Are you the publisher? Claim or contact us about this channel


Embed this content in your HTML

Search

Report adult content:

click to rate:

Account: (login)

More Channels


Showcase


Channel Catalog


Channel Description:

Divisare - Projects Latest Updates

older | 1 | .... | 518 | 519 | (Page 520) | 521 | 522 | .... | 567 | newer

    0 0
  • 06/09/15--09:25: Casa C+D - 3C+M
  • L’appartamento è ubicato nel centro murattiano della città di Bari, in un palazzo progettato dall’architetto Saverio Dioguardi nel 1927.

    3C+M — Casa C+D

    La nuova unità immobiliare è il risultato dell’unione di tre diverse unità, due appartamenti, ubicati rispettivamente al primo piano e al secondo piano, e la terrazza sovrastante.

    3C+M — Casa C+D

    L’appartamento è caratterizzato da una doppia area living; la prima, collocata nel livello inferiore e identificata come zona studio, è illuminata da due finestroni in legno ad arco a tutto sesto ed ospita una scala ed un soppalco che assicurano il collegamento con il piano superiore.

    3C+M — Casa C+D

    Il soppalco è realizzato con un impalcato in rovere e una struttura in ferro, agganciata alla trave calata in c.a. del solaio soprastante.

    3C+M — Casa C+D

    Nel livello superiore, realizzando due grandi aperture a forza nelle murature, si è riusciti ad ottenere una sequenza di spazi costituita da sala da pranzo, ingresso e soggiorno. La sala da pranzo è caratterizzata dalla presenza del grande finestrone con arco a tutto sesto, mentre l’ingresso è illuminato dall’alto, da un lucernario in vetro opaco con profili a vista in metallo verniciato bianco.

    3C+M — Casa C+D

    Il terzo spazio, il soggiorno, dialoga con il terzo livello dell’appartamento, il terrazzo, e ospita una scala con stuttura in ferro e pedate in pietra di Trani.

    3C+M — Casa C+D

    3C+M — Casa C+D

    3C+M — Casa C+D

    3C+M — Casa C+D

    3C+M — Casa C+D

    3C+M — Casa C+D

    3C+M — Casa C+D


    0 0

    A contemporary art gallery for a private collector incorporates three different architectural styles in a Milanese courtyard. The topic is to tell a story about the place: early metropolitan suburb at the beginning of the last century, today it is almost within the center of the city . The three  different styles express the spirit of Milan: a small laboratory from the end of the 19th Century with a large wisteria outside, a wooden shack/warehouse and the functional architecture of the 1950s. The shack and the 1950s architecture have been given a redesign using that sort of “unconscious rationalism” that is the quality of Milan post-WWII. The project reassemble together an urban landscape that belongs to the memory of this city. The gallery features personal exhibitions as well as pieces from the owner’s private collection.

    Vudafieri Saverino Partners — Laboratorio Pasteur

    Vudafieri Saverino Partners — Laboratorio Pasteur

    Vudafieri Saverino Partners — Laboratorio Pasteur

    Vudafieri Saverino Partners — Laboratorio Pasteur

    Photo by Santi Caleca © Vudafieri Saverino Partners

    Vudafieri Saverino Partners — Laboratorio Pasteur

    Photo by Santi Caleca © Vudafieri Saverino Partners

    Vudafieri Saverino Partners — Laboratorio Pasteur

    Photo by Santi Caleca © Vudafieri Saverino Partners


    0 0

    Située à l’angle des routes de Vernier et du Bois­des­Frères, la parcelle du projet offre un défi intéressant. Sa situation propose, en effet, une grande diversité contextuelle, deux axes routiers très fréquentés jouxtant un grand espace vert dédié aux loisirs et au sport mais aussi souvent à la détente. Ce contraste a fixé la base de notre réflexion, le projet et son environnement devant ici être interdépendants. Notre recherche s’est donc dirigée vers une réponse architecturale claire et forte qui vise à transformer les contraintes inhérentes au lieu en concepts directeurs amenant une qualité d’usage particulière tant aux espaces privés que publics.

    Atelier Roiron Architecte, Roiron Nicolas, Roiron Christophe, Tavares Mafalda, Zeqiri Albiona — PORTAL

    Vue de l'espace vert protégé

    Aménagements : Le traitement des aménagements extérieurs découle directement de l’environnement proche, de notre volonté de nous l’approprier en tant qu’élément structurant du projet et non comme une contrainte. Dans cette optique, nous avons aménagé un espace tampon agissant comme un portail et permettant de limiter la route sans pour autant lui être entièrement hermétique. Une transition douce entre la ville et les espaces de détente. Bien que totalement ouvert, l’espace public peut être divisé en trois zones principales. A l’angle des deux routes, entre l’auberge et le bâtiment B, se trouve une place principalement minérale. Très urbaine, celle­ci crée un lieu de rencontre pour les personnes se rendant à l’auberge ou venant assister à un concert. L’espace entre les immeubles B et C a été pensé comme une promenade marchande. Il représente la deuxième étape de la transition entre la rue et les aménagements sportifs du Bois-des-Frères. Cet aspect est représenté dans le traitement des matériaux par une mixité des parties minérales et végétales. Disposés au rez­de­chaussée des immeubles B et C, les commerces s’ouvrent tous vers cet espace afin de créer une circulation facilitée et protégée des désagréments de la route de Vernier. La dernière partie de cet aménagement se trouve entre l’auberge et le bâtiment C. C’est un lieu de détente, espace vert dédié tant aux habitants qu’aux visiteurs. Ce petit parc est le plus à l’écart de la route et au plus proche des terrains de sport. Cette transition entre le vacarme de la route et la tranquillité des aménagements sportifs se fait par l’emplacement des différentes parties et est représentée par le traitement des matériaux au sol avec l’abandon progressif des éléments minéraux au profit du gazon.

    Atelier Roiron Architecte, Roiron Nicolas, Roiron Christophe, Tavares Mafalda, Zeqiri Albiona — PORTAL

    Planche 1

    Façades : cage d’escalier côté route de vernier Le principe de façade des immeubles de logement s’appuie sur les besoins fondamentaux des habitants. Il tend à maitriser les besoins en lumière naturelle, tout en régulant les nuisances sonores et la privacité. Nous avons donc créé un système de couronnes en éléments préfabriqués qui enlace le bâtiment et dont les variations de hauteur nous permettent de répondre aux besoins cités auparavant. Ce principe unique reste sobre tout en évitant la multiplication des moyens et les surcoûts que cela occasionnerait. La variation de hauteur des ouvertures, associée à la profondeur des couronnes, peut ainsi être considérée comme un filtre contextuel, rejetant un maximum de nuisances tout en régulant les apports. L’ouverture est minimum du côté de la route de Vernier, elle s’ouvre ensuite le long des murs pignons et atteint son maximum le long des balcons au sud. Ce système est repris pour l’auberge au travers d’une interprétation plus libre due à la nature de ses programmes. Le jeu des éléments horizontaux est ici adapté au besoins de privacité avec des ouvertures d’hauteur minimum au niveau des chambres et des salles d’eau, alors que les espaces communs bénéficient d’une ouverture maximum.

    Atelier Roiron Architecte, Roiron Nicolas, Roiron Christophe, Tavares Mafalda, Zeqiri Albiona — PORTAL

    Planche 2

    Concept énergétique: L’enveloppe des différents bâtiments dispose d’une isolation performante afin de limiter les déperditions de chaleur en hiver et de garder la fraîcheur en été. Cette démarche permet une économie financière pour les locataires ainsi qu’un plus pour l’environnement. Toujours dans une optique de développement durable, nous avons souhaité utiliser un maximum d’énergies renouvelables. Notre système profite non seulement du soleil, au moyen de panneaux photovoltaïques et solaires, mais aussi de la terre au moyen de sondes géothermiques . Afin de profiter au maximum des éléments naturels, un système de récupération des eaux de pluie permet d’arroser les espaces verts du site. En ce qui concerne la ventilation, un système de double flux avec récupérateur de chaleur est associéà la ventilation naturelle qu’offre les espaces traversants.

    Atelier Roiron Architecte, Roiron Nicolas, Roiron Christophe, Tavares Mafalda, Zeqiri Albiona — PORTAL

    Planche 3

    Typologie : L’organisation interne des deux immeubles de logement a été pensée de manière à permettre une modularité importante dans la disposition des différentes typologies. Celle-ci est possible grâce à l’utilisation d’une structure porteuse simple et rigoureuse accompagnée d’un tramage de tous les appartements. Cette organisation permet d’avoir de nombreuses chambres d’échanges et ainsi un échange aisé de pièces entre les différents appartements. L’organisation dans les appartements se fait autour des pièces d’eau se trouvant toutes au centre de l’immeuble. Cette organisation a été privilégiée afin de libérer les façades pour créer des espaces généreux et lumineux. Les cuisines ainsi que les pièces polyvalentes se trouvent côté route alors que les chambres et séjours se trouvent au sud, côté centre sportif. Tous les appartements possèdent un balcon généreux au sud afin de profiter au maximum de l’ensoleillement et de la tranquillité du lieu. Il est à dénoter que les logements sont tous traversants ou à trois orientations, mis à part les deux pièces qui, eux, sont mono-orientés au sud.

    Atelier Roiron Architecte, Roiron Nicolas, Roiron Christophe, Tavares Mafalda, Zeqiri Albiona — PORTAL

    Planche 4

    Auberge : Dans l’auberge la grande majorité des chambres s’organise le long de la façade sud. L’angle sud-est est réservéà celles destinées à accueillir six personnes en leur offrant une plus grande ouverture sur l’extérieur. L’attique, quant à lui, est réservé aux personnes dont le séjour est de moyenne à longue durée. Il se compose donc uniquement de chambres pour deux personnes comportant une petite salle de bain. L’étage lui même est organisé de façon à favoriser les échanges au moyen de nombreux espaces communs, à l’intérieur comme l’extérieur. En ce qui concerne les autres étages de chambres, tous possèdent une terrasse à double hauteur, ainsi qu’un espace de détente commun. Tout cela a été organisé de manière à favoriser les interactions sociales et la vie en groupe. On trouve aussi deux buanderies, au 3ème et 5ème étage, un fitness au 4ème étage et une zone ordinateurs au 2ème étage. Le rez est organisé autour d’un foyer généreux, éclairé tant zénithalement que sur deux côtés. Le restaurant occupe la partie est du rez et du 1er étage, avec une terrasse en haut.


    0 0

    Pisacco is a contemporary bistro which creates a new standard in welcoming guests, with friendly accessibility, relaxed comfort and an impressive menu. Pisacco is spread across two floors: the upper floor at the street level, which encompassed the bar and the cafe, and a lower level, housing the restaurant, flooded with natural light through large glass windows.

    Vudafieri Saverino Partners — Pisacco

    Photo by Santi Caleca © Vudafieri Saverino Partners

    Upon entering, the large mirrored wall to the right, with a base of technical units for the bar, makes a statement which declares Pisacco and its aim. Straight ahead, two communal, zinc tables are simultaneously work areas (servers) and gathering areas (diners), relieving both servers and diners from the usual bar rituals, therefore further creating a sense of community.

    Vudafieri Saverino Partners — Pisacco

    Photo by Santi Caleca © Vudafieri Saverino Partners

    On the opposite side of the room is an original mural extending across the entire wall, created by the artist Gabriella Ciancimino, a “punk” garden of herbs and florals. The mural acts as a backdrop upon which a variety of contemporary works of art will alternate, on loan from the network of friends and investors behind Pisacco. With the exceptions of the specially created tables in rough iron and cement, and original light fixtures, “bouquets” in electrical wire, from the Paris concept store Merci, all furniture and lights are from Discipline.

    Vudafieri Saverino Partners — Pisacco

    Photo by santi Caleca © Vudafieri Saverino Partners

    Vudafieri Saverino Partners — Pisacco

    Photo by santi Caleca © Vudafieri Saverino Partners

    Vudafieri Saverino Partners — Pisacco

    Photo by Santi Caleca © Vudafieri Saverino Partners

    Vudafieri Saverino Partners — Pisacco

    Photo by Santi Caleca © Vudafieri Saverino Partners

    Vudafieri Saverino Partners — Pisacco

    Photo by Santi Caleca © Vudafieri Saverino Partners

    Vudafieri Saverino Partners — Pisacco


    0 0

    Like many other cities in China, Hefei is undergoing a rapid transformation. The original urban fabric was torn apart and discarded, replaced by giant blocks of anonymous structures and forms. The present Hefei is just a fleeting moment on its relentless march toward the future. So, we call it a “Momentary City”.

    Vector Architects — Momentary City

    The neighborhoods that were demolished and the new sites that are under construction fill this Momentary City with scabs. We try to create such a place that create peace and tranquility for people’s souls. It filters out the noise and dust from the outside world, but retains light and its shadow, water and its ripples, wind and it’s sounds, plants and their aroma, a series of momentary phenomena to create a memory that lasts.

    Vector Architects — Momentary City

    A sequence of courtyards, each hosts one of these phenomena are inserted between the indoor space and outdoor city environment, become a visual connection between the building and the city.

    Vector Architects — Momentary City

    The ends of these courtyards are enclosed by industrial fiber glass screens which are hung in two layers. On the courtyards’ side, the colors of the screens change to reflect the various themes of the courtyards. On the city side, the screens remain clear and translucent. This variation in color creates a subtle effect when they are viewed from city side.

    Vector Architects — Momentary City

    When they are seen from different points of view and distances, the screens’ appearance are also shifting. At night, when the courtyards and the trees are lit, the screens glow quietly to cast a faint color on the sidewalks.

    Vector Architects — Momentary City

    The layout of the courtyards is the foundation of a internal logic that informs the transition of the spaces. Sunlight reaches the interiors spaces directly or indirectly through the clerestories on the northern wall.  The light made the spaces and time inseparable. With the light changing thorough the day and the seasons, the spaces take on different expressions. Maybe these ever-changing and irreplaceable moments are the precise definition of eternity.

    Vector Architects — Momentary City

    Location: Hefei, China 中国合肥 Client: CR Land 华润置地 Architect: Vector Architects 直向建筑 (http://www.chinese-architects.com/vector) Design-partner-in-charge: 董功 Gong Dong Project Architect: 陈嘉俊 Jiajun Chen,孙群 Qun Sun Structure and Material: Steel Structure钢结构, Corten Steel Panel, Fibre Glass Panel锈钢板, 玻璃钢格栅板, Self-levelling Floor, Gypsum Board, Bamboo Veneer Ceiling 自流平,石膏板,竹饰面天花板 Building Area: 900m2 Design Period: 07/2009-11/2009 Construction Period: 09/2009-12/2009 Structural/Mechanical Engineer: Huanyu Design Institute, Hefei 合肥环宇设计院 Photo Credit: Shuhe Photo舒赫摄影, Vector Architects直向建筑

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City

    Vector Architects — Momentary City


    0 0
  • 06/10/15--04:23: 100 Piazze - Fabio Novembre
  • “I was born in Lecce, a small city halfway between Milan and Africa. I lived there until I was 18 years old, and my shoes still bear some of the grit from the squares where I played soccer with friends or made out with the girls. A piazza was a place where anything could happen, a meeting place for a civilization before the era of mobile phones. Today I am 40, and an architect. Age and profession form a filter through which I have an ideal image of those places. Rediscovering them with Google Earth and resizing them with a uniform criterion, they have become witnesses to more intimate encounters, fulcrums of more private gestures. The relationships of scale have changed, and maybe the reflecting surfaces of these piazza/trays can be of use as an amarcord to ‘reflect’ about our times.” Fabio Novembre

    Fabio Novembre — 100 Piazze

    Venaria Reale

    Fabio Novembre — 100 Piazze

    Piazza del Campidoglio - Roma

    Fabio Novembre — 100 Piazze

    Palmanova

    Fabio Novembre — 100 Piazze

    Piazza della Scala - Milano

    Fabio Novembre — 100 Piazze

    Lucca

    Fabio Novembre — 100 Piazze

    Piazza Gae Aulenti - Milano


    0 0

    “E’ un sogno entro un altro sogno, vario nei particolari, unico nella sostanza. Sono a tavola con la famiglia, o con amici, o al lavoro, o in una campagna verde: in un ambiente insomma placido e disteso, apparentemente privo di tensione e di pena; eppure provo un’angoscia sottile e profonda, la sensazione definita di una minaccia che incombe. E infatti, al procedere del sogno, a poco a poco o brutalmente, ogni volta in modo diverso tutto cade e si disfa intorno a me, lo scenario, le pareti, le persone, e l’angoscia si fa più intensa e più precisa. Tutto ora è volto in caos: sono solo al centro di un nulla grigio e torbido, ed ecco, io so che cosa questo significa, ed anche so di averlo sempre saputo: sono di nuovo in lager, e nulla era vero all’infuori del lager. Il resto era breve vacanza, o inganno dei sensi, sogno: la famiglia, la natura in fiore, la casa. Ora questo sogno interno, il sogno di pace è finito, e nel sogno esterno, che prosegue gelido, odo risuonare una voce ben nota; una sola parola, non imperiosa, anzi breve e sommessa. E’ il comando dell’alba in Auschwitz, una parola straniera, e temuta e attesa: alzarsi, “wstawac”” Primo Levi

    mir_architettura, Pietro Fortuna — WSTAWAC5

    mir_architettura

    La piazza è quasi quadrata. Lungo una delle sue diagonali sono stati realizzati due canali di areazione alti 5.50 m, lunghi 20 m e larghi 2.50. Una linea netta attraversa lo spazio e lo divide. Al centro della piazza, improvvisamente, si interrompe per riprendere poco dopo. La linea arriva, scompare e poi riappare continuando il suo cammino indifferente, costante. Lo spazio intorno è risucchiato da questo vuoto, dove l’assenza diventa più forte della presenza. Qui si colloca il memoriale. Un insieme di lastre in ferro si dispone all’interno dello spessore lasciato libero. Le altezze sono differenti e differenti sono le giaciture. I grandi piani si alzano e ruotando cercano una posizione. In questo passaggio tutto è distorto. Le pareti sono ricoperte da uno strato di bitume compatto e poi graffiato. Il bitume è colato anche sul pavimento e lungo gli spessori verticali delle areazioni. Come una materia viva, inonda lo spazio. Il colore è nero, denso e profondo. Non ci sono incisioni, messaggi o simboli. Le lastre non spiegano nulla. Come pietre tombali sono lì per ricordare. Alzandosi, dichiarano la loro presenza affinché nessuno dimentichi.

    mir_architettura, Pietro Fortuna — WSTAWAC5

    mir_architettura

    Il progetto prevede la realizzazione di 14 steli costituite da un telaio in ferro al quale sono fissate due lastre di ferro dello spessore di 10 mm. Le steli, di altezza diversa ma mai superiore a quella dei canali di areazione, sono collegate le une alle altre formando cinque gruppi distinti e autoportanti. 9 cilindri, anch’essi in ferro, del diametro di 120 mm assicurano una lastra all’altra. Tutte le lastre sono irrigidite da una serie di contrafforti in ferro di dimensioni più ridotte che garantiscono la stabilità del sistema che non prevede fondazioni.

    mir_architettura, Pietro Fortuna — WSTAWAC5

    mir_architettura

    Tutto il resto della piazza viene lasciato intatto.

    mir_architettura, Pietro Fortuna — WSTAWAC5

    mir_architettura


    0 0

    DRY is a contemporary place which mixes two souls corresponding to two physical areas, the cocktail bar and the pizzeria, and it combines them in a unexpected way. The result is a glamour and nighttime re-design from a rough and industrial basis, with simple but sparkling furniture to match the natural décor of spirits, labels and mixology accessories, both new and vintage.

    Vudafieri Saverino Partners — Dry

    Photo by Santi Caleca © Vudafieri Saverino Partners

    The original walls, flaking from the last plastering, are “dried”, left rough, revealing the layers from over the years, the remains of color, worn-out traces of stencils.

    Vudafieri Saverino Partners — Dry

    Photo by Santi Caleca © Vudafieri Saverino Partners

    Vudafieri Saverino Partners faced the necessity of reinventing the classical elements of the pizzeria and bar; in particular they played with the two symbolic elements characterizing the place: the bar station and the oven. Another challenge was the desire to design the bar station as an element of continuity, by inserting it in an harmonious way, in order not to make it perceived as an extraneous element.

    Vudafieri Saverino Partners — Dry

    Photo by Santi Caleca © Vudafieri Saverino Partners

    The need of creating a bar station that allows the circulation of clients around it and which doesn’t put the barman in a higher position was solved by the disposition in the first room of two large sharedtables, one transformed into a barman station.

    Vudafieri Saverino Partners — Dry

    Photo by Santi Caleca © Vudafieri Saverino Partners

    The Pizzeria area is instead located behind the access: it is the second soul of the place, on one floor, facing onto the green of an unexpected courtyard garden.

    Vudafieri Saverino Partners — Dry

    Photo by Santi Caleca © Vudafieri Saverino Partners

    Vudafieri Saverino Partners — Dry

    Vudafieri Saverino Partners — Dry

    Photo by Santi Caleca © Vudafieri Saverino Partners


    0 0

    Tears of good bye, longing, rage and desperation – no other place in Germany concentrated the emotions of the German separation like the ‘Tränenpalast’–‘palace of tears’, the famous checkpoint and border control for the departure from the East into the West at Berlin’s Bahnhof Friedrichstraße. Here the people directly felt the strong impact of the German separation on their personal lives. The ‘Tränenpalast’ only lost its function as a checkpoint after the fall of the Wall in 1989.

    COORDINATION Berlin — Border Experience

    Within the historic listed building of the ‘Tränenpalast’ the State of Germany initiated the permanent exhibition “BorderExperience. Realities of German Separation”. Showing many biographical examples, 570 artefacts and 30 media installations on 600 sqm the exhibition portrays German every day life in the context of borders and separation.

    COORDINATION Berlin — Border Experience

    COORDINATION translated the historical content and narrative of the exhibition into a spatial design and was responsible for the implementation and realisation of the permanent exhibition. The Exhibition was officially opened by the German Chancellor Angela Merkel on September 14th 2011.

    COORDINATION Berlin — Border Experience

    Three months after the grand opening the 100.000th visitor was welcomed to the exhibition. Prof. Dr. Hans Walter Hütter, president of Stiftung Haus der Geschichte der Bundesrepublik Deutschland, is very pleased by the success of the exhibition and especially moved by the visitors’ personal reactions. “The exhibition in the ‘Tränenpalast’ particularly appeals to the visitors on an emotional level. In this authentic and historic space we found ways to hit the right nerve with our vivid, biographically orientated exhibition concept.”

    COORDINATION Berlin — Border Experience

    Open: Tue–Fri 9:00–19:00, Sa–So 10:00–18:00

    COORDINATION Berlin — Border Experience

    Place: ‘Tränenpalast’ at Bahnhof Friedrichstraße, Reichstagsufer 17, 10117 Berlin

    COORDINATION Berlin — Border Experience

    COORDINATION Berlin — Border Experience

    COORDINATION Berlin — Border Experience

    COORDINATION Berlin — Border Experience

    COORDINATION Berlin — Border Experience

    COORDINATION Berlin — Border Experience

    COORDINATION Berlin — Border Experience


    0 0

    trattasi della ristrutturazione di un appartamento in rue royale a parigi

    lanfranco pollini — SHOW ROOM PHILIPPE MODEL PARIS

    photo by Graziella lanza

    lanfranco pollini — SHOW ROOM PHILIPPE MODEL PARIS

    photo by Graziella lanza

    lanfranco pollini — SHOW ROOM PHILIPPE MODEL PARIS

    photo by Graziella lanza


    0 0

    La nuova determinazione della casa a ballatoio si compone di corpi in linea, distinti su tre lati, l’orientamento conferma lo stesso della cascina Merlata e del P.I.I. di progetto. La scelta della tipologia vuole portare ad una riduzione della percezione dimensionale del sistema abitativo complesso; la dilatazione di due ballatoi intermedi a terrazza-giardino volgono a questo fine, tripartendo l’estensione in altezza dell’edificio.

    anton luca nannini — edilizia residenziale

    L’accessibilità pedonale avviene attraversando tre fenditure, di differente ampiezza, insinuate nella facciata lunga, volta ad ovest; queste definiscono l’area di pertinenza comune dei residenti, servente le zone di distribuzione verticale; l’accessibilità carrabile avviene tramite la rampa di ingresso ai livelli interrati, posta nella sommità nord-ovest dell’area.

    anton luca nannini — edilizia residenziale

    Il parco pubblico del nuovo quartiere si inserisce, ad est, fino alla parte intima dell’edificio, dove un dislivello di 180 cm connette, con gradoni di terra armata, la quota di ingresso dell’edificio. Alle terrazza-giardino si appendono volumi che figurano vasi iperdimensionati, sede di alberi. Il riferimento calcistico del prato dimostra la tensione centripeta come carattere ricercato dell’abitare collettivo.

    anton luca nannini — edilizia residenziale

    Le residenze sono distribuite da ballatoi in aggetto; nelle diverse configurazioni, queste volgono la zona a giorno verso l’interno e le camere verso l’esterno; la duplice esposizione di ogni unità assicura il raffrescamento passivo, integrato da sistemi di aspirazione convettiva e canalizzazione a bassa tecnologia, innestati nei solai e condotti in camini mascherati negli elementi verticali che distinguono le facciate.

    anton luca nannini — edilizia residenziale

    La superficie massima è suddivisa in 279 unità abitative da 35 a 100 mq: l’adattabilità delle unità residenziali è ottenuta liberando la superficie interna da elementi verticali fissi attraverso solai a lastre predalles prefabbricate e travi a sistema rep; impianti di condizionamento dell’aria incorporarti ai solai; interassi longitudinali dei pilastri da 540 cm su modulo base di 60 cm, dimensionamento trasversale capace di un terzo del corpo di fabbrica; solai in aggetto da 90 a 200 cm, tali da consentire logge aperte o l’estensione dei locali interni, l’ampia superficie vetrata garantisce i rapporti aero-illuminanti; ubicazione dei gruppi dei servizi e delle canalizzazioni, secondo uno schema combinatorio localizzato longitudinalmente nella parte centrale del corpo di fabbrica.

    anton luca nannini — edilizia residenziale

    anton luca nannini — edilizia residenziale

    anton luca nannini — edilizia residenziale

    anton luca nannini — edilizia residenziale

    anton luca nannini — edilizia residenziale


    0 0

    Il progetto prevede la realizzazione di una Edicola funeraria su soletta in c.a. esistente.

    Studio Cadei Associati, Rudj Cadei, Michele Cadei — Nuova Edicola Funeraria

    Soluzione 1

    La costruzione è caratterizzata da una struttura in c.a. rivestita in pietra di Ceppo di Grè nella sua interezza. E’ completamente chiusa e accessibile solo da una doppia porta scorrevole in metallo corten sul prospetto principale. La struttura rispecchia le dimensioni delle cappelle esistenti oltre all’uso di materiale già presente nell’impianto cimiteriale. L’Edicola funeraria si presenta monolitica e caratterizzata da un “pronao” per la sosta e la meditazione e una “cella” quale sepolcro per le spoglie umane.

    Studio Cadei Associati, Rudj Cadei, Michele Cadei — Nuova Edicola Funeraria

    Soluzione 1

    Essa è concepita come un sepolcro in pietra (rivestimento in Ceppo di Grè), che protegge le spoglie umane. La compattezza è rotta da feritoie che consentono alla luce di penetrare nel sepolcro, simbolo della luce Divina che illumina e vince sulla morte.

    Studio Cadei Associati, Rudj Cadei, Michele Cadei — Nuova Edicola Funeraria

    Soluzione 2

    Studio Cadei Associati, Rudj Cadei, Michele Cadei — Nuova Edicola Funeraria

    Soluzione 2

    Studio Cadei Associati, Rudj Cadei, Michele Cadei — Nuova Edicola Funeraria

    Soluzione 2


    0 0
  • 06/10/15--07:23: Froburg - Reuter Raeber
  • The starting point of the design was an apartment building from the beginning of the 19th century in Basel. On the outside the heritage building was mainly left as found. On the inside the apartments on the lower five levels were carefully restored in the manner of the old house. The attic on top was remodeled into an independent apartment.

    Reuter Raeber — Froburg

    Froburgstrasse, Triangle Photograph by Eik Frenzel

    The attic extension respects the existing roof geometry with the exception of adding a new dormer window joined with a terrace in front which creates a spatial expansion. The apartment is a wide open space. It is parted in sequences based on the floor plan and the distinct geometry of the roof. The central feature is a hoovering living-room furniture, which consists of a kitchen, a bookshelf and a fireplace, all in one. It offers multiple uses in a confined space. The resident can use and equip the furniture according to his needs. For example items can be placed in the bookshelf or hung on the support bar of the kitchen.

    Reuter Raeber — Froburg

    Froburgstrasse, Living-Room-Furniture Photograph by Eik Frenzel

    Structurally, the basis of the old attic as well as the central furniture piece rests upon four static relevant wooden connections standing in a row. In order to create sufficient clearance the four wooden ties were placed on top of the intermediate purlin. These purlins now bear instead of hang. On one end the central living-room furniture hangs on one of the wooden ties with the integrated fireplace whereas on the other end it stands on the floor. A tense balancing act is created by encompassing the existing structure of the old attic and by taking it one step further.

    Reuter Raeber — Froburg

    Froburgstrasse, Fireplace Photograph by Eik Frenzel

    Location: Froburgstrasse Basel, Year of completion: 2015, Architecture: Reuter Raeber Architekten ETH SIA, Project Architects: Patrick Reuter & Lukas Raeber, Photographs: Eik Frenzel

    Reuter Raeber — Froburg

    Froburgstrasse, In-Kitchen Photograph by Eik Frenzel

    Reuter Raeber — Froburg

    Froburgstrasse, Structural Knot Photograph by Eik Frenzel


    0 0

    Architecture in motion, transforming and changing area, iridescent skeleton and leather, freehand tattoo. It is “Reptile”, a mobile exhibition pavilion project designed by Rabatanalab an Italian architecture office and by Gakkin a Japanese artist. It is a bending opera whose changing shape adapts to the suggestive features of the place it is exhibited. A rail system is activated by an hydraulic integrated system and managed by a central unit with programmable logic controller (PLC) that enables Reptile to change shape and position allowing visitors to walk inside and in the meanwhile to shift through time and all changing physical space. It is a living system assembled by a wooden framework sets to rails through four properly designed joints that allow the rotation of the structure. Special attention has been paid to the air channeling system with an expedient of two combined leathers that attached to the ribs will ease ventilation during the heat of the day. External leather layer, an archetype crystallized of semi-sedentary populations , will be processed with hand-painted thermo chromic varnish that according to the changing daily temperature reached, will confer distinctive features to the structure. The exhibition space will turn into a dynamic one and walking visitors will be not more surrounded by a static urban context but by a continuing changing skyline.

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R_1

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R_2

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R_3

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R_4

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R5

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R_6

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R_7

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R_8

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R_9

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R_10

    rocco salomone, Daniele Molinari, Rabatanalab — RABATANALAB + GAKKIN: REPTILE

    R_11


    0 0

    “One of the most interesting jobs for an architect is the refurbishment of existing buildings. Interesting because you work directly on history: on one side you have the limit of the existing reality, on the other one you have the excitement it produces on your imagination. The challenge is to find a synthesis in which the relationship between the existing and the new reflects a necessary mutual respect.” (Werner Tscholl, ‘La casa d’abitazione italiana’, Biblos 2005)

    Marco Civardi — Countryside living space | refurbishment

    View from above - wooden model | image © Marco Civardi

    The design for the new countryside living space for a family mirrors the endeavour of the idea to bring natural light into the existing stone and brick rural block. The challenge is to give continuity to past built reality through future ways of building and living. The design is a simple and poetic story based on light, history, materials and spaces, all in continuity.

    Marco Civardi — Countryside living space | refurbishment

    Inside view - wooden model | image © Marco Civardi

    Marco Civardi — Countryside living space | refurbishment

    Inside view - wooden model | image © Marco Civardi

    Marco Civardi — Countryside living space | refurbishment

    View to outside - wooden model | image © Marco Civardi

    Marco Civardi — Countryside living space | refurbishment

    Outdoor space view - wooden model | image © Marco Civardi

    Marco Civardi — Countryside living space | refurbishment

    Outdoor space view - wooden model | image © Marco Civardi

    Marco Civardi — Countryside living space | refurbishment

    Outdoor space view - wooden model | image © Marco Civardi

    Marco Civardi — Countryside living space | refurbishment

    Between past and future - a necessary mutual respect | image © Marco Civardi


    0 0
  • 06/10/15--09:00: ELLIPSE - COMBAS
  • Concours pour la construction d’une nouvelle école primaire à Ursy – ellipse

    COMBAS — ELLIPSE

    En arrivant sur le site, on est marqué par la ligne d’horizon du plateau vau- dois. Ici le ciel et les collines ne font plus qu’un dans le lointain : un flou précis réunit l’un et l’autre, à la manière d’une toile de Gerard Richter.

    COMBAS — ELLIPSE

    La parcelle proposée pour l’implantation de la nouvelle école nous a d’abord semblééloignée du centre bourg : pourquoi vouloir mettre une école en contre bas du village, loin derrière la halle de sport ? C’est en montant sur le parvis de l’église que nous avons découvert une manière logique et naturelle d’implanter le nouveau bâtiment.

    COMBAS — ELLIPSE

    En face de nous se dégage un tracé clair vers le nouvel équipement. Le bâti mais aussi le parcellaire suivent cette orientation, presque parallèle aux courbes de niveaux. En contrebas, l’ancien parking de la mairie est réamé- nagé pour accueillir une dépose des bus sur le parvis réhabilité du futur accueil péri scolaire. De là, un chemin piéton conduit les enfants vers les champs, l’horizon et le lointain.

    COMBAS — ELLIPSE

    Deux fois par jour, les enfants utiliseront la promenade qui borde le terrain de sport pour se rendre à l’accueil périscolaire, ou à la cantine. Cet axe Est/Ouest est affirmé et prolongé jusqu’à l’ancienne école ; l’ancien parking bordant le stade a également été réorganisé pour faciliter la dépose minute des enfants par leurs parents.

    COMBAS — ELLIPSE

    À l’angle du Gymnase, le préau d’entrée de l’école se dévoile et la construc- tion se fait plus accueillante. Dans cette partie de la parcelle, la prairie a été préservée et complète la cour de l’école, qui se résume à une simple esplanade glissant vers la construction, accueillant au passage l’aire de jeu. Au fond du préau, une large porte en bois s’ouvre sur un sas donnant l’ac- cès au niveau intermédiaire. Directement sur notre droite, l’administration de l’école surveille par une baie vitrée les allées et venues des enfants dans la cour. A l’intérieur, une large circulation éclairée à contre jour dessert 5 classes primaires et 4 salles d’ateliers, qui s’organisent sur la périphérie de la construction.

    COMBAS — ELLIPSE

    L’image du grand panorama imprègne les lieux, et l’envie de pénétrer l’une des salles se précise pour en découvrir l’intérieur. En poussant la porte une toute autre atmosphère se manifeste : le béton brut de la circulation cède la place à un écrin de bois transcendé par un grand bandeau vitré, projetant la salle vers l’horizon.

    COMBAS — ELLIPSE

    L’intérieur en bois sombre, couleur miel tranche avec l’extérieur blanchi par le soleil perçant la fine brume nappant le ciel; on se sent installé de manière confortable dans cette classe, on y est bien.

    COMBAS — ELLIPSE

    En regagnant la circulation, on découvre un volume courbe lui aussi tout revêtu de bois ; le long de sa courbure trois larges escaliers s’enroulent avec douceur. Ils rappellent l’emmarchement classique d’un opéra, ou d’un théâtre, un lieu ou l’on veut prendre le temps de monter avant d’assister au spectacle. Happé par ces parcours, on monte irrésistiblement pour découvrir ce que cache l’étage.

    COMBAS — ELLIPSE

    Suivant la courbe de l’escalier on s’aperçoit que la forme qui habite le centre de l’école est une ellipse. En son sommet une faille de lumière jaillit et éclaire discrètement l’escalier et la circulation. L’atmosphère est sensible- ment différente du 1°étage : de chaque côté de la circulation, deux patios ouverts sur le ciel cadrent un fragment de ce grand paysage. La lumière qui tombe devant nous annule l’effet de contre jour et nous projette tantôt sur la campagne et sa ligne d’horizon, tantôt sur le bourg et sa silhouette découpée dans la forêt sombre qui le domine.

    COMBAS — ELLIPSE

    À ce niveau, 10 salles de classes primaires s’enroulent autour du vide, par- fois entre deux classes, un noyau technique est logé : on y trouve les sa- nitaires, des salles d’appuis, l’ascenseur, le local d’entretien, mais aussi les locaux techniques.

    Intrigué par ce volume elliptique qui habite le centre de l’école, on regagne le rez-de-chaussée pour voir ce qu’il abrite en son sein. Arrivé en bas, le volume de bois se tient comme suspendu au dessus du sol. Une paroi vitrée protège une myriade de ballons, de jouets d’éveil et de tapis en mousse. La lumière qui tombe du ciel rejaillit dans la circulation qui l’entoure.

    Par la présence des jouets et des objets plus nombreux qui habitent les lieux on comprend vite que nous sommes ici à l’étage des classes infantiles, et que ce volume elliptique abrite la salle de rythmique. La lumière diffuse qui tombe du ciel, réfléchie par la légère brillance des panneaux en aluminium dépoli qui habille l’intérieur, confère un flou précis à la lumière filtrée par une grande grille en bois qui semble filer vers l’infini.

    Marqué par ce lieu, on peut regagner enfin l’extérieur de l’école par un préau qui s’avance vers l’intérieur de l’école infantile. Ouvert de plein pied vers le sud avec sa cour dans le prolongement, il offre un univers plus calme et ras- surant, plus proche du sol pour les petits enfants qui ainsi ne se mélangent pas avec le chahut des ainés de l’école primaire située au-dessus.

    En regardant le bâtiment qui s’offre à nous, on retrouve une façade rythmée par de grandes lignes horizontales posées sur des colonnes pleines tenues en retrait. La structure en béton évoque la robustesse et la stabilité dans le temps de la construction. Les larges ouvertures rayonnent sur ses quatre côtés, tantôt pour offrir des vues, accueillir, ou protéger.


    0 0

    OhBo Organic Café, located on a wide street in the Sant Gervasi neighbourhood of Barcelona, is a fresh concept in a cozy atmosphere that invites guests to relax while enjoying a healthy meal made with organic, local and seasonal ingredients.

    Isabel López Vilalta + Asociados — OHBO

    © Alejo Bagué

    Taking inspiration from industrial designs and reclaimed materials, the design team forged an identity for what is to become a franchise by creating an iron grid structure with antique and reclaimed glass in a variety of green, blue and grey tones. This structure covers the main wall of the restaurant, and its effect is magnified by the use of concrete-effect wallpaper and exposed structures.

    Isabel López Vilalta + Asociados — OHBO

    © Alejo Bagué

    The two façades are floor to ceiling glass and look onto a garden, highlighting the growth and vegetation and evoking the countryside and the earth’s bounty. For added privacy, these glassed facades are lightly shaded by a sheet metal structure laid out so as to separate the diner from the outside world.

    Isabel López Vilalta + Asociados — OHBO

    © Alejo Bagué

    Inside, the tables are laid out along the length of an 8-meter chesterfield sofa. There are also leather benches, and, in the middle of the restaurant, a solid oak table dominates the space. The use of natural materials such as wood, iron and leather give the space a sense of both warmth and authenticity.

    Isabel López Vilalta + Asociados — OHBO

    © Alejo Bagué

    Isabel López Vilalta + Asociados — OHBO

    © Alejo Bagué

    Isabel López Vilalta + Asociados — OHBO

    © Alejo Bagué

    Isabel López Vilalta + Asociados — OHBO

    © Alejo Bagué

    Isabel López Vilalta + Asociados — OHBO

    © Alejo Bagué


    0 0

    Meet the second generation of Barcelona’s first Indian Restaurant. This project arose because Ivan Surinder, the young mentor of Albert Adrià, and his mother Poonam Chitra wanted to remodel the family restaurant. Tandoor restaurant was opened in 1996 by Surinder’s father, Oberoi Surinder. The proposed changes included completely updating the premises to reflect the traditional Indian establishment’s originality and modernity.

    Isabel López Vilalta + Asociados — TANDOOR RESTAURANT

    © Alejo Bagué

    The remodeling strategy included eliminating a number of preexisting elements such as walls and ceilings, in order to take advantage of the industrial atmosphere of the space. The potential of the premises could be seen even in its original state: a chain of connected spaces grouped together in a large hall. As part of the refurbishment, the ceilings were all painted white to create homogeneity, while the walls were treated with different finishes to create distinct ambient spaces.

    Isabel López Vilalta + Asociados — TANDOOR RESTAURANT

    © Alejo Bagué

    The esthetic was based on a folk-style India, the India of the people. The bars recall street food carts, the walls are worn, stamped sheet metal is used as partitions, while woodwork is finished with textured tin coatings and splashes of color come in the form of electrical cables and bright wall coverings.

    Isabel López Vilalta + Asociados — TANDOOR RESTAURANT

    © Alejo Bagué

    There are two main dining areas: a conventional space fitted with different tables, and a more informal option that is semi-exterior.

    Isabel López Vilalta + Asociados — TANDOOR RESTAURANT

    © Alejo Bagué

    The main hall, containing the tables, can be adapted to a number of uses and all kinds of events. To this end, the space is divided by movable curtains, as well as by standing screens created with two sheets of metal that overlap to create a lattice effect, reminiscent of Indian décor.

    Isabel López Vilalta + Asociados — TANDOOR RESTAURANT

    © Alejo Bagué

    Outro Studio created the colorful wall graphic, one of the Tandoor’s restaurant standout features.

    Isabel López Vilalta + Asociados — TANDOOR RESTAURANT

    © Alejo Bagué

    Tradition and modernity fuse together to create a truly enjoyable Indian experience in the center of Barcelona.

    Isabel López Vilalta + Asociados — TANDOOR RESTAURANT

    © Alejo Bagué


    0 0

    The intervention takes place in a southern field of the province of Misiones in northeastern of Argentina and involves the expansion of a house and re functionalization of a small adjacent barn.

    CELLA estudio de arquitectura, Ramiro Sosa (Photographer) — La Angela House

    In this part of the province you can see the gradual topographic change of the plains from Corrientes to the start of the Misiones sierras. The landscape has been transformed in recent years with increasing deforestation that incorporates short planes to the distant view of the mountains. These visuals are complemented by air of forest and livestock production that characterizes the area. The climate is characterized by heavy rainfall and humid heat throughout the year, winter is short but severe frosts.

    CELLA estudio de arquitectura, Ramiro Sosa (Photographer) — La Angela House

    The first decision was to incorporate galleries in both buildings (house + barn), because the great need of shadows. As the house needed a complete change of the roof, galleries are part of the same deck. In the barn, as there was no need to change the ceiling, the gallery genre as a volume with the same slope of 15 percent.

    CELLA estudio de arquitectura, Ramiro Sosa (Photographer) — La Angela House

    Facing the galleries with the same characteristics a dialogue between them, where the mere separation becomes a containing space is generated.

    CELLA estudio de arquitectura, Ramiro Sosa (Photographer) — La Angela House

    As the expansion of the housing should be closed for safety and climate reasons, but tried to keep that same exterior character of a gallery, wood was used in both openings and walls, with the intention that contrasts with the rest of the home, giving temporary character, typical of open buildings.

    The construction follows the local tradition, very characteristic inside Misiones, tables placed vertically with lids of the same material.

    The wooden walls are composed of a double envelope, the outer is pine, without further treatment and the structure and the inner shell is eucalyptus. Between both sides a vapor barrier and glass wool was placed. giving comfort to the house.

    The shutters fulfill the dual function of providing security and filter out excessive light of the region. Besides generating gaps, enable a changing relationship between the inside and the outside, adapting to the needs generated by the climate of this region offering shade from the hot sun.


    0 0

    The proposed built form was of a low density and creates a variety of spaces. To the north boundary of the site three mews type courtyards are proposed. At the heart of the site three connected distinct public open space are proposed. The layout of the site adopts the principals of the ‘home zone’ and has been designed to encourage vehicular traffic to move slowly and to give the pedestrian priority. Within our proposals two small parks, one pocket park, one paved pedestrian square are proposed. At three locations children’s playgrounds are proposed, these are comprised of both natural and structured play elements.

    Davis Landscape Architecture — Oxford Greyhound Stadium

    Davis Landscape Architecture - Oxford Greyhound Stadium Home Zone Residential Landscape Rendered Site Wide Masterplan

    Davis Landscape Architecture — Oxford Greyhound Stadium

    Davis Landscape Architecture - Oxford Greyhound Stadium Home Zone Residential Landscape Hand Sketch Visualisation Sandy Lane Park

    Davis Landscape Architecture — Oxford Greyhound Stadium

    Davis Landscape Architecture - Oxford Greyhound Stadium Home Zone Residential Landscape Hand Sketch Visualisation Plaza

    Davis Landscape Architecture — Oxford Greyhound Stadium

    Davis Landscape Architecture - Oxford Greyhound Stadium Home Zone Residential Landscape Render Sketch Visualisation Central Park

    Davis Landscape Architecture — Oxford Greyhound Stadium

    Davis Landscape Architecture - Oxford Greyhound Stadium Home Zone Residential Landscape Typical Home Zone Principals Board


older | 1 | .... | 518 | 519 | (Page 520) | 521 | 522 | .... | 567 | newer