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Divisare - Projects Latest Updates

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    office building photographed by anna steijger

    Jeroen de Nijs — Intal office

    Jeroen de Nijs — Intal office

    Jeroen de Nijs — Intal office

    Jeroen de Nijs — Intal office

    Jeroen de Nijs — Intal office

    Jeroen de Nijs — Intal office

    Jeroen de Nijs — Intal office

    Jeroen de Nijs — Intal office


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    Ancienne caserne de gendarmerie pour les brigades à cheval de Béziers, construite au début du XXème siècle, le bâtiment de l’actuelle antenne biterroise de l’Hôtel du Département de l’Hérault a connu de nombreuses transformations. A l’occasion de travaux de mise aux normes et d’amélioration énergétique, le bâtiment changé de peau. La façade du pavillon central a été démolie au cours du XXème siècle, lors de la transformation de l’édifice en administration départementale. Ainsi ouverte sur la rue, la cour d’honneur de la gendarmerie s’est transformée en espace public. Les écuries du corps de bâti central ont été transformées en hall d’accueil du public. La façade centrale, ainsi devenue la principale entrée de l’établissement, a endossé les courants architecturaux des époques successives. Quant aux deux corps de bâti latéraux historiques, ils ont traversé l’histoire sans subir de transformation majeure de leurs façades. Un siècle plus tard, nous avons pris le parti de revaloriser le patrimoine conservé, en menant une intervention empreinte de discrétion. Le corps de bâti central a été effacé par un miroir qui remet en valeur l’élancement des ailes latérales et redonne à la cour d’honneur une perspective d’ouverture. La qualité publique de l’établissement est désormais incarnée par son architecture : l’accès du public est mieux perçu depuis la rue. Les travaux ont été réalisés en site occupé, maintenu ouvert au public. La réhabilitation la plus lourde concernait le corps de bâti central, principale rotule de desserte de l’établissement. Il a fallu concevoir des ouvrages structurels provisoires pour remplacer entièrement sa façade tout en maintenant les flux de public. Le mur rideau (verre miroir agrafé) a étéérigé sur des épines métalliques soutenant aussi les structures existantes.

    ACTUA ARCHITECTES — Réhabilitation de l'Hotel du Département

    Cour d'honneur

    ACTUA ARCHITECTES — Réhabilitation de l'Hotel du Département

    ACTUA ARCHITECTES — Réhabilitation de l'Hotel du Département

    Avant travaux


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    Il centro storico di Milano è caratterizzato da cortili ricchi di insospettabili paesaggi urbani.

    LPzR architetti associati — K19 Milano

    All’interno del complesso immobiliare un tempo denominato “Quartiere Piave”, nei pressi di Porta Venezia, il giovane studio milanese LPzR ha realizzato due interventi residenziali incastonati tra edifici storici, case di ringhiera e opifici recuperati.

    LPzR architetti associati — K19 Milano

    Gli architetti hanno affrontato sia il tema della nuova costruzione, progettando un edificio di sette piani al posto di un’officina ormai dismessa, sia il tema della ristrutturazione, recuperando un garage degli anni ‘50 voltato a botte.

    LPzR architetti associati — K19 Milano

    L’intervento di ristrutturazione K19Aè caratterizzato dal susseguirsi di volte a botte di altezze differenti che costituivano la copertura della precedente autorimessa. Il volume, completamente celato degli edifici circostanti e percepibile solo dall’alto, è stato rivestito in zinco titanio e forato per ricavare gli spazi esterni. La distribuzione interna è il risultato di un complesso gioco a incastri che dà origine ad appartamenti disposti su più livelli, ciascuno dotato di loggia, terrazzo o patio. Gli spazi interni multilivello sono minimalisti e introspettivi, caratterizzati da grandi finestre zenitali che li rendono particolarmente luminosi. Sia la facciata esterna che le parti comuni sono rivestite in pietra piasentina, materiale che connota i recenti progetti dello studio LPzR.

    LPzR architetti associati — K19 Milano

    I due edifici di progetto sono collegati tra loro da un vivace parcheggio sotterraneo.

    LPzR architetti associati — K19 Milano

    L’intervento di nuova costruzione K19B appare come un continuum di superfici che diventano ora tetto e, ora parete, ravvivate da grandi rettangoli bianchi che interagiscono con i vuoti generati dalle finestre. Gli architetti hanno disegnato la sagoma dell’edificio tramite molteplici addizioni e sottrazioni di volumi, evidenziate per cromatismi contrastanti: il fusto, grigio neutro, in corrispondenza delle sottrazioni diventa di legno vivo, mentre le addizioni – logge contenute in cubi aggettanti – accentuano il loro virtuosismo strutturale grazie a un impalpabile colore bianco.

    LPzR architetti associati — K19 Milano

    Le facciate si distinguono per la composizione astratta di elementi geometrici, secondo schemi modulari ma non regolari.

    LPzR architetti associati — K19 Milano

    I materiali sono rigorosamente italiani: tra essi spiccano la preziosa pietra piasentina del Friuli che, con i suoi toni caldi di grigio, riveste l’edificio, e il legno di larice oliato.

    LPzR architetti associati — K19 Milano

    Le parti comuni sono allestite con mobili antichi della collezione privata del committente, che contrastano con il minimalismo del progetto degli interni.

    LPzR architetti associati — K19 Milano

    Gli edifici K19 Milano sono “Near Zero Energy Building” grazie alle tecnologie adottate per ridurre il consumo di energie non rinnovabili. L’uso della geotermia e lo studio maniacale di tutti i dettagli dell’involucro hanno portato a una realizzazione estremamente efficiente, in cui architettura e tecnologia si combinano perfettamente.

    LPzR architetti associati — K19 Milano

    Photo by Gabriele Pranzo-Zaccaria

    LPzR architetti associati — K19 Milano

    LPzR architetti associati — K19 Milano

    LPzR architetti associati — K19 Milano

    LPzR architetti associati — K19 Milano

    LPzR architetti associati — K19 Milano

    LPzR architetti associati — K19 Milano

    LPzR architetti associati — K19 Milano

    LPzR architetti associati — K19 Milano

    LPzR architetti associati — K19 Milano

    LPzR architetti associati — K19 Milano


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    PH hotel in de Pijp

    Jeroen de Nijs — Piet hein hotel

    A new hotel has risen in the Amsterdam neighborhood ‘De Pijp’. At this very central location next to the Dutch Central Bank, we realized a 4 * boutique hotel in two stately buildings from the year 1906.

    Jeroen de Nijs — Piet hein hotel

    bathroom

    The hotel has 23 rooms, all different sizes and spread over 4 floors. In the homey lobby / reception area , next to the fireplace, there is a small bar placed that offers a good breakfast to its guests. The 23 rooms have an open bathroom and a separated toilet. The industrial atmosphere is decorated with luxurious materials and contemporary comfort. So it offers a comfortable bed in a good location, with a good breakfast for a reasonable price. As the Lonely Planet says; ‘Amsterdam is history with modern flair. ‘ For the concept forming we studied the history of the property. Unfortunately, there was little to be found in the archives. Although the last residents of this building did give us a story. Uninvited they cracked the premises and could make it their own for almost 2 years. Very little of the original interior of that time is left. All the fine details are gone. The only thing that reminded us of the squatters is some graffiti on the walls throughout the building. These ‘junk’ drawings have become the starting point for the interior concept. The interior is a reflection of the city, equipped with modern and comfortable luxury.

    Jeroen de Nijs — Piet hein hotel

    Entree

    CONCEPT : Urban comfort

    Jeroen de Nijs — Piet hein hotel

    entree

    Materials; CLEAN MASONRYCARPETSCONCRETESOLID WOODVINTAGE FURNITUREGRAFFITIPHOTO WALLPAPERARTLED LIGHTINGAPPLE SCREEN 27“- WALL SAFE- LUXURY BATHROOMSSIDED SHOWERFIRECOMFORTABLE BEDLUXURY LINENS

    Jeroen de Nijs — Piet hein hotel

    reception

    Jeroen de Nijs — Piet hein hotel

    Jeroen de Nijs — Piet hein hotel


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    Nel 2007 L’Università degli Studi di Brescia ha deliberato la costruzione di due nuovi edifici come ampliamento della Facoltà di Medicina e Chirurgia esistente a nord dell’Ospedale Civile. E’ stata quindi progettata una grande piazza pedonale attrezzata di m2 4.800 con fioriere dotate di strutture per rampicanti e di panchine in legno di iroko e una grande vasca d’acqua a cielo libero che serve anche da accumulo per gli impianti antincendio. La pavimentazione alterna passaggi in cubetti di porfido con zone in coccio pesto, in grossi ciottoli, in ghiaietto lavato e a cespugli e verde secondo linee curve, rette e sinusoidali. Sotto la piazza pedonale sono stati realizzati due piani a parcheggio per un totale di 325 posti auto. Sul lato nord e ovest della piazza sorgono due edifici. Il primo , destinato alle attività sportive, ospita al piano inferiore 4 palestre (m2 310, m2 220, m2 210 e m2 160) e una vasca fuori sopraelevata sul pavimento, finestrata, per l’insegnamento delle riabilitazioni in acqua. Al piano superiore, oltre all’ingresso principale, si trova la grande palestra da m 45,50 x m 29,00 a doppia altezza (m 10,00) dotata di gradinate e suddivisibile mediante un tendone azionato elettricamente. Al 2° piano si trovano gli uffici di gestione e una palestra per l’attrezzistica. La superficie totale dei tre piani comprensiva di spogliatoi, connettivo, uffici ecc è di m2 3.980. Tutte le palestre sono pavimentate in gomma ad eccezione di quella principale che è in legno elasticizzato galleggiante aerato con sottostante riscaldamento a pavimento. La struttura portante è in cemento armato, la copertura è in legno lamellare con copertura in alluminio. Le facciate sono un’alternanza di pilastri e travi in c.a. a vista che formano il reticolo strutturale verticale, di tamponamenti ciechi in legno di iroko e di specchiature con serramenti di alluminio a vetri atermici. L’impianto di riscaldamento è collegato alla rete di teleriscaldamento cittadina. Sulla copertura sono posizionati i pannelli solari per il riscaldamento dell’acqua sanitaria. Il secondo edificio è destinato per i primi tre piani alla didattica, e comprende anche le aule di insegnamento del corso di scienze motorie per una superficie di m2 4.000 e, per altri 3 piani, studi e laboratori di ricerca per un totale di m2 3.000. Tra le due diverse attivitàè previsto un piano tecnico per centrali tecnologiche, allacciate alle reti cittadine di teleriscaldamento e teleraffrescamento. Le facciate sono rivestite in pannelli di acciaio corten. Sulla copertura è posto in opera un impianto fotovoltaico di 36 Kw.

    Paolo Dabbeni — UNIBS - POLO UNIVERSITARIO BRESCIA

    RENDERING D'INSIEME

    Paolo Dabbeni — UNIBS - POLO UNIVERSITARIO BRESCIA

    Edificio per didattica, studi e laboratori di ricerca

    Paolo Dabbeni — UNIBS - POLO UNIVERSITARIO BRESCIA

    Edificio attività sportive

    Paolo Dabbeni — UNIBS - POLO UNIVERSITARIO BRESCIA

    piazza tra gli edifici del polo universitario

    Paolo Dabbeni — UNIBS - POLO UNIVERSITARIO BRESCIA

    foto d'insieme


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    Al sopralluogo, prima dei lavori, il piccolo edificio era ridotto in stato di rudere abbandonato, unici abitanti, i colombi che a fatica si sono rassegnati ad abbandonare la loro dimora espropriata. In loro onore è stata intitolata la casa recuperata, e sempre in loro onore all’interno un’installazione in ceramica rievoca la loro presenza. All’interno del centro storico di Tortolì, l’intervento fa parte di un edificio risalente al 600 utilizzato dai frati, una tipologia semplice, facciata unica con ingresso al piano terra, un balcone al piano superiore ed un’apertura ottagonale nel sottotetto. Sul retro un piccolo cortile per l’orto. Ingredienti di un’architettura semplice ed ordinata, il minimo indispensabile per una vita dimessa. La struttura in muratura mista di pietra e fango, nonostante l’età, era priva di problemi strutturali, i solai originari invece sono stati sostituiti. La distribuzione degli ambienti originari non permetteva la fruizione dell’edificio, la scala esterna per andare al piano superiore, la mancanza di un bagno, l’assenza di finestre idonee, la scala a pioli per raggiungere la soffitta, fattori che rendevano l’edificio si affascinante, ma inutilizzabile. Per tanto il recupero si è diretto verso una riorganizzazione degli spazi minimi, con l’inserimento dei servizi mancanti, recuperando le funzioni della vecchia casa adeguandole ad un utilizzo odierno. E’ stata portata avanti una poetica di recupero totale, si è cercato di buttare il minimo, si è riutilizzato tutto ciò che è stato possibile. Nel cortile è stata mantenuta intatta la scala originaria, le travi in ginepro del vecchio solaio sono state recuperate per realizzare in parte il pergolato esterno ed in parte invece per l’architrave dell’apertura verso il cortile. Si è estesa la stessa poetica negli arredi, travalicando l’ambito della casa, arrivando in falegnameria a recuperare tutti i ritagli giacenti in magazzino, ed ecco che la scala diventa multicolore, così come il letto ed altri arredi. Una policromia estesa fatta di legni diversi, e di epoche diverse, una convivenza di diversità materiche che hanno generato un ambiente divertente e confortevole. Dopo la prima rampa di scale lineare, un’altra si avvolge su se stessa per raggiungere l’ambiente sottotetto, questa è stata risolta con una commistione di muratura, ferro e legno, per rendere la struttura leggera sia tecnicamente che visivamente, da questo punto di vista alto si recepisce tutto il sistema di risalita con l’alternanza dei colori del legno e del ferro, in mezzo alle due scale, sul pianerottolo, un’installazione in ceramica, ricorda agli attuali abitanti che anche i colombi hanno avuto un ruolo importante nella memoria della casa ritrovata.

    Sergio Aruanno — LA CASA DEI COLOMBI

    i vecchi abitanti della casa

    Sergio Aruanno — LA CASA DEI COLOMBI

    pianta piano primo

    Sergio Aruanno — LA CASA DEI COLOMBI

    pianta piano terra

    Sergio Aruanno — LA CASA DEI COLOMBI

    pianta piano sottotetto

    Sergio Aruanno — LA CASA DEI COLOMBI

    facciata

    Sergio Aruanno — LA CASA DEI COLOMBI

    stato prima dei lavori

    Sergio Aruanno — LA CASA DEI COLOMBI

    stato prima dei lavori

    Sergio Aruanno — LA CASA DEI COLOMBI

    stato prima dei lavori

    Sergio Aruanno — LA CASA DEI COLOMBI

    soggiorno

    Sergio Aruanno — LA CASA DEI COLOMBI

    soggiorno

    Sergio Aruanno — LA CASA DEI COLOMBI

    soggiorno

    Sergio Aruanno — LA CASA DEI COLOMBI

    soggiorno

    Sergio Aruanno — LA CASA DEI COLOMBI

    soggiorno

    Sergio Aruanno — LA CASA DEI COLOMBI

    scala

    Sergio Aruanno — LA CASA DEI COLOMBI

    scala

    Sergio Aruanno — LA CASA DEI COLOMBI

    scala

    Sergio Aruanno — LA CASA DEI COLOMBI

    scala

    Sergio Aruanno — LA CASA DEI COLOMBI

    installazione ceramica

    Sergio Aruanno — LA CASA DEI COLOMBI

    installazione ceramica

    Sergio Aruanno — LA CASA DEI COLOMBI

    scala

    Sergio Aruanno — LA CASA DEI COLOMBI

    pianerottolo

    Sergio Aruanno — LA CASA DEI COLOMBI

    piano sottotetto

    Sergio Aruanno — LA CASA DEI COLOMBI

    scala

    Sergio Aruanno — LA CASA DEI COLOMBI

    camera da letto

    Sergio Aruanno — LA CASA DEI COLOMBI

    camera da letto

    Sergio Aruanno — LA CASA DEI COLOMBI

    camera da letto

    Sergio Aruanno — LA CASA DEI COLOMBI

    camera da letto

    Sergio Aruanno — LA CASA DEI COLOMBI

    camera da letto

    Sergio Aruanno — LA CASA DEI COLOMBI

    camera da letto

    Sergio Aruanno — LA CASA DEI COLOMBI

    camera da letto

    Sergio Aruanno — LA CASA DEI COLOMBI

    bagno

    Sergio Aruanno — LA CASA DEI COLOMBI

    bagno

    Sergio Aruanno — LA CASA DEI COLOMBI

    cortile

    Sergio Aruanno — LA CASA DEI COLOMBI

    cortile

    Sergio Aruanno — LA CASA DEI COLOMBI

    cortile

    Sergio Aruanno — LA CASA DEI COLOMBI

    cortile

    Sergio Aruanno — LA CASA DEI COLOMBI

    cortile

    Sergio Aruanno — LA CASA DEI COLOMBI

    i vecchi abitanti della casa


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    Sonnenhof consists of four new buildings with office and residential spaces. Located on a consolidated number of smaller lots in the historical center of Jena, Germany, the separate structures allow for free access through the grounds. Their placement on the outer edges of the plot defines a small-scale outdoor space congruent with the medieval city structure. Its outdoor facilities continue the building’s overall design concept past the edges of the lot. The planned incorporation of commerce, residence, and office enables a flexible pattern of use that also integrates itself conceptually into the surroundings.

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof

    J. MAYER H. Architects — Sonnenhof


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    L’edificio oggetto d’intervento è composto da un compatto volume unitario, pensato per uso commerciale. Per adeguare lo stabile preesistente a nuovi standard qualitativi e alle nuove funzioni si è scelto di praticare un taglio longitudinale nel volume, in corrispondenza del lungo lucernaio centrale visibile al primo piano dell’edificio attuale, che genera un ampio patio all’interno della struttura. Attraverso questa sottrazione è stato possibile realizzare due ambiti residenziali al primo piano che si fronteggiano e ricevono luce da grandi vetrate affacciate sul nuovo spazio libero centrale. Il patio non costituisce soltanto una soluzione che migliora il funzionamento dell’edificio, ma rappresenta un luogo di scambio e relazione tra chi lavora nell’HUB, gli studenti che abitano le residenze al primo piano ed il personale universitario a cui sono riservati gli appartamenti di dimensioni più generose che trovano posto al secondo piano.  In sintesi l’edificio si presenta come un sistema performante a livello di prestazioni energetiche, adatto al nuovo programma funzionale e con una forte identità, innovativa dal punto di vista formale ma al contempo legata alla storia e alla tradizione del luogo.

    cavejastudio, Davide Lorenzato — Ravenna HUB

    cavejastudio, Davide Lorenzato — Ravenna HUB

    cavejastudio, Davide Lorenzato — Ravenna HUB

    cavejastudio, Davide Lorenzato — Ravenna HUB

    cavejastudio, Davide Lorenzato — Ravenna HUB

    cavejastudio, Davide Lorenzato — Ravenna HUB


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    KriskaDECOR becomes one of the protagonists at the 2015 Milan Universal Exposition thanks to its participation in covering the Ecuador pavilion, an architectonic work designed by Zorrozua y Asociados that evokes the concept of “Good Living” (or “Sumak Kawsay”, in Quechua), through a blend of tradition-inspired shapes and graphical symbols. The folkloric motifs that make up the façade’s composition are a universal reflection of Ecuadorian culture, and they are inspired in the traditional textile handcrafts of the Otavalo region. Thanks to the use of KriskaDECOR aluminium curtains we get, on every side of the building, a unique composition. The visitor becomes captivated by the façade’s great visual impact, which manages to frame the construction with a strong, chromatic emphasis that makes it stand out from the other pavilions. In this case, the range of colours and sheens from the autochthonous Ecuadorian fabrics were sought. The colours used are yellow, red, lilac, blue and green tones that represent the whole spectrum of colours that exist in the country’s regions. Moreover, the effects of the sun and night light have also been taken into account to achieve a much more powerful perception of the colours. Then the sensation of movement is added, offered by the curtains, simulating the flow of the fabrics themselves. The curtains, made of KriskaDECOR anodised aluminium chain, are an optimal support to reproduce any type of design. Anodising is a process that is used to increase the thickness of the natural oxide coat on metallic parts, therefore creating an artificial protective coating that means in can be dyed in a vast array of colours. This project is divided into four sides with an average height of 9 metres, reaching 10,5 metres at some points. The north face and the south face are 25,4 metres wide, while the east and the west are 15 metres each. The lightness of the material has allowed for the creation of this metallic structure with enormous proportions. Moreover, the system makes assembly much easier. Installing the curtains over the pavilion façade, which has a surface area of 765 m2, was carried out in just three days. Modifications were made to fasten the curtains onto the proposed system, and also to increase resistance to inclement weather, creating a woven line that joined the different strips of chain, therefore getting similar responses to that of fabric.

    Luis — KRISKADECOR DAZZLES AT THE 2015 MILAN EXPO

    ECUADOR PAVILION This is about innovation, as it is the first time that the surface area of a pavilion has been completely covered with curtains. The creativity of the curtains perfectly synchronises with the Ecuador Pavilion theme. It should be taken into account that, for the first time, Ecuador takes part with its own pavilion in a Universal Exposition with the goal of showing the world its very essence. Zorrozua y Asociados, design consultants, have been in charge of carrying out the design, work and project management in the pavilion. The exhibition space has been created to offer the visitor a complete experience about the richness of the Ecuadorian landscapes and to promote the culture of the “Good life” respecting its environment and its biodiversity. The pavilion design is divided into four areas: the first, “A diverse country”, is about the different landscapes in the regions as the nucleus of the identity of a heterogeneous country. The second, entitled “Foodstuffs as a Social Collective”, focuses on gastronomy through a selection of products that represent traditional Ecuadorian cuisine. The third area is called, “Live well”, and offers a space for reflection. Lastly, the fourth area, “Love”, includes a restaurant where we can directly experience the sensations that come from Ecuador, this time through its rich cuisine.

    Luis — KRISKADECOR DAZZLES AT THE 2015 MILAN EXPO

    Photo by Marcela Grassi © Marcela Grassi

    EXPO 2015 IN MILAN The EXPO 2015 in Milan has just opened its doors to visitors after seven years of preparation. This is one of the oldest international events, with a tradition going back over 160 years. KriskaDECOR takes part for the first time and it does so in style, with one of the projects that has been most widely accepted by critics and the public. The Expo’s motto in this edition is “Feed the Planet, energy for life”, covering areas like technology, innovation, culture, traditions and creativity, all related to foodstuffs and diet. The Ecuador pavilion façade perfectly captures this idea, but also others like that of the chances that are opening up in the agricultural sector in areas of sustainable development, common welfare and the fight against hunger, as well as the foods from the world’s cultures and ethnic groups.

    Luis — KRISKADECOR DAZZLES AT THE 2015 MILAN EXPO

    Photo by Marcela Grassi © Marcela Grassi

    KRISKADECOR KriskaDECOR once again takes part in an emblematic building, therefore demonstrating the great versatility of its curtains. KriskaDECOR is a company that was founded in 1926 in Montblanc (Tarragona, Spain) and currently enjoys solid international renown. It has taken part in important projects run by designers of such standing as Patricia Urquiola and Philippe Starck, as well as studios like Rockwell Diseño, Softroom, Stylt Trampoli, HBA, Gensler or Klein Associates, and companies like B & B Italia, L’Oreal, Aigner, Hoss Intropia, Harrods, Sita Murt, hotel groups Starwood (W Hotel), Riu, Melià, Mandarin, Marriott, Sofitel, Kempinski. It has also collaborated with artists like Antoni Miralda, Andrew Sabin, Philippe Bradshaw, Shinpei Naito (for the hotel Yotel in New York), Federico Fusi and Rudi Stanzel. KriskaDECOR’s curtains have stood out in the interior designs of very differing architectonic works: from sports installations like the Yas Marina F1 Circuit in the United Arab Emirates, football stadiums for clubs in the Premier League like FC Arsenal and Manchester City FC, to museums like the ABBA Museum in Stockholm, as well as the stage for the Hollywood Academy Awards (the Oscars). In Spain, some outstanding projects have been focused on luxury hotels and restaurants like Dos Palillos by Fernando Amat, Coure by Alfons Tost, Cinc Sentits by ZOO, the tapas restaurant Jaleo, in Washington, by Juli Capella, and the EME hotels in Seville, by Tarruella and López, and Barceló Oviedo by GCA Arquitectes. Photographs by Marcela Grassi


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    L’ubicazione dell’intervento è nell’area della provincia Bolognese, nel territorio di S.Pietro in Casale, nella immediata periferia Nord-Ovest del paese. Il complesso natatorio è articolato in due corpi principali, uno di essi denominato “corpo sala piscine”è adibito prevalentemente ad attività natatorie, esso infatti accoglie al suo interno n.3 piscine di cui una destinata ad attività natatorie, n.1 ad attività di fitness ed affini e n.1 piscina (a doppia profondità) adibita a piscina bambini e riabilitazione. Il “corpo servizi” , posto in adiacenza alle piscine, comprende, oltre che gli spogliatoi uomini, donne e bambini ed i locali di servizio agli impianti natatori, n.1 hall con servizi di accoglienza, n.1 sala fitness e n.1 sauna con vicina sala massaggi. L’edificio si sviluppa su un unico livello, con la sola eccezione dei locali tecnici interrati.

    landBAU s.r.l. — Centro Natatorio di San Pietro in Casale

    interno- sala vasche

    L’architettura è caratterizzata dai tre gusci in lamellare che avvolgono il corpo piscine sino ad appoggiarsi sul corpo servizi. La forte trasparenza sia verso l’alto che verso il paesaggio circostante rendono la struttura completamente permeabile.

    landBAU s.r.l. — Centro Natatorio di San Pietro in Casale

    esterno

    landBAU s.r.l. — Centro Natatorio di San Pietro in Casale

    vasca esterna


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    Giuseppe Mascolo_marasmastudio, Filomena Fusco — the lakefront kiosk competition

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    Giuseppe Mascolo_marasmastudio, Filomena Fusco — the lakefront kiosk competition

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    Giuseppe Mascolo_marasmastudio, Filomena Fusco — the lakefront kiosk competition

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    Giuseppe Mascolo_marasmastudio, Filomena Fusco — the lakefront kiosk competition

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    Giuseppe Mascolo_marasmastudio, Filomena Fusco — the lakefront kiosk competition

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    Giuseppe Mascolo_marasmastudio, Filomena Fusco — the lakefront kiosk competition

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    Giuseppe Mascolo_marasmastudio, Filomena Fusco — the lakefront kiosk competition

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    Giuseppe Mascolo_marasmastudio, Filomena Fusco — the lakefront kiosk competition

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    Giuseppe Mascolo_marasmastudio, Filomena Fusco — the lakefront kiosk competition

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    Giuseppe Mascolo_marasmastudio, Filomena Fusco — the lakefront kiosk competition

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    SPATIAL CONTEXT Rome city population used to count 200,000 people in 1877, while today it counts almost 3 million people living in this complex urban aggregate which is widely interlaced to the suburban hinterland. Such rapid urban expansion hit and transformed the surrounding countryside and the fortifications as well. Forte Portuense, for instance, has been totally surrounded by the built-up area, although it lacks of integration with the city. One of the most important guidelines was the idea of creating intervention that represents a spatial framework for social activities that inseparably integrate the fortress into urban fabric and everyday life.

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    View over district association in park

    RELATION TO EXISTING SITUATION The proposed solution tries to respectfully assert itself into the existing contextual fabric and gently connect the whole site in one simple stroke. The existing structure is fragmented and complex. Therefore, the new design should be as intelligible and simple as possible. The new arrangement should not overrule the fortress. The main idea was to respectfully create a space where the fortress can step to the forefront and become the stage of public and cultural life. New design provides the framework and the existing structure canvas upon which time itself will paint the story.

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    Situation

    EXTERNAL LAYOUT Competition area is strongly divided into three different layers with three different characters: the interior of the fortress, the surrounding park and the defensive trench that strongly separates all three and cuts the fortress off the city. Proposed solution suggests that concentrated, acupuncture-like interventions are inserted in certain strategic points to connect and intertwine all three layers. Throughout this points runs a series of public spaces that connect fortress with the surrounding urban fabric.

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    Situation

    RELATION TO THE CITY Fortress with its cultural and artistic program represents a central gravitational point of this space. From this area four stronger roots start to run in the form of a sequence of public spaces. In surrounding park these spaces are split into smaller paths that covers the whole area as capillaries and softly link facilities, sports areas, playgrounds and accesses, making fortress inseparably clamped in place. Therefore, intervention does not become larpurlatistic statement but serves merely as an adapter that allows the fortress to regain its visibility and integrity in space.

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    Section

    PROGRAMMATIC DESIGN The programmatic design is based on three different layers that represent three different characters and host three different programmatic loops. The surrounding park, which is directly connected with the town hosts most city-forming programs such as kindergarten, district association, senior centre, sport facilities, playgrounds, etc.. In the defensive trench are arranged spaces of mediatheque. Fortress with its artistic and cultural character is the heart of this space and protects inside from direct influence of the surroundings. On 4 strategically placed locations programmatic cuts happen through all three layers in the form of sequentially arranged public spaces. This cuts connect all three layers through larger program related assemblies that vitally connect fortress with the city.

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    Inner park

    ARCHITECTURAL DESIGN The entire intervention is solved by a single stroke through the use of logic, which is consistent to logic of the existing historical tissue. Proposed solution suggests creating clear distance between what protects and what is being protected. Solid robust concrete structures set guidelines for the operation of the fort in the city. Within these structures are inserted soft wooden programmatic volumes, which can change over time and adapt to the needs of the program within the fortress. Three different sized roofs allow a wider range of program that may in the future occur at the site. Inside exiting structure intervention is being placed respectfully with a clear distance from the old historical tissue.

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    STRUCTURAL DESIGN Structural logic of interventions follows the logic of the existing historical structures. Firm concrete structure protects lighter prefabricated wooden elements. Such structural design allows greater flexibility of the program in the future.

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    SUSTAINABILITY Programmatic design corresponds to the principles of sustainable construction as all major interventions occur outside of existing structures so they can be more consistent. Roofs of new structures are creating microclimatic conditions that protect program from direct environmental influences. Placement of the program in form of smaller units also provides faster heating and greater control over energy consumption. Proposed solution is designed in a way that leaves flexibility of the programmatic boxes which can change over time and adapt to the needs of the program within the fortress.

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    ATMOSPHERES Competition area is strongly divided into three different layers with three different characters. Surrounding park is highly extroverted and oriented towards the city. This layer is the most open and most connected to the surroundings. Therefore, it hosts the most open and city-forming program such as kindergarten, district association, senior center, sport facilities, playgrounds, etc. Defensive trench has the most distinct character. It hosts different sets of mediatheque. Since it is oriented to the sky it is also suitable for organizing outdoor exhibition space, because it does not compete with the exhibited works. Fortress represents a barrier that protects the internal space from direct influence of the surroundings. It has the most introverted character. The space inside the fortress represents the heart of the area and hosts variable cultural and artistic program. It alternates between two characters. At various events (weddings, concerts, theatre plays, etc.) the fortress gets more formal nature and protects the exterior from inside noise. When the fortress is not occupied by events it protects the interior from the noise of the surrounding and creates a relaxed contemplative character.

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    RELATION TO LOCAL TRADITION Proposed solution seeks for motives in elements of local tradition. Design of new structure refers to constructing principles that are being present in this place for centuries. New design takes traditional materials and uses them in an honest and modern way.

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    Construction

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING

    Rok Staudacher, Miha Munda, Dominik Košak, Ambrož Bartol — ROME COMMUNITY RING


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    Rinnovare un bar storico in chiave moderna e avere la possibilità di svolgere tutte le fasi lavorative della giornata senza difficoltà gestionali (caffetteria, aperitivi, cocktail bar, music lounge bar, ecc) sono queste le esigenze della committenza.

    STEFANO GERVASI architetto, Salvatore La Versa, Roberta Leto Barone — PAUSA CAFFE' lounge bar

    2012 - PAUSA CAFFE' lounge bar

    Sono queste le finalità del progetto svolto insieme agli Arch. Salvatore La Versa e Roberta Leto Barone, che prevede una sala bar principale, una relax room, dove i colori e gli oggetti utilizzati intendono riaffermare il legame con il caffè: la “logo parete” sulla destra, il colore delle pareti che ricorda la macchiatura del caffè, i tessuti di tende e coprivani che nè ricordano le liute dei sacchi.

    STEFANO GERVASI architetto, Salvatore La Versa, Roberta Leto Barone — PAUSA CAFFE' lounge bar

    2012 - PAUSA CAFFE' lounge bar

    STEFANO GERVASI architetto, Salvatore La Versa, Roberta Leto Barone — PAUSA CAFFE' lounge bar

    2012 - PAUSA CAFFE' lounge bar

    STEFANO GERVASI architetto, Salvatore La Versa, Roberta Leto Barone — PAUSA CAFFE' lounge bar

    2012 - PAUSA CAFFE' lounge bar

    STEFANO GERVASI architetto, Salvatore La Versa, Roberta Leto Barone — PAUSA CAFFE' lounge bar

    2012 - PAUSA CAFFE' lounge bar


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    Returning to the romance of the single storey bungalow house, this zig-zag house acquires its unique form via a series of formal maneuvers around a mature tree located on its long and triangulated sliver of land.

    Ministry of Design — Zig Zag House

    Tropically acclimated to the region, the building’s twisting form creates “in-between” spaces which provide shelter from nature’s harsh elements and simultaneously allow for cross ventilation and filtered light. Courtyards, captured by the turning of the twisted building form, bring light into the basement service areas. Internal corridors serve as breezeways between air-conditioned and naturally cooled areas.

    Ministry of Design — Zig Zag House

    Slightly lofted over the ground, each of the building’s three Miesian inspired wings house an entertainment zone, a family zone and a private master zone. Seen as a seamless singular form, the building reads as both sheltering building as well as abstracted sculpture. Viewed from the vicinity’s taller structures, the building’s roofscape provides the final design touch – where diagonally arranged planting strips echo the unique twisted form of the House Around a Tree.

    Ministry of Design — Zig Zag House

    Ministry of Design — Zig Zag House

    Ministry of Design — Zig Zag House

    Ministry of Design — Zig Zag House

    Ministry of Design — Zig Zag House

    Ministry of Design — Zig Zag House


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    Les Bassins à flot is an exceptional area in Bordeaux because of its maritime and manufacturing past and its patrimonial nature. The entire venue was added to UNESCO’s World Heritage Site list in 2007. It is also singular for the position it occupies in the Bordeaux urban development project. This vast port area acts as a kind of hyphen between Les Chartrons and Bacalan and between Lac and the large area of La Bastide thanks to the recently constructed Bacalan-Bastide bridge. The Bassins district is serviced by the line-B tramway and contains extensive public spaces intended for radical transformation, i.e. the port area itself, but also a reconfiguration of Place Latule, rue Lucien-Faure and the Bacalan-Bastide bridge. Among the buildings and elements of this heritage site worth mentioning are the submarine pen, the dry dock slips, the locks, the silos, the food-storage buildings, some of the warehouses on the rue Achard, the cranes and, of course, the docks themselves for their size and shape. Just as remarkable are the 18th-century Richelieu house, the Garage Moderne, the Nautilus, the paving-stone quays, the bridges, the harbormaster’s office, the Lesieur factory and the water that runs into the submarine pens.

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    The Achard-Blanqui-Étranger block fits into a fairly nearby environment that is in full mutation. The overarching goal of the urban planning project led by Agence Nicolas Michelin et Associés was to piece together a mixed block where buildings for collective housing would share space with nearby facilities and buildings that maintained their existing activities or created others. The project has, as far as possible, preserved buildings already housing activities and rehabilitated patrimonial elements. Such was the case for the hangar located on the rue des Étrangers that is presently home to the “Garage Moderne” association.

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    The desire for transparency towards the docks has been emphasized by placing buildings perpendicular to the port zone. This configuration ensures equal views for residents. The blocks are crisscrossed by landscaped paths between the new and existing buildings. These pedestrian spaces cut through the depth of the district on a N-E/S-W line from outside the neighborhood (Chartrons, Bacalan) down to the docks. The “unusual” buildings erected on either side of the paths echo the typologies adapted to the docks. Based on the existing urban forms, the types on offer (“residential hangars”, activities buildings, small “towers” and “hybrid” buildings) compose different blocks and are linked in parallel in a blended program to the block and buildings. The roofs of the new buildings are in shed-like sloping sections open to the north.

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    Designed along lines of a lived-in boathouse, the two apartment buildings for Nexity and Domofrance are organized around two parallel main buildings with a shared atrium-covered garden. Shared space
    The two main buildings are each 10 meters deep and stand face to face. This arrangement allows for a 15.50-meter wide space that serves as a shared area that contains the ground-level parking lot and a garden on the first-floor platform that is open to all residents. This shared space is covered by a shed-shaped roof that is mostly glassed in to the north and supports photovoltaic panels on the southern side. They are walk-through with an east-west prospect. They are accessed by passageways that give directly onto the garden. Four shared reception halls serve as entrances to the two main buildings.

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    The atrium, an inter-climate space
    The central area is an enclosed atrium that is ventilated naturally. In the summer this ventilation makes it possible to maintain compfortable air temperature. During the day the heat is evacuated by large openings located on the tympanums; while at night the atrium continues to be ventilated with the space benefitting from the earth’s and buildings’ themal accumulators. The volume of air moved and the combined thermal accumulation by the ground and the concrete mitigate the strong summer temperature variations. In winter the ventilation is restricted in the central space so as to accumulate the sunshine captured by the south-facing roof and drawn by conduction towards the inside.

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    Likewise the sunshine passing through the tympanums enables the walls and plant-supporting soil to warm up. These two factors directly contribute to creating an inter-climate space under the atrium. And the stored warm air is used to ventilate accommodations, thus reducing heating needs. This more temperate climate also makes it possible to considerably reduce the insulation required in the garden-facing walls.

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    Covering this central area therefore makes it possible to have considerable energy in-put. Indeed the atrium becomes a controlled inter-climate space enhancing the interior comfort level all year round. Moreover the roof surface thus exposed makes it possible to alternate the opening part (to the north) that provide light, ventilation and the regulation of the temperature for the entire project. The immovable south-facing parts are particularly well disposed for supporting the solar panels.

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    The shed-like roofing
    The roofing is a succession of north-south facing sheds in the manner of the hangars present on the site. On the south-facing side of the roof there are photovoltaic panels with some of the elements being transparent. On the north side the roof covering the public park is made of glass. The east-west facing tympanums are equipped with manual glass vents. The north-facing roof covering the accommodations is made of metal.

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    Contextual plant-life
    The roofed garden covers about 1,500 sq. m. It owes its uniqueness to the vertical plants, the “meeting” points and its criss-crossing paths that lead directly to the accommodations. The plants have been selected according to the place’s context and buildings’ architecture. The tallest plants are out in the middle and wind along the paths. The plants are smaller n size as they approach the walls, changing from an underbrush effect to that of a moor at the edge of the buildings. The land is at different heights also to increase its volume and give the tallest plants room to grow. The temperature in the inter-climate space is optimal for temperate and oceanic climates (even Mediterranean) plant-life. There is mulching between the plants that helps to maintain a certain moisture in the soil, thus reducing the need to water. The plants also serve to provide a certain distance between the accommodations and the public passageways. There are larger spaces at either end of the garden, and a gazebo on the southern side opens up views of the surrounding landscape and is big enough to contain playing space for young children.

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    The Domofrance building stands on the west side of the development on a plot measuring 4,826 sq. m. It is surrounded by rue Blanqui, rue Ouagadougou, rue des Etrangers and an east-running path. The Nexity building covers 34,168 sq. m and stands on rue Ouagadougou to the north, rue des Etrangers to the south, rue Achard to the east and a path to the west.

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux

    ANMA | Agence Nicolas Michelin & Associés — Housing Bassins à flot Bordeaux


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    Il concept di “U’ Coppu” nasce dalla volontà di portare la tradizione del cibo siciliano da strada all’interno di una bottega.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    L’intervento progettuale si integra all’interno di spazi voltati senza alterarne la volumetria e la leggibilità originarie e mantenendone la caratteristica di spazi in successione nella distribuzione delle nuove funzioni anch’esse in successione, quali: la zona vendita, la zona cottura e la zona laboratorio.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    All’interno della zona vendita si colloca il banco che per forma e funzione assume le caratteristiche tipiche del banchetto da strada. Questo è composto da una base d’appoggio realizzata in listelli di larice e vetro e da una struttura soprastante in ferro da cui pendono le lampade che illuminano l’intero spazio.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    A dividere la zona vendita dalla zona cottura a vista è una parete di pannelli resinati e montanti in ferro in cui un riquadro in vetro permette al pubblico di vedere tutte le fasi di lavorazione del cibo. Quest’ultimo è servito nel “coppo”, tipico conetto di carta per il cibo d’asporto.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    Nella zona vendita, il pavimento in listelli di larice naturale risvolta in un unico gesto lungo due pareti contrapposte terminando in mensole: una di appoggio per il pubblico e un’altra sulla parete retrostante il banco per l’esposizione.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    A completare il disegno della pavimentazione è una fascia di resina che marca la soglia di ingresso e invita ad entrare.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    The concept of “U’ Coppu” borns from the will to bring the tradition of Sicilian Street food within a shop.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    The project integrates within vaulted spaces without altering the original volume and the legibility, maintaining the characteristic of spaces in succession in the distribution of new functions also in succession, like: the sales zone, the cooking area and the laboratory area.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    Inside the sales area, there is a counter that by form and function takes the typical characteristics of the street food’s counter. This is made of strips of larch and glass and from an overhead structure in iron from which hang the lamps that illuminate the entire space.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    The sales area is divided from the cooking area by the resin panels and iron uprights in which a pane of glass allows the public to see all stages of food processing. The food is served in the “tile”- coppu – typical cone of paper for take-away food.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    In the sales area, the floor slats of larch natural continue along two opposite walls ending in shelves: one of these for support for the public and another, on the wall behind the counter, for the products’ exhibition.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    To complete the design of the paving is a band of resin that marks the entry threshold and invites to enter.

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu

    Alfonso Riccio, Nicola Giuseppe Andò, Arch. Giuseppe De Lisi, Emanuela Di Gaetano, Dario De Beneditctis — U Coppu


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    La nostra proposta, “131 MIRAFIORI” , stabilisce un‘ideale continuità d’identità tra una produzione industriale di qualità– che si spera possa a breve ravviarsi – e i nuovi driver dello sviluppo delle città costituiti sempre più da progetti innovativi legati al mondo della cultura e all’associazionismo, allo start up di realtà imprenditoriali, all’accoglienza temporanea che vanno a collocarsi in aree sottoutilizzate come quella oggetto del concorso

    Francesco Massarini, Ffwd Architettura — concorsomirafiori 2015 Torino

    Vista della ruota panoramica sul complesso

    Francesco Massarini, Ffwd Architettura — concorsomirafiori 2015 Torino

    Vista dell'ingresso principale

    Francesco Massarini, Ffwd Architettura — concorsomirafiori 2015 Torino

    Vista Laterale GIORNO

    Francesco Massarini, Ffwd Architettura — concorsomirafiori 2015 Torino

    VISTA LATERALE NOTTE


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    Offices are located in this area is the State Department’s office of a businessman with a business sector that is diverse and changing from time to time or not fixed. The interior is the main concept of Industrial Office with a fusion between raw materials finished to all-clear to make it look elegant industrial office. Owner do like the industrial forces since his youth makes ​​it difficult for architects to convince him to use this concept. Floor Materials in the form of raw Acian shows the authenticity of the cement itself. Several layers of the walls are made of a blend of Dutch Teak and Black Cement raw Acian increasingly industrial in the office to make an impression this feels real . Architects also use the basic shape Trapezoid some elements in the interior design of the cabinet , desk receptionists to pattern sanblastnya stickers . Office cabinet trapezoidal shape makes the look kanto be unique and functional. On the ceiling is made of solid teak wood Netherlands juxtaposed long and colored by lights arranged irregularly lighting gives the impression that appeal to this office.

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Informal Meeting Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Informal Meeting Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Director Room

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Main Recepsionist

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Main Recepsionist

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Main Enterance

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Detail Plafond

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Detail Wall

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Detail Floor

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi — Rasyid Office

    Detail Furniture


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    Il progetto mira alla realizzazione di un luogo allo stesso tempo intimo e accogliente, ma contemporaneamente aperto grazie a tagli-inquadrature sul mondo che lo circonda, in particolare le vigne delle dolci colline circostanti.

    Gabbiani & Associati — CAPPELLA FUNERARIA PRIVATA

    E così non solo il paesaggio e il cielo s’insinuano all’interno della cappella, ma anche la luce contribuisce a creare forti suggestioni e giochi di rimandi. I dettagli divengono pretesto per inserire nella composizione elementi simbolici come il cancello e i serramenti che si fanno croci e le lampade votive, ( dischi d’acciaio incastonati nel marmo rimandano alla lievità– fragilità dell’esistenza ).

    Gabbiani & Associati — CAPPELLA FUNERARIA PRIVATA

    La natura trova spazio anche all’interno grazie all’aiuola che ospita un acero posto accanto alla seduta, generando un micro-luogo votato al raccogliemento e alla preghiera.

    Gabbiani & Associati — CAPPELLA FUNERARIA PRIVATA

    La cappella completamente rivestita in botticino classico diviene, così spazio di contrasti: luce – ombra, esterno – interno, cultura – natura, vita terrena- vita spirituale.

    Gabbiani & Associati — CAPPELLA FUNERARIA PRIVATA

    http://www.gabbianieassociati.it/ita/scheda158.php

    Gabbiani & Associati — CAPPELLA FUNERARIA PRIVATA

    Credits fotografici: Arnaldo Dal Bosco


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    The office that consists of five companies have a Square Warm Beige character, where the Clients who have all five of the companies is keen to have the feel of a warm office with White-Beige element blend combined with white warm lamps. The architect proposed a squaring concept by implementing many decorative square elements in all sides of interior, i.e. in the Employee partition, ceiling lights, glass sandblast walls and a few wall elements, but still using the white-beige tone.

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Informal Meeting Area

    The second floor has 3 GM rooms and some employee rooms of the 5 companies. The GM room is bordered by frames with modular Squares applied by white aluminum frames covered by sandblast sticker with module boxes. GM has his own area but not too closed and he will still be able to monitor the work of his subordinates.

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Think POD

    The employee area uses long working table concept to maximize the existing space. There is a square-shaped cabinets on the table that are arranged randomly to create an attractive cabinet elements. The first floor is the hotspot area called thinkpod where it can be used by non-permanent employees with flexible moving workplace. Material used in this project is wallpaper, aci wall paint, HPL, and white bricks and all are in White-Beige tone such that the office has the warm and homey impression as wished by the owner of the company.

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Manager Room

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Think POD

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Informal Meeting Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Floor Detail

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Think POD

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Room Partition

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Meeting Room

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Small Meeting Room

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Floor Detail

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Wall Detail

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Wall Detail

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Leader Room Concept

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Work Area

    Muhammad Egha, Sunjaya Askaria, Hezby Ryandi, Fahmy Desrizal — BPB Office

    Main Signage


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