD architects — Conrad Hotel


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    La proposta del progetto nasce dalla volontà di realizzare un nuovo edificio olistico che, oltre ad assolvere alla funzione di centro civico, riesca ad essere un “ANELLO DI CONGIUNZIONE” tra gli edifici preesistenti ed il verde del parco.

    Angelo Salamone  — PROGETTO PER UN CENTRO CIVICO

    Il nuovo centro civico dovrà cosi: essere un luogo di congiunzione tra il quartiere ed il parco aumentare l’attrattiva e la fruibilità del parco stesso integrarsi con il parco stesso e con l’ambiente circostante

    Angelo Salamone  — PROGETTO PER UN CENTRO CIVICO

    Le linee guida del progetto nascono concretamente quindi dalla necessità di: collegare e mettere in nuova relazione esternamente le due aree realizzare un edificio ecosostenibile sia nella forma che nei materiali Illuminare naturalmente quanto più possibile gli interni dell’edificio per diminuire il costo per l’illuminazione artificiale evitare l’irraggiamento diretto sulle vetrate per evitare il surriscaldamento, nei periodi estivi, dei locali e l’effetto abbagliamento nelle zone interne avere tutti gli ambienti totalmente accessibili senza barriere architettoniche utilizzare un sistema modulare di costruzione per abbattere i costi in fase di realizzazione avere un sistema distributivo razionale dei percorsi e collegamenti interni per evitare sprechi inutili di spazi. relazionare le aree principali interne con le aree corrispondenti all’aperto per cui il bar caffetteria, per esempio si affaccerà direttamente sulla via principale del quartiere di accesso al parco dare alla copertura un valore aggiunto alla sua propria mera funzione

    Angelo Salamone  — PROGETTO PER UN CENTRO CIVICO

    Angelo Salamone  — PROGETTO PER UN CENTRO CIVICO


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    Into Palazzo Reale, I wanted to bring in some way or other the undulating earth that Van Gogh much loved. We sought hard about how we could convey to people that tenderness and warmth, and finally arrived at a piece of cloth – that material of earth-colored, a bit rough feel, with a smell of soil when you press your cheek against it. On that waving land of fabric, Gogh’s paintings will drift about. His works will be thrown out in the midst of the overwhelming power from the ground. Humans themselves are the beings who have to leave everything to the earth and simply float on – I took Van Gogh’s message this way.

    Kengo Kuma

    Kengo Kuma & Associates — Van Gogh Exhibition

    Kengo Kuma & Associates — Van Gogh Exhibition

    Kengo Kuma & Associates — Van Gogh Exhibition

    Kengo Kuma & Associates — Van Gogh Exhibition

    Kengo Kuma & Associates — Van Gogh Exhibition

    Kengo Kuma & Associates — Van Gogh Exhibition

    Kengo Kuma & Associates — Van Gogh Exhibition

    Kengo Kuma & Associates — Van Gogh Exhibition

    Kengo Kuma & Associates — Van Gogh Exhibition


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    “Lo spazio architettonico come rifugio dello spirito”.Visioni di mondi , sensazioni costruite nell’isola della mente; l’idea architettonica visionari progetti da realizzare appagati dal solo sognare.

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — Espacio Arquitectonico como refugio del espirito

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — Espacio Arquitectonico como refugio del espirito

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — Espacio Arquitectonico como refugio del espirito

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — Espacio Arquitectonico como refugio del espirito

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — Espacio Arquitectonico como refugio del espirito

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — Espacio Arquitectonico como refugio del espirito

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — Espacio Arquitectonico como refugio del espirito

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — Espacio Arquitectonico como refugio del espirito

    Piero Speranza, Corinne Piera Speranza, sas&a - studio di architettura speranza associati — Espacio Arquitectonico como refugio del espirito


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    At Khodynskoye Pole, where there were aeroplanes, there is a shipyard. A kind of icebreaker under construction: it is called New NCCA. It is 340 metres long, it is durable, very large at the base, and slender in the dashboard. From the 170-metre chimney top, you see all Moscow. From a distance it may look like the peak of a glacier, an iceberg or a mineral crystal. Some see a spiral. It has no colour yet but by day the plates reflect the light of the city, at night headlights illuminate it and its shape traces out the skyline. We don’t know how long the ship will be on the quay. We hope it’s not the time of a dream.

    Paolo Capponcelli, Panstudio Architetti Associati — National Centre for Contemporary Arts (NCCA). Moscow

    From the outside you can make out four parts: the hull base (1) containing zones A, B, C (Main Public Spaces, Exhibition Space, Collection Centre); the blade (2), narrower and more elongated, containing zone D (service area); containing the tip (3), zone E (Creative Residences); zone (4), above, is a scenic spot (Art Top) for recreation and catering.

    Paolo Capponcelli, Panstudio Architetti Associati — National Centre for Contemporary Arts (NCCA). Moscow

    The building has ten 15-metre-high floors for every accommodation and technical need. Each floor can be divided into intermediate levels. Some areas, e.g. the ground floor Performance Hall, can have greater heights for large installations, also visible from galleries at different heights.

    Paolo Capponcelli, Panstudio Architetti Associati — National Centre for Contemporary Arts (NCCA). Moscow

    The reception and public spaces are at the centre of the ground floor. To the east there is the Art Winter Garden (a hothouse on which the upper exhibition floors converge), the Performance Hall and the relaxation areas. The exhibition occupies the top three floors. The tip to the west will be a Collection Repository with traffic access. The offices and management are on the fourth and fifth floor to the east.

    Paolo Capponcelli, Panstudio Architetti Associati — National Centre for Contemporary Arts (NCCA). Moscow

    There is a large well in the square of the reception area. This void (Art Tube) can be as high as 100 metres. It is lit from the wall (3), which overlooks the park. The towers for stairs, lifts, services and technologies are arranged along the longitudinal spine. They are part of the supporting structure of the building. Pillars support the floors and the roof covering, which goes down to the floor, resting on a big pediment at least 5 metres high. This contains the accesses distributed along the entire perimeter. To the north, the outer wall can be connected directly to the new Aviapark Center with suspension bridges. The roof is a thick blanket enveloping everything. It consists of three parts: a reticular structure at the centre that can be inspected, an external draining, insulating, lighting and energy-bringing mantle, and an inner skin. Large areas are dedicated to technologies. For the park opposite the New NCCA, which is another object of the competition, it is recommended that the runways be maintained as paths and squares for installations and the creation of two parks: a tree-lined garden around the metro and a water park with summer lakes and fountains that in winter turn into ice skating rinks.

    Paolo Capponcelli, Panstudio Architetti Associati — National Centre for Contemporary Arts (NCCA). Moscow

    Paolo Capponcelli, Panstudio Architetti Associati — National Centre for Contemporary Arts (NCCA). Moscow

    Paolo Capponcelli, Panstudio Architetti Associati — National Centre for Contemporary Arts (NCCA). Moscow


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    Comune di Vibo Valentia – località“Moderata Durant. Al crocevia di due fra le principali arterie del PEEP, di cui la via Saragat è di recente realizzazione, il nuovo Teatro Comunale sorge all’interno di un contesto urbano di nuova costituzione. La realizzazione di una struttura pubblica appare per l’intero contesto come occasione di riconoscibilità architettonica e di sperimentazione architettonica di un involucro edilizio contemporaneo, nuovo simbolo per la città.La posizione logistica si presenta ottimale essendo il lotto in una posizione baricentrica rispetto all’hinterlan vibonese e direttamente accessibile dalla SS 18, per cui di facile accesso dal tutte le parti della città stessa.Unitamente ad altre attrezzature pubbliche o di interesse pubblico (Parco Urbano, Tribunale Nuovo) il Teatro rappresenta un’occasione ulteriore di riqualificazione urbana di un brano di città.

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Il progetto si pone con la volontà di voler creare un organismo architettonico capace di radicarsi in maniera netta e perentoria nel contesto architettonico e urbano in cui si inserisce, ponendosi come momento di riqualificazione dello spazio pubblico: una architettura capace di collegarsi con l’intorno attraverso la rivisitazione della logica di aggregazione degli ambienti interni ed il loro rapporto funzionale con gli spazi esterni.

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Il progetto è infatti un approfondimento del progetto preliminare di cui ne mantiene comunque sia la tipologia delle strutture portanti sia la tipologia dell’opera architettonica, nonché la capienza complessiva. Non stravolge infatti i connotati e le scelte compositive di base del progetto preliminare che vengono adattate ed arricchite nel naturale processo di progettazione per livelli successivi, prevedendo solo varianti tecniche migliorative in relazione a: - soluzioni architettoniche interne ed esterne; - distribuzione e destinazione funzionale degli spazi interni ed esterni (in parte); - progettazione definitiva degli impianti. Il progetto definitivo proposto porta alla creazione di un organismo edilizio di forte carattere architettonico che enfatizza la vocazione “pubblica” del nuovo edificio, tenendo conto a pieno delle esigenze della committenza e nel rispetto delle normative vigenti. La tipologia strutturale in cemento armato, e le scelte compositive di base dell’opera architettonica, hanno dato origine ad un involucro esterno stereometrico, puro (che a seguire denomineremo contenitore) che contiene all’interno la “scatola” della sala concerti – la platea.

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città

    Giuseppe Campisi, Filomena Francesca PASTORE - Mario ADORNATO - Serafino MARCHESE - Rosanna CROCITTI - Gabriella SGRO’ - Alberto RAPPOCCIOLO - Bruno ARENA - Maurizio PINO - Geologo Gabriele PRESTIA — Nuovo Teatro Comunale di Vibo Città


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    Current and connection are the main themes of the interior design of Proti Proudu Bistro in Prague district Karlín. Inspiration by František Křižík, the Karlín-born electrical engineering inovator, merged with the idea of connecting through good coffee and delicious food.

    BoysPlayNice, BoysPlayNice — IN COFFEE WE TRUST

    interior

    The main bar wall, made of white perforated plywood, creates a grid, which all the components on the wall connect to – from the sliding targets of wires to the paper roll with daily menu.

    BoysPlayNice, BoysPlayNice — IN COFFEE WE TRUST

    interior

    Network of wires, stretching from the switches behind the counter to the lights above the tables, draws attention to the connection between staff and guests. Each of the lights is operated separately, location of the switches on the wall grid reflects the real position of the lights in the room. The lights turn on and off as guests come and go. Every time the door opens, it lights a new spark in the bistro.

    BoysPlayNice, BoysPlayNice — IN COFFEE WE TRUST

    interior

    Plywood texture softly reflects stone floor pattern, as well as the oak board of the counter and individual tables. Steel elements preserve their unrefined black iron character. The only exception is the rusty counter with the motto that will never rust –IN COFFEE WE TRUST.

    BoysPlayNice, BoysPlayNice — IN COFFEE WE TRUST

    interior

    Photography & Concept: Jakub Skokan, Martin Tůma – BoysPlayNice.com

    BoysPlayNice, BoysPlayNice — IN COFFEE WE TRUST

    interior

    Realization: Mimosa architekti www.mimosa.cz, Modulora www.modulora.cz

    BoysPlayNice, BoysPlayNice — IN COFFEE WE TRUST

    interior

    BoysPlayNice, BoysPlayNice — IN COFFEE WE TRUST

    interior

    BoysPlayNice, BoysPlayNice — IN COFFEE WE TRUST

    lights

    BoysPlayNice, BoysPlayNice — IN COFFEE WE TRUST

    lights


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    La casa si trova sul lungomare di collegamento fra il centro del paese e la tonnara Florio. Il progetto di ristrutturazione, con pochi e semplici interventi, vuole sottolineare un’architettura esistente e tipica del fronte mare dell’isola di Favignana: case in linea con corpo scala laterale, bottega al piano terra e ampia terrazza in copertura. I colori di progetto tendono a far risaltare la purezza dei volumi e le ampie vetrate regalano scorci di paesaggio mozzafiato dall’interno dell’edificio. Le finiture interne, di poco pregio, vengono affiancate da arredi su misura in materiali poveri, come il legno, e gli intonaci appaiono grezzi e poco rifiniti per trasmettere una forte componente materica. Le superfici orizzontali, interne e esterne, sono trattate con resine cementizie monocromatiche di color sabbia, quasi a voler creare un unicum fra interno e panorama percepito.

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF

     ACA Amore Campione Architettura — CCF


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    The design process involved numerous consultation meeting with the school and a public exhibition. This helped to determine their exact requirements and further refine the brief. As the school catered for children of nursery, reception, key stage 1 and key stage 2 ages the external spaces have been zoned into three distinct play areas. These have been designed in a way to keep visual sight lines clear. The needs of parking and deliveries have been considered carefully to strike a balance between the need for on site parking and delivery turning. The needs of parents dropping off and collecting children have also been considered giving them pleasant environments in which to wait, meet and chat.

    Davis Landscape Architecture — Avenue Primary School

    Davis Landscape Architecture 1 Avenue Primary School London - Landscape Complete Building Frontage Planting

    Davis Landscape Architecture — Avenue Primary School

    Davis Landscape Architecture - Avenue Primary School London Landscape Rendered Masterplan

    Davis Landscape Architecture — Avenue Primary School

    Davis Landscape Architecture 3 Avenue Primary School London - Landscape Complete Raised Platform


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  • 05/20/15--12:43: Ten House - Carlos Castillo
  • Ten House

    Carlos Castillo — Ten House

    Ten House is a family house project developed in a rectangular piece of land with a light slope of 5% towards its end.

    Carlos Castillo — Ten House

    The house was originally designed for a market with undefined customers. For this, we decided to detach it from the stigmas of usual requirements of the program, (where more construction contained is more profitable) thus, generating a reinterpretation of the function in which a higher quality is given to the resident, with views of the recreational and social areas, making the house richer in spaces, conclusions and atmosphere.

    Carlos Castillo — Ten House

    The solution was based on determining the architectonic program areas within a mínimum rectalgular area, rotating it ten degrees, without altering the program, in a way that the house would face the back part of the track of land where a swiming pool was designed in a trapezoidal shape, which is visually and partially compressed by the house volume and by the finished concrete wall from which a waterfall emerges.

    Carlos Castillo — Ten House

    On its ground level, the house functions like a free open system within the property, contained inside clear glases that can be moved bidirectionaly and where the dining and living rooms are located, plus a half bathroom and a kitchen which is protected by a finished concrete wall towards the house entrance. It also has a light staircase, made of steel plate which leads you to the upper level where three bedrooms are located contained within a more solid volume. All three bedrooms have balconies. These are supported by IPR beams and Irving grid steel , unbalancing its lightness with finished concrete walls containing flower pots with ornament elements with a view to the swiming pool. The windows of the main facade (front) of the house are covered with multiperforated panels of aluminium designed to protect the intimacy without taking off the interior light of the house.

    Carlos Castillo — Ten House

    The materiality of the house is dominated by the use of concretes. The columns, walking paths and swiming pool are elements that were cast in situ with finished white concrete. The wall that protects the kitchen on the front, as well as the wall on the rear containing services, and standing also as pinnacle for the living room and swiming pool is made of finished grey concrete with lines emphasizing the horizontality of the construction.

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House

    Carlos Castillo — Ten House


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    INOUT house

    Joan Puigcorbé— INOUT house

    This house establishes an uninterrupted ¨inside-outside¨ relationship; a sequence of layers between the open and the intermediary. Frontal boundaries are blurred by sheets of glass and vegetation, framed by two horizontal planes, floor and ceiling, where the full and the void are related via a series of matter, water, vegetation and sky. Lateral boundaries establish the ¨full-void¨ relationship via a series of solid materials that close transversal views.

    Joan Puigcorbé— INOUT house

    All bedrooms are arranged along the peripheries bordering the neighbors, leaving an intermediate space between volumes for social uses: kitchen-dining, living room, swimming pool, porch and barbecue.

    Joan Puigcorbé— INOUT house

    Existing trees remain, uncompromisingly piercing the spaces they occupy.

    Joan Puigcorbé— INOUT house

    A perimeter curtain of rope and vegetation delineates the limits of the building element, creating a gap of shadow / light that qualifies a space between.

    Joan Puigcorbé— INOUT house

    A single material, Melina wood, dresses the inside and the outside. The apparatus varies: the outside is expressed as a relief while the inside is softened .

    Joan Puigcorbé— INOUT house

    The kitchen table and the kitchen itself shapes a sculptural floor that presides over the social zone. The black gloss of the Absolute Black granite dematerializes, through its reflections, the gesture of formal forcefulness.

    Joan Puigcorbé— INOUT house

    This house responds to the existing features of the landscape and reveals new dimensions of the topography of place. In its formalization and materiality, the experience of light, shadow, earth, water and air is intensified. The general form is readily readable and fluid in its articulation of space.

    Joan Puigcorbé— INOUT house

    Joan Puigcorbé— INOUT house

    Joan Puigcorbé— INOUT house

    Joan Puigcorbé— INOUT house


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    “You are probably familiar with my photographic work where I explore ʻarchitecture as an imageʼ in the virtual space. Hereby I sample existing architecture and recompose it in new structures by means of ʻdigital photocollageʼ. In this body of work I want to explore architecture as a sculptural form in space and time but also work on the archetypes and typolgies in architecture by shifting them slightly in order to change the ʻordinaryʼ into something ʻextra ordinaryʼ. Often this is perceived as a surreal act on architecture. In some images I make a kind of critique on the existing architectural production. The architectural fantasie as a tool for reflection and comment. What kind of emotions can a building provoke to the public. My limits during the creation of these images is the thin line between reality and irrealty. How far can I go without slipping into science fiction. Plausibility is my guiding track. After some time I wondered how I could translate my 2d imagery into 3d installations. It became clear that an exact spatial reproduction of my ʻcollagesʼ was not relevant.” Filip DUJARDIN, Portfolio 2015

    Filip Dujardin — 2x3x5 + Middelburg

    ‘2×3x5’ is a 3d installation consisting of a scaffold construction of 4m x 6m x 10m with a spatial grid of cubes of 2m x 2m. In these spatial cubes metal roofpanels with a classic red tile motive were placed in a certain sequence.

    Filip Dujardin — 2x3x5 + Middelburg

    As the exhibition ‘Façade 2012’ was examining the so called authenticity of historic cities by using the facade as a typology, in this structure I used the roof as the fifth facade of a building.

    Filip Dujardin — 2x3x5 + Middelburg

    By compressing several rooftypes into one gesture I wanted to compress the city into one abstract structure by only using one aspect of architecture namely ‘the roof’. This sculpture was erected in the midst of the city fabric and had the dimension of a modest house in Middelburg.

    Filip Dujardin — 2x3x5 + Middelburg

    The city was reassembled and becomes a set piece, a prop on the city stage. Fake roofs without houses. This installation was accompanied by a photomontage shown on a big format in the public space. The image showed the skyline of Middelburg.

    Filip Dujardin — 2x3x5 + Middelburg

    360 degrees photos of the rooftops of the city were taken and were compressed into one image. By erasing all the windows and doors of the buildings the roof typology was emphasized. The city was reduced to a mosaic of abstract silhouettes.

    Filip Dujardin — 2x3x5 + Middelburg

    This installation made part of the open air groupexhibition ‘Façade 2012’, in Middelburg, The Netherlands. Installation Design and photos by Filip Dujardin Organized by CBK Zeeland Curators : Kathrin Ginsberg and Thom Schaar

    Filip Dujardin — 2x3x5 + Middelburg


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    “You are probably familiar with my photographic work where I explore ʻarchitecture as an imageʼ in the virtual space. Hereby I sample existing architecture and recompose it in new structures by means of ʻdigital photocollageʼ. In this body of work I want to explore architecture as a sculptural form in space and time but also work on the archetypes and typolgies in architecture by shifting them slightly in order to change the ʻordinaryʼ into something ʻextra ordinaryʼ. Often this is perceived as a surreal act on architecture. In some images I make a kind of critique on the existing architectural production. The architectural fantasie as a tool for reflection and comment. What kind of emotions can a building provoke to the public. My limits during the creation of these images is the thin line between reality and irrealty. How far can I go without slipping into science fiction. Plausibility is my guiding track. After some time I wondered how I could translate my 2d imagery into 3d installations. It became clear that an exact spatial reproduction of my ʻcollagesʼ was not relevant.” Filip DUJARDIN, Portfolio 2015

    Filip Dujardin — The exhibition space as a pedestal for itself

    An exhibition space is an envelope, a showcase for objects. But it also presents itself, immovable, steadfast, neutral and often modest. Z33 is no different.

    Filip Dujardin — The exhibition space as a pedestal for itself

    These brick interventions are corrections on the architecture of the building. They sharpen the gaze of the visitor, making him or her more aware of the existing situation, and bring to the foreground an alternative, whether sensible or senseless. The brick walls nestle like parasites in, on, over and behind the folds of the building and suggest how things could be, what might be coming.

    Filip Dujardin — The exhibition space as a pedestal for itself

    This temporary 3d installation was accompanied by a photomontage (Untitled, from series ‘Fictions’, 2009) This image shows an apartment building from the 1970s, somewhere in Flanders. A grid divides the facade and the residents. A collective conversion drastically changes the logic of the building.

    Filip Dujardin — The exhibition space as a pedestal for itself

    The ‘virtual’ interventions of the renovation transform the building from a static rhythm into a more organic whole. The brick renovation affects the original structure like a parasite, in this way transforming the building into a different and alternative solution, with a new logic and a new functionality.

    Filip Dujardin — The exhibition space as a pedestal for itself

    Exhibition Design and Photo Credits : Filip DUJARDIN This 3d installation + photomontage made part of a groupexhibition called ‘Atelier à Habiter’ Curator : Evelien Bracke

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself

    Filip Dujardin — The exhibition space as a pedestal for itself


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    “You are probably familiar with my photographic work where I explore ʻarchitecture as an imageʼ in the virtual space. Hereby I sample existing architecture and recompose it in new structures by means of ʻdigital photocollageʼ. In this body of work I want to explore architecture as a sculptural form in space and time but also work on the archetypes and typolgies in architecture by shifting them slightly in order to change the ʻordinaryʼ into something ʻextra ordinaryʼ. Often this is perceived as a surreal act on architecture. In some images I make a kind of critique on the existing architectural production. The architectural fantasie as a tool for reflection and comment. What kind of emotions can a building provoke to the public. My limits during the creation of these images is the thin line between reality and irrealty. How far can I go without slipping into science fiction. Plausibility is my guiding track. After some time I wondered how I could translate my 2d imagery into 3d installations. It became clear that an exact spatial reproduction of my ʻcollagesʼ was not relevant.” Filip DUJARDIN, Portfolio 2015

    Filip Dujardin — Treasures of nation

    A white exhibition room with walls, a floor and a ceiling with a grid. This grid was the basis to build a room with a floor plan based on one square of this grid. The room was built in red bricks but cannot be perceived as a normal room defined by four walls.

    Filip Dujardin — Treasures of nation

    The space fell apart in different pieces, scattered all over the exhibition room. The deconstructed room was redefined by placing its parts in a certain sequence. By walking through the space new spatial perceptions emerged between the architectural fragments and recomposes the original space in the head. A solid room became unstable, a mental space collapsed.

    Filip Dujardin — Treasures of nation

    Exhibit Design and Photo Credits : Filip DUJARDIN This 3d installation was presented in relation with wall painting by Gerd Ververs

    Filip Dujardin — Treasures of nation

    Filip Dujardin — Treasures of nation

    Filip Dujardin — Treasures of nation

    Filip Dujardin — Treasures of nation

    Filip Dujardin — Treasures of nation


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  • 05/21/15--01:00: The guest - Filip Dujardin
  • “You are probably familiar with my photographic work where I explore ʻarchitecture as an imageʼ in the virtual space. Hereby I sample existing architecture and recompose it in new structures by means of ʻdigital photocollageʼ. In this body of work I want to explore architecture as a sculptural form in space and time but also work on the archetypes and typolgies in architecture by shifting them slightly in order to change the ʻordinaryʼ into something ʻextra ordinaryʼ. Often this is perceived as a surreal act on architecture. In some images I make a kind of critique on the existing architectural production. The architectural fantasie as a tool for reflection and comment. What kind of emotions can a building provoke to the public. My limits during the creation of these images is the thin line between reality and irrealty. How far can I go without slipping into science fiction. Plausibility is my guiding track. After some time I wondered how I could translate my 2d imagery into 3d installations. It became clear that an exact spatial reproduction of my ʻcollagesʼ was not relevant.” Filip DUJARDIN, Portfolio 2015

    Filip Dujardin — The guest

    A private house somewhere in Flanders. Architecture as a shelter, a fold between in- and outside. A new space was added to the existing rooms. A small niche was built around a chair at a table. The structure prevented to sit on the chair. The ʻinteriorizationʼ of a space shows that architecture can define the mental status of a place.

    Filip Dujardin — The guest

    Exhibit Design and Photo Credits : Filip DUJARDIN This 3d installation made part of a groupexhibition called ‘a simple planʼ Curator : Sam Steverlyck

    Filip Dujardin — The guest

    Filip Dujardin — The guest

    Filip Dujardin — The guest

    Filip Dujardin — The guest


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  • 05/21/15--01:05: Memorial 1 - Filip Dujardin
  • Using the column as the main feature of a structure? A roof is carried by different types of columns and defines the space under it. The history of architecture is compressed by using the archetype of the pillar.

    Filip Dujardin — Memorial 1

    “You are probably familiar with my photographic work where I explore ʻarchitecture as an imageʼ in the virtual space. Hereby I sample existing architecture and recompose it in new structures by means of ʻdigital photocollageʼ. In this body of work I want to explore architecture as a sculptural form in space and time but also work on the archetypes and typolgies in architecture by shifting them slightly in order to change the ʻordinaryʼ into something ʻextra ordinaryʼ. Often this is perceived as a surreal act on architecture. In some images I make a kind of critique on the existing architectural production. The architectural fantasie as a tool for reflection and comment. What kind of emotions can a building provoke to the public. My limits during the creation of these images is the thin line between reality and irrealty. How far can I go without slipping into science fiction. Plausibility is my guiding track. After some time I wondered how I could translate my 2d imagery into 3d installations. It became clear that an exact spatial reproduction of my ʻcollagesʼ was not relevant.” Filip DUJARDIN, Portfolio 2015


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    Underwater vegetation and wildlife in urban canals and rivers is becoming scarce. Floating Garden intends to raise public awareness about underwater vegetation and wildlife in urban water bodies and rivers. An archipelago of small floating islands create a new imaginative ecosystem. Floating wetlands activate the lake for new wildlife: improving water quality, providing benefits including: food and shelter for fish, frogs, and invertebrates; shading which reduces water temperatures and submerged weed growth; habitat for butterflies and birds. An archipelago of small floating islands will create a new ecosystem that mimic natural wetlands and activate the canal for new wildlife.

    Linaria, Sara Di Costanzo, Veronica Montanino, Michela Pasquali — Floating Garden

    THE PROJECT Thirtyfive discs, linked together underwater, are positioned and fixed on both side of the lake’s little bridge. All discs are are in polystyrene of three different circumference: from 30 cm to 80 cm. All the discs are covered with plastic painted banners that mimic the bright colours that are visible in nature. Various aromatics shrubs and flowers of different dimensions and colours are positioned on some of the discs.

    Linaria, Sara Di Costanzo, Veronica Montanino, Michela Pasquali — Floating Garden


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    Macdonald had been a gigantic distribution center since the 1970s, located at Macdonald Street in Paris. OMA was the master planner of the project and their proposal was rather distinctive. They preserved the old two-storied building (which extends as long as 500m), and asked 5 other architects to work on newly added programs. We were responsible for the western part of the building, and designed facilities for a junior and senior high schools, and local sports center.

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald

    Kengo Kuma & Associates — Entrepot Macdonald


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    Il nuovo corpo scala è stato oggetto di una attenta ricerca nel campo del design e della qualità degli spazi deputati ai collegamenti. La scala diventa così non solo luogo di passaggio ma anche un piacevole momento di sosta dove è possibile sedersi su uno dei gradini che allungatosi diventa panca e godere della vista sugli aerei o verso la galleria in compagnia di piacevoli aree a verde. L’esperienza della salita verso il piano superiore continua e si arricchisce grazie ad una particolare illuminazione di accento perimetrale dei gradini che sembreranno quasi levitare l’uno sull’altro. Tutta la parte iniziale della scala restituisce un immagine simile ad una stratificazione rocciosa grazie allo sfalsamento ed alla diversificazione delle pedate dei gradini che diventano panche, accolgono fioriere, e contemporaneamente conducono verso il livello superiore.

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Schizzo

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Schizzo

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli

    Gnosis Architettura —  Scala di collegamento tra le gallerie commerciali dell'Aeroporto Internazionale di Napoli


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