Knocktopher Friary - ODOS architects

May 24, 2011, 6:36 am

≫ Next: Nuova Scuola d'arti e mestieri della sartoria e Scuola cantonale per la tecnica di abbigliamento. Chiasso - Antonio Citterio Patricia Viel and Partners, C+S Architects

≪ Previous: Zentral und Landesbibliothek Berlin - KohlmayerOberst Architekten, Glück Landschaftsarchitektur

This project is an extension and refurbishment of an existing protected friary building in Knocktopher, Co. Kilkenny.

The original collection of extensions and lean to structures to the rear of the Friary building and adjoining Church were demolished and a new master plan for this small complex of buildings was conceived around a new central courtyard. This original concept was further developed as a contemporary cloister, which was seen as an appropriate method of tying both the existing and new structures together, defining a clear circulation route through both. The original friary building has been kept intact and its back elevation used to define the open end of the courtyard establishing its shape in plan.

Externally the palette of materials was deliberately kept to a minimum. Full height panels of treated cedar wood boards, board marked in situ concrete and clear double glazing sit on a plinth of fair faced concrete the top of which extends the datum of the Church floor throughout the site. These materials sit on a simple bed of white gravel in the courtyard with the added focus of a mature olive tree set to one corner. The detailing of all external skins helps to accentuate the choice of materials, frames are recessed and the board marked concrete walls extend into both the reception and dining room areas, blurring the transition between internal and external areas. Ventilation panels to all rooms and external doors are set flush with the surrounding cedar wood cladding and when not in use both disappear from view.

All new living accommodation provides carefully framed views of the surrounding countryside and the building itself when viewed from a distance sits comfortably into the landscape carefully wrapped around the original structures.

↧

Nuova Scuola d'arti e mestieri della sartoria e Scuola cantonale per la tecnica di abbigliamento. Chiasso - Antonio Citterio Patricia Viel and Partners, C+S Architects

December 17, 2013, 9:40 am

≫ Next: Teatro e Auditorium - João Luís Carrilho da Graça

≪ Previous: Knocktopher Friary - ODOS architects

Il team propone un intervento urbano soft che rispetta e valorizza le preesistenze. I volumi esistenti vengono sostanzialmente mantenuti ricucendoli a un nuovo complesso che ospiterà due nuove scuole per la moda: SAMS e STA, rispettivamente la scuola d’arti e mestieri della sartoria e la scuola superiore di tecnica dell’abbigliamento e della moda.

Il progetto è un hub urbano: cerniera tra città e territorio ma anche cerniera tra esperienza pratica e cultura della moda. I nuovi volumi sono trasparenti e aperti. Disegnano un nuovo spazio urbano, una passeggiata tra nuovi spazi commerciali e spazi per la cultura. Anche le attività e i lavoratori delle due scuole della moda partecipano alla costruzione di questa nuovo parte della città di Chiasso.

Il team interpreta in questo modo il ruolo dell’edificio scolastico nella città contemporanea: un edificio che diventa manifesto e vetrina di sé stesso, una cittadella della conoscenza, spazio dove si mostra il processo insieme al il prodotto, o ancora un edificio di passaggio, i cui spazi pubblici siano attivabili dalla comunità anche oltre l’orario scolastico.

La giuria, presieduta dall’architetto Cattaneo di Bellinzona ha definito il progetto quello che meglio si inserisce nel contesto urbanistico d’insieme e ne viene apprezzata in particolare la struttura organizzativa della scuola.

↧

Teatro e Auditorium - João Luís Carrilho da Graça

May 20, 2009, 5:24 am

≫ Next: Earth Light - Workshop - Dionisis Sotovikis

≪ Previous: Nuova Scuola d'arti e mestieri della sartoria e Scuola cantonale per la tecnica di abbigliamento. Chiasso - Antonio Citterio Patricia Viel and Partners, C+S Architects

L’objectif de la démarche initiale de tout projet d’architecture doit être d’établir et de définir l’essentiel, mais pas plus, à partir d’un programme et d’un site donné. Ceci est encore plus vrai si nous nous référons a un bâtiment public comme celui-ci qui présuppose une interaction intense et vivante avec la ville, « work in progress ».

Au début le projet devra essayer de définir un édifice le plus simple possible à tous points de vue, qui se propose comme support et catalisateur d’événements et pratiques artistiques. Son rôle sera naturellement de contribuer à l’intensification de l’interaction sociale au sens le plus large. Sa présence et son image dans la ville doivent êtres très clairs, assumées et discret, support médiatisé d’informations sur son propre contenu lisible à diverses échelles.

Le plus simple possible
La continuité physique avec la ville ancienne de Poitiers se fait à travers un plateau construit en pierre calcaire – garantissant l’homogénéité matérielle avec l’environnement – et praticable par le public. Sur celui-ci se posent – en légère suspension – les volumes parallélépipédiques de l’auditorium et du théâtre, enveloppés de verre sablé blanc. Cette double peau – béton/verre – est le seul « luxe » que nous nous sommes autorisés – son rôle est celui de médiation et mutation. Son image extérieure se métamorphose à volonté : image, lumière ou couleur…à l’intérieur, la possibilité de communiquer

Le Théâtre
La salle de théâtre est très performante par rapport aux différents types de spectacles et événements qui peuvent s’y dérouler. On a cherchéà avoir le meilleur équilibre et versatilité du point de vue « appareil » scénique, versus intimité, chaleur, optimisation visuelle et acoustique de l’espace du public. Celui-ci n’est pas autonome dans la mesure où il est traversé pas des éléments techniques –éclairage, contrôles, etc. Nous avons cherchéà ce que l’inter-relation entre ces différents univers se fasse d’une façon soignée et équilibrée.

L’auditorium
La possibilité de dessiner une salle destinée exclusivement à la musique nous a permis d’optimiser l’acoustique et le résultat architectural.

Sans vouloir prendre la place de la note acoustique ci-jointe dont le contenu nous semble décisif, nous aimerions souligner les aspects suivants :

- l’excellence des salles parallélépipédiques dites « boîtes à chaussures » est indiscutable ;
- la qualité et homogénéité du résultat musical dûà l’inexistence d’absorption primaire et de fragmentation provoqués par le parterre incliné est une possibilité presque oubliée de nos jours étant donné la mode des programmes des salles polyvalentes ;
- l’importance des dimensions, forme et proportions de la salle sont fondamentales pour son efficacité. Sa largeur – moins vingt et un mètres – met en valeur les reflets latéraux très importants pour le résultat.

Ici la relation entre la salle et le foyer spécifiques se fait au travers d’une série de portes – deux par rangée. Cette série de portes est aussi escamotable si on veut admettre une situation plus informelle – comme ce qui arrive par exemple aux Boston Pops ou aux concerts populaires du Royal Albert Hall, permettant au public de se déplacer librement.

Dans les galeries nous proposons une seule rangée de fauteuils légèrement directionnés vers la scène. Deux balcons sont disposés au fond de la salle de part et d’autre de la régie.

Derrière la scène trois rangées de siéges sont accessibles soit au chœur soit au public, permettant une audition inverse très appréciée par certains mélomanes.

Pour les musiciens nous proposons un plateau mobile semblable à celui installéà la philharmonie de Berlin. Très performant et versatile il semblerait qu’il deviendra un standard.

Travail artistique, technique de scène, livraisons
On a réussi à atteindre ce qui au commencement nous semblait impossible : profiter du dénivelé entre la rue de la Marne et le boulevard Verdun pour établir à partir du niveau de celui-ci le plan de référence horizontal qui supporte tout le travail relationné avec la scène et ceci à son propre niveau.

Le parking
Nous proposons, basés sur les résultats des sondages géologiques, la construction de deux niveaux de stationnement avec une géométrie des plus favorable.
Nous avons considéré 344 places.

La gestion
Nous profitons de la hauteur élevée de la cage de scène, pour la compléter avec deux niveaux d’espaces de travail pour la gestion.

Ceux-ci bénéficient de vues dégagées et sont organisés autour d’un patio.
Ils sont directement accessibles depuis le parking et depuis l’extérieur.

La liaison urbaine
Le complexe établit progressivement la relation entre les deux niveaux en passant tangentiellement à l’entrée principale, à la boutique, à la cafétéria et à sa terrasse.

Les espaces extérieurs
Tout autour du bâtiment nous avons la possibilité d’établir une continuité soit avec les massifs existants soit en établissant des nouvelles relations ouverture/clôture.

↧

Earth Light - Workshop - Dionisis Sotovikis

December 16, 2013, 6:10 am

≫ Next: Museum of Fine Arts - Ibos Vitart

≪ Previous: Teatro e Auditorium - João Luís Carrilho da Graça

This building was designed based on the relationship of man with the landscape and particularly the earth. The entrance from the street is created by two parallel walls which contain the staircase and “slice” the earth in order to guide you to the ground level of the house. This level accommodates the most introvert-private spaces of the house, the bedrooms, and it has been designed to either open up towards the landscape or be completely isolated from it, according to the mood of its inhabitants.

In contrast, the level of the living-dining-kitchen area, the more extrovert-public spaces of the house is surrounded by glass, allowing the landscape to become part of the living space. A staircase leads to the planted terrace and from there a bridge proceeds directly into the landscape where the half-suspended swimming pool “floats” over the sloping plot.
Design phase: 2004-2006
building phase: 2006-2009
surface area: 500,00m2

Photo: Vangelis Paterakis . Published on December 16, 2013.

Photo: Vangelis Paterakis. Published on December 16, 2013.

↧

Museum of Fine Arts - Ibos Vitart

November 25, 2013, 8:30 am

≫ Next: IPERA 25 - Alataş Architecture and Consulting

≪ Previous: Earth Light - Workshop - Dionisis Sotovikis

Renovation and extension of the existing museum building. Creation of a temporary exhibition space and new public services (200-seat auditorium, library, educational studios, restaurant) and preservation offices. Museography of permanent collections.

↧

IPERA 25 - Alataş Architecture and Consulting

November 12, 2013, 6:15 am

≫ Next: Recupero dell'Antico porto di Farfa sul fiume Tevere - Spazi Consonanti, Giuseppe (detto Mao) Benedetti, Sveva Di Martino

≪ Previous: Museum of Fine Arts - Ibos Vitart

Project Signifance and Impact
The building constitutes the first example if its kind in demonstrating that conservation in the historic Galata District can be achieved successfully not merely by preserving and replicating the past. By extension, this approach has elicited positive responses from the city and thus blazed a trail in its own right. The building gave impetus and a positive direction to the ongoing urban transformation at a stagnant and underdeveloped point in Galata. In transforming an idea into a building, Alataş’ architectural stance, his light design, use of natural energy sources, and attempt to create readable structures, as well as the unconstrained, flexible, boundless, and transparent character of his designs are reflected everywhere from the connection details of the components to the relationship between the building and its setting.

Photo by Gürkan Akay. Published on November 12, 2013.

Materials, Construction and Technology
foundation:
The neighboring structures adjoin the building on all three sides on the sloped terrain with difficult working conditions. In order to avoid any possible damage to these structure, the building’s raft foundation and curtain walls were thus completed by using the hand-dug well foundation technique in stages.

Photo by Gürkan Akay. Published on November 12, 2013.

construction:
In a city center where land is precious, the exposed concrete curtain walls and concrete floors isolating the building from its neighbors were poured in an extremely thin manner, resembling fire walls of the past. It was thus possible to use such a thin layer of concrete in a load-bearing system where concrete and steel were integrated and the structural elements functioned with vertical loads without receiving any momentum. In line with the needs of the structural system, the connection details of steel and concrete and the location and shape of the diagonal steel sets against lateral forces were specially designed by an architect. Instead of repeating the load bearing systems used frequently in this geography, this approach not only advanced the details but also introduced an innovative touch to the building’s architecture.

Photo by Gürkan Akay. Published on November 12, 2013.

façade:
Cradled in steel and concrete and used uninterruptedly in the front and rear elevations, the structural glass façade pursues patent architecture that produces new details rather than succumbing to assembly architecture with familiar systems. The non-profiled sliding wings manufactured specifically for the façade and façade cover joints are produced with unique details that are not revealed at first glance. The concept of the transparent surface of wooden veil covering the two façades and the roof between two walls was developed specifically for this building by the architect himself. The concept was achieved by elegantly suspending the steel and wooden elements from the points holding the glass panes of the façade.

air-conditioning:
In the double-façade flats facing the east and the west, the temperature difference emerging between the façades at various hours of the day is designed to provide natural horizontal air conditioning. While the moveable shell covering the outer façade protects the glass façades against daylight and heat in the summer, the 20-cm void between the building and its exterior creates a chimney effect and generates a natural air circulation around the building. In winter, on the other hand, sunlight permeating through the moveable shell is stored as heat on the exposed concrete surfaces of the floor and walls, thereby providing heat conservation for the building and its dwellers.

Location: Galata, İstanbul, Turkey 
Programme: Housing
 Total Site Area: 154 sqm
Total Combined Floor Area: 1100 sqm 
Year: 2012 
Materials: steel construction, concrete, wood, glass, stainless steel

Photo by Gürkan Akay. Published on November 12, 2013.

Photo by Ali Bekman. Published on November 12, 2013.

Photo by Gürkan Akay. Published on November 12, 2013.

Photo by Ali Bekman. Published on November 12, 2013.

↧

Recupero dell'Antico porto di Farfa sul fiume Tevere - Spazi Consonanti, Giuseppe (detto Mao) Benedetti, Sveva Di Martino

December 20, 2013, 6:49 am

≫ Next: Grace Santorini Hotel & Villa - Divercity, Mplusm

≪ Previous: IPERA 25 - Alataş Architecture and Consulting

Recupero dell’Antico porto di Farfa sul fiume Tevere

Stato di fatto.

↧

Grace Santorini Hotel & Villa - Divercity, Mplusm

December 4, 2013, 7:55 am

≫ Next: MAST - Labics

≪ Previous: Recupero dell'Antico porto di Farfa sul fiume Tevere - Spazi Consonanti, Giuseppe (detto Mao) Benedetti, Sveva Di Martino

This 20-room hotel (a joint project between Divercity and Mplusm) is carved into the cliff-face 300m above Santorini’s volcanic caldera. The understated design allows this extraordinary landscape to take centre stage. The hotel provides a contemporary interpretation of vernacular architecture: economy of space, radical simplicity, and organic forms. The infinity pool’s jagged outline echoes the zigzag paths that criss-cross Santorini’s sheer terrain.

Santorini’s hotel rooms are invariably front-loaded to face the view, leaving residents exposed to passers-by. To ensure privacy, fragments of volcanic rock are positioned in the windows of four rooms, interspersed with apertures that provide glimpses to the sea. The interiors are inspired by the local natural and geological surroundings, specifically the volcano and properties of porosity. The bespoke black and white resin floor, inspired by the stone-cobbled narrow pathways (calderimia) of Cyclades, lead the guests to the room.

The space between The Villa (designed by Divercity and added to the hotel 2 yeas later) and Volcanic Spa, is articulated through a sequence of thick walls with concave openings, prismatic patterns on the floor and rock-carved furniture. The thick porous walls of the master bedroom and the Volcanic Spa are interspersed with apertures that provide glimpses from one room to another as well as the exterior view.

Total plot area: 1,033.72 m2
Total building area: 621.23 m2
Status: complete, 2010, 2012 (Villa)

Photo by Serge Detalle. Published on December 04, 2013.

↧

MAST - Labics

October 29, 2013, 3:33 am

≫ Next: Parcheggio interrato Piazza Tribunale - Stanislao Fierro

≪ Previous: Grace Santorini Hotel & Villa - Divercity, Mplusm

MAST Foundation is a cultural and philanthropic institution that focuses on art, technology and innovation and favours the development of creativity and entrepreneurship also cooperating with other institutions, in order to support economic and social growth. Conceived by the president of COESIA– an innovation-based industrial solutions company – Isabella Seragnoli , MAST is a private initative open to the community that improves both staff welfare and the company’s public image . The activities offered to external visitors, as well as the services dedicated to company employees, share the same philosophy based on technology, art and innovation. The building is the result of a restricted design competition held in 2006. The winning architectural firm studio Labics (leaded by Maria Claudia Clemente and Francesco Isidori) was appointed to develop the project.

Building as a border.
The competition brief asked to develop a series of buildings across the company campus, providing staff facilities – creche, canteen, academy, staff club and wellness centre – as well as public spaces such as a training centre, auditorium, and a company museum. The program of the competition has been interpreted by Labics who aimed at bringing together different functions in a single complex and giving the building greater strength and identity, so as to delineate an interface between public and private. The final result is a composite building, a sort of micro-city dedicated to arts, innovation and technology appearing as compact volume from the outside, yet articulated in pathways and functions on the inside. Starting from the ground floor, MAST hosts a company canteen, an exhibition hall, service rooms, a gym and a large nursery with its own garden. First level has an exhibition space and a cafeteria, whereas the top floor is partly occupied by a number of classrooms, a spacious foyer and an auditorium which can accommodate 400 people. Therefore, an underground three-level parking for company staff as well as visitors.

Between building and path.
To fulfill the elaborate and diverse functional programme requests, the building was designed studying the possible dynamics of users flows through various inner spaces. A continuous path runs through the entire building and links together all the activities , connecting them with the city and turning the complex into an lively place open to the community. Two major pedestrian ramps extend from the core of the building to the main access, from where you can reach the exhibition space on the first floor and then continue toward the foyer and the auditorium, one of the nerve centre of the complex. Passing through the full height space, you can go down to the cafeteria and the company canteen. The complex expresses a somewhat hybrid identity, which cannot be identified with one of the activities hosted, but at the same time, it is able to represent them all.

Between public and private.
The building differs from the surrounding fragmented urban fabric in that it addresses its context, mediating between the solidity of the existing buildings on the company campus and the open spaces of the nearby River Reno park. It therefore has two ‘fronts’: a private, linear one which relates to the existing company buildings, and a second, public front that opens toward the city and park. This entrance consists of long ramps which directly address the park, inviting the public into the heart of the building.

Wrapping.
MAST appears as a light, translucent and changeable building. The double skin-glass envelope covers the entire facade and it is composed of two layers: a transparent curtain wall and a glazed layer screenprinted with a pixelated photographic design; at night, the building becomes a bright see- trough object.

The landscape project is designed by architect Paolo Pejrone. At the main entrance, the monumental red sculpture ‘Old Grey Beam’ by Mark di Suvero.

Program: Creche, Canteen, Wellness centre, Exhibition space, Academy, Auditorium, Caffè, Parking
Project&esecution dates: 2009-2013
Gross floor area: 25,000 sqm
Net floor area: 12,000 sqm
Cost: 40,000,000 euro

Construction:
General contractor: CESI (2009-2012)
General contractor: DOTTOR Group (2013)
Facades structures: FOCCHI Group
Mechanical and electrical systems: CEFLA
Special systems: VIDEOWORKS
Security systems: METROVOX
Floor and wall’s finishes: LABORATORIO MORSELETTO
Auditorium’s finishes: POLTRONA FRAU
Garden: ARCADIA

↧

Parcheggio interrato Piazza Tribunale - Stanislao Fierro

February 20, 2013, 12:50 am

≫ Next: Casa in una pineta - Massimo Fiorido, sundaymorning, Fabio Candido, Monica Bracci, Massimo Fiorido

≪ Previous: MAST - Labics

Il parcheggio interrato si sviluppa su tre piani interrati per un numero complessivo di 300 posti auto. L’ingresso veicolare, attraverso una rampa a doppio senso di marcia, é posizionato su Via Duca d’Aosta in prossimità dell’angolo Est di Palazzo Tribunale. Vi sono due ingressi ed uscite pedonali, raggiungibili dalla superficie, e posizionati, simmetricamente, ad Est ed ad Ovest rispetto al prospetto di palazzo Tribunale. Caretterista fondamentale del progetto è la posizione longitudinale della rampa veicolare interna a doppio senso. Questa taglia i 3 piani interrati creando un forte contrasto tra gli interpiani, molto compressi, agli spazi della rampa , eccezionalmete alti. Tema di grande interesse e di grande espressivitáè la soluzione delle aerazioni naturali, assolutamenti necessari. La soluzione adottata riesce adeguatamen Il Garage interrato è assolutamente monomaterico, calcestruzzo armato, delegando ai diversi trattamenti la forza espressiva che questo materiale riesce a conferire.

↧

Casa in una pineta - Massimo Fiorido, sundaymorning, Fabio Candido, Monica Bracci, Massimo Fiorido

July 16, 2012, 4:57 am

≫ Next: Nottingham Contemporary - Caruso St John Architects

≪ Previous: Parcheggio interrato Piazza Tribunale - Stanislao Fierro

Contesto La pineta di Marina di Castagneto Carducci nasce agli inizi del secolo scorso in seguito ad un processo di bonifica della fascia dunale costiera. Sul finire degli anni Cinquanta Giancarlo De Carlo redige un piano urbanistico caratterizzato dalla generosa presenza del paesaggio, in cui gli edifici, immersi tra dune punteggiate di pini marittimi, mirti e lecci, hanno carattere di forte individualità e sono collegati da percorsi liberi che assecondano l’andamento del paesaggio. Conseguenza di ciò, ma soprattutto di un rapido processo di sviluppo del tessuto edificato a partire dagli anni Sessanta, è la forte eterogeneità morfologica e qualitativa delle presenze architettoniche: ad edifici di evidente qualità, caratterizzati spesso dall’uso della pietra a faccia vista come sistema costruttivo ed espressivo, con caratteri formali che spesso non disdegnano di guardare alle migliori esperienze italiane ed europee degli anni Cinquanta, fanno da contraltare edifici di scarso valore, incoerenti nei propri apparati morfologici e decorativi, frutto spesso di successive e incerte trasformazioni.

Opportunità L’opera che qui si presenta nasce dall’occasione di una ristrutturazione di una residenza estiva costruita a metà degli anni Sessanta. La scarsa qualità architettonica della costruzione esistente costituisce un’opportunità di riflessione sulle qualità del paesaggio nel quale l’edificio si inserisce, adagiato su una duna di sabbia, circondato da pini marittimi collocati in punti singolari, spesso molto vicini alle pareti. L’intervento delinea una duplice prospettiva: da un lato la necessità di individuare una sintesi tra la natura dell’edificio – seppur ancora da scoprire – e i valori morfologici e cromatici del luogo in cui esso è insediato; dall’altro la volontà di collocare il carattere degli ambienti interni nel solco di una tradizione che fa del comfort, della domesticità, dell’appropriatezza la propria cifra identificativa. Tutto ciò si applica soprattutto nella modulazione della luce e delle vedute, nella misura e conformazione degli spazi, nella discrezione dei materiali. Una ideale direttrice longitudinale, che attraversa l’intera costruzione, permette di trovare una convergenza tra due aspetti operativi significativi: in primo luogo la ridefinizione della spazialità interna, che si concretizza in una sequenza di stanze passanti in stretto rapporto tra loro e con il paesaggio circostante; in secondo luogo l’identificazione del carattere dell’edificio in una nuova morfologia, allo stesso tempo naturale e archetipica, che trova nel sedimento orizzontale la cifra costitutiva. Da questa duplice istanza nasce il criterio di rimodellazione delle aperture nel corpo dell’edificio, quasi tutte diverse tra loro ma costruite tenendo conto sia della sequenza degli ambienti interni, sia della relazione tra la stanza e l’esterno, sia dell’equilibrio del rapporto massa-bucatura della costruzione. Tutto ciòè evidente soprattutto nella grande finestra della sala da pranzo che, al termine di una successione di aperture della medesima dimensione, incornicia una veduta del paesaggio dunale.

Materia L’emergere del carattere archetipico dell’intervento si manifesta nella nuova morfologia della massa edificata, che evidenzia la doppia falda della copertura e una certa compattezza nei due fronti terminali – pur tuttavia mitigando queste caratteristiche formali nella parte centrale, prevalentemente orizzontale. Il materiale utilizzato per il rivestimento esterno, un travertino striato, contribuisce a fare leggere la morfologia dell’edificio come una ideale massa unitaria frutto di differenti sedimentazioni, conferendo inoltre assonanza cromatica con il paesaggio circostante. La limitata gamma dei materiali utilizzati – travertino, presente anche nei rivestimenti lapidei degli interni, intonaco, legno di teak, utilizzato per conferire continuità ai piani orizzontali interni ed esterni – contribuisce a fare della casa una presenza nella pineta che vive di una ricercata ambiguità: mentre offre un confortevole rifugio dal mondo esterno, allo stesso tempo introduce dentro di sé il paesaggio che la circonda.

↧

Nottingham Contemporary - Caruso St John Architects

November 18, 2009, 7:38 am

≫ Next: Piazza Tribunale - Stanislao Fierro

≪ Previous: Casa in una pineta - Massimo Fiorido, sundaymorning, Fabio Candido, Monica Bracci, Massimo Fiorido

Nottingham has a history as a place for contemporary art, for performance and time based practice as well as for object based work. This legacy recalls the artist run spaces of downtown New York in the late 1960s, and the work of artists like Gordon Matta Clark and Trisha Brown whose work directly engaged the spaces of the city around them. We wondered if the history and urban qualities of the site in Nottingham’s Lace Market, which has parallels to the cast iron district of downtown New York, offered an opportunity to make art spaces that were unusually engaged with the cultural and topographical qualities of their site. The legacy of the downtown loft lives on in places like PS 1 in New York, Palais de Tokyo in Paris, and the De Pont Foundation in Tilburg, buildings whose artistic programmes fully exploit the strong and specific character of their found interiors. Our project for Nottingham Contemporary sets out to offer a wide inventory of interiors that have the variety and specificity of found spaces, within a new building.

The design engages with the major levels of a very complex site. An existing north-south public route through the site has been given a renewed purpose by its adjacency to this new public building. At High Pavement, to the north of the site, a covered yard provides a generous outdoor space at the entrance to the building, and a starting point for this public route. Garner’s Hill stairs have been straightened and made more than 5 metres wide, and the route southwards affords views and access to each of the levels of the interior. The route culminates in a second public yard at the southern end of the building, a space where the café can spill outdoors and which provides a second entrance to the building from the south. A last flight of the stair completes the route to Cliff Road where vehicular access, loading facilities, workshops and plant are located. The close relationship between the interior of the building and the topography of the land means that the character of Nottingham Contemporary has fundamentally emerged from the specific qualities of its site.

The main entrance to the building is from Upper Yard. A large canopy, like a cinema marquee marks the point of entry, and even before entering, one can see art within the depth of the building. Passing through glazed entrance doors one enters into the first in a network of five rooms. The ground floor galleries have a 4.5 metre clear height and even top lighting that is moderated by a grid of lightweight coffers that are suspended within the steel roof structure. The galleries are defined by thin, non load bearing walls, and are connected by large glazed openings that afford views across the width and length of the floor and which lend flexibility to how this suite of rooms can be used. The northern most gallery is 10 metres high and has a single large roof light and a 9 metre wide window facing Weekday Cross and beyond towards the centre of Nottingham.

The lower exhibition space is a large, lozenge shaped room, 7.5 metres high and formed in concrete. One can feel that this room is built deep into the sandstone cliff. The 1.5 metre depth of the concrete beams that span the space accommodate a fully flexible theatrical rig. Retractable bleacher seating enables the space to be used for cinema and performance as well as for visual art. To the south is the café and bar that can be independently entered from Lower Yard. In the middle of the building a mezzanine level accommodates education and office spaces.

We were interested in the presence of the cliff and the way that it elevates the southern edge of the Lace Market so that several ranges of buildings are presented, almost in elevation, to the south of the city. While the line of the cliff is reinforced by the low slung body of the building, the profile of Nottingham Contemporary is distinctive and becomes a part of the spectacular view from the south, where the buildings of the Lace Market form a crown against the sky. The roof volumes build up in size towards High Pavement and have a clear relationship to the volume and scale of the existing Georgian townhouses that line the southern edge of the Lace Market.

The exterior image for Nottingham Contemporary is inspired by the 19th century buildings of Nottingham and in particular by the impressive facades of the Lace Market, where hard brick forms a robust shell to the repetitive structural frames of the warehouse buildings. The toughness of these facades was originally about durability and low maintenance but the rigour of their repetitive pattern and precise material assembly also lend a dignity to the streets of the quarter. The facades of Nottingham Contemporary are developed as a continuous patterned surface of pale green pre-cast concrete elements. Terracotta facades by Louis Sullivan, in particular the Guarantee Building (1896) in Buffalo, have served as a model for our façades. Sullivan’s finely moulded surfaces with their rich and considered use of pattern speaks of their material and fabrication as well as being incredibly beautiful. Something of these qualities can be achieved with contemporary techniques of casting concrete, without the intensive use of skilled labour that was required in the production of 19th century terracotta.

The cast pattern is taken from a specific example of Nottingham lace, which itself was a machine made copy of a French hand made original. The lace was scanned, and then the scale, tiling and contrast of the two dimensional image was worked. This modified image was then converted into a three dimensional description which was used to drive a milling machine that produced a full sized positive in MDF which was then used to make hard latex moulds. Four, 14 metre long latex moulds were used to cast all of the pre-cast elements on the building.

The two rooftop monitors, figures that give Nottingham Contemporary its silhouette within city’s skyline are clad in tall sheets of gold anodised aluminium which have been given a gently billowing profile that serves to stiffen the very thin material.

↧

Piazza Tribunale - Stanislao Fierro

February 20, 2013, 2:20 am

≫ Next: Piazza Silvius Magnago - Stanislao Fierro, Nadine Saul, Lorenzo Loiacono

≪ Previous: Nottingham Contemporary - Caruso St John Architects

La nuova Piazza, in questo modo assume un forte carattere unitario. La fontana delle Naiadi viene riprogettata e spostata verso Corso Italia, in modo da mettere immediadamente in contatto le scale e prospetti dei due palazzi . La nuova pavimentazione , la nuova scala-rampa di Palazzo Finanze , e tutti i nuovi elementi che vanno a comporre la nuova Piazza , sono stati pensati e realizzati in modo che non ci fosse competizione con i due Palazzi esistenti , che dovevono essere gli attori principali del nuovo invaso. Straordinaria importanza ha avuto lo studio finalizzato alla raccolta delle acque piovan. La nuova Piazza si presenta con la sua pendenza principale, 2%, nel verso Nord-Sud, dalla scalea di Palazzo Tribunale verso la nuova scala-rampa del Palazzo Finanze. Lungo tutta la lunghezza della nuova scala si è previsto una generosa caditoia coperta da pietra di Chiampo. Le altre due pendenze importanti sono quelle trasversali: - da Via Duca d’Aosta verso la parte centrale; - da Corso Italia alla parte centrale. Queste due pendenze danno ancora più forza alla caditoia principale. Si sono previste altre due caditoie , secondarie, nel senso trasversale, per ridurre l’afflusso alla caditoia principale. I materiali usati sono: Per la Piazza cubetti di recupero 8/10 montati su sabbia ad archi contrastanti; - Rampa accesso uffici finanziari- cubetti di recupero 8/10 montati su malta cementizia a file parallele; -Per le larghe bordature, per la nuova scala di palazzo Finanze e per il volume;dell’ascensore, che collega il garage sotterraneo con la Piazza, si usato Pietra di Chiampo;

↧

Piazza Silvius Magnago - Stanislao Fierro, Nadine Saul, Lorenzo Loiacono

February 19, 2013, 3:08 am

≫ Next: House C - Hiroshi Nakamura & NAP

≪ Previous: Piazza Tribunale - Stanislao Fierro

Nella trama della città Piazza Silvius Magnago si presenta coma una “Spazio chiuso” nel senso più classico del termine. La chiusura della Piazza è ottenuta in gran parte solamete da tre edifici . Il quarto lato è caratterizzato da un autentico muro naturale. Questa particolare situazione risce a mettere in atto una relazione di grande interesse: alla fissità dei tre lati costruiti si contrappone la ciclica mutevolezza del quarto lato naturale.

Si fonda sulla convizione che la Piazza abbia già in se enormi potenzialità e che serva un gesto semplice ed al contempo forte che sappia dare una base a tutti gli edifici. La tecnica compositiva dei “piccoli spostamenti” guiderà tutti i passaggi progettuali. I punti fondamentali saranno: -Sostituzione dei numerosi materiali esistenti con uno solo, capace di dare risposta alla Piazza ma, volendo, anche a tutto l’isolato; -Spostamento della Fontana di Re Laurino nel Giardino di fronte; -Posizionamento delle panchine,; fontane ; dissiusori; ecc.., in modo di chiarire l’accessibilità all Piazza di individuare con chiarezza le zone di sosta; -Piccoli cambiamenti al Parapetto del Palazzo del Consiglio Provinciale e della Chiesa Maria Regina Angelorum

Dopo aver chiarito e semplificato gli aspetti urbanistici, la scelta del materiale per la pavimentazione della Piazza doveva essere momento di congiunzione tra spazialita´ e Silvus Magnago. Quindi l’analisi geologica del territorio diventa determinate. Interessante e´stato lo studio dei letti dei fiumi, soprattutto a valle. Qui si trova una incredibile testimonianza di cio’ che l’acqua raccoglie nel suo scorrere, dalla foce, tra valli, per giungere a Bolzano, vero e proprio terminale. Qui si possono incontrare calcari, quarziti, graniti, arenarie, dolomia, ecc.., un incredibile sintesi geologica del territorio, da cui si puo`attingere per una scelta del materiale atto a legare fortemente una costruzione al luogo.

↧

House C - Hiroshi Nakamura & NAP

February 28, 2011, 6:46 am

≫ Next: Riflettiamoci - Miroarchitetti, Giacomo Minelli, Valentina Cicognani, riccardo pedrazzoli

≪ Previous: Piazza Silvius Magnago - Stanislao Fierro, Nadine Saul, Lorenzo Loiacono

This is a weekend house for a family of three, a coupe with a small child. This site is within a grassy plain between the ocean of Bousou and mountains, and it is surrounded by a landscape with bathing beach and sport land facilities. We proposed to design a house accommodating both scenery of the ocean and of the mountain without separating the open environment into the ocean side and the mountain side.

We considered it was not appropriate just to bury the building into the ground and hide it in the landscape, as the building becomes of a separate nature from the ground. Thus the grass plane was cut into and lifted up to produce an in-between space for the house. As a result, the exterior appears to be ‘gradual’ and ‘loose’. The experience of lying down on this building becomes equivalent to lying down on the grass ground. The interior space provides exquisite views of the ocean and the mountains framed between the wild flowers growing from the roof and the ground.

For the roof slab, we have used anti-corrosive concrete and by making the horizontal forces of the roof conduct into the ground, provided the space with fewer columns. The building frame receives the external heat insulation, while the grass soil is utilised for its protective layer and the finish to reduce the cost of the exterior sheathing.

The roof material is selected to reflect the colour of the soil particular to this site and the seasonal changes in vegetation ? the building profile will be transformed as the owner plant and clip the plants. Here it was not necessary to seek for the excessive design signature or the severity of the white abstract space. An architect’s job to decide the discretion of the building form or the texture can now be handed over to the nature and to the dwellers. Such “looseness” we thought would be suitable for the idea of the weekend house.

↧

Riflettiamoci - Miroarchitetti, Giacomo Minelli, Valentina Cicognani, riccardo pedrazzoli

December 27, 2013, 11:52 am

≫ Next: Costruzione nove abitazioni a Soprabolzano - Stanislao Fierro, Nadine Saul

≪ Previous: House C - Hiroshi Nakamura & NAP

ITA- Concorso per l’involucro del cantiere di Piazza Verdi. Il cantiere per il rifacimento della pavimentazione della piazza centrale del quartiere universitario della città. Ottanta metri lineari di recinzione da rivestire con un installazione. L’idea è semplice e potente: un’unica superficie specchiante riveste il bozzolo del rinnovato spazio pubblico invitando i passanti a guardarsi in faccia. Un episodio di rinnovamento del paesaggio urbano come occasione per rinnovare i presupposti di una convivenza civile attraverso autocritica e dialogo.

ENG– Competition for an envelope for Piazza Verdi Building site. The new paving’s building site in the University Quarter’s main square. Eighty meters of wooden fences to cover with an installation. The concept is as easy as powerful: a seamless surface of mirror wraps the shell of the renewed public space inviting the citizens to stare at their own faces. An episode of townscape requalification as a chance to redefine the bases of a civic coexistence through self critic and dialogue.

↧

Costruzione nove abitazioni a Soprabolzano - Stanislao Fierro, Nadine Saul

February 19, 2013, 9:49 am

≫ Next: Bordin_Salizzo De Covoli - Roberto Nicoletti Architettura e Design

≪ Previous: Riflettiamoci - Miroarchitetti, Giacomo Minelli, Valentina Cicognani, riccardo pedrazzoli

Zielsetzung

Neben des in der Ausschreibung geforderten Raumprogramms und der technischen Gebäudequalität wurde der planerische Schwerpunkt auf eine bestmögliche Integration des Neubaus in das urbanistisch anspruchsvolle Wettbewerbsareal zu erzielen,gelegt. Dabei wurde versucht die Gebäude und Freiflächen im Hinblick auf die natürliche Belichtung und unter Einbeziehung der örtlichen Gegebenheiten optimal auszunutzen. Besonderer Wert wurde auch auf die Schaffung eines gesunden Raumklimas sowie die damit verbundene sorgfältige Wahl der Materialien und Oberflächen gelegt.

Konzept

Das Projekt sieht zwei zweigeschössige , kompakte Baukörper vor. Die korrekte Positionierung dieser beiden Baukörper, um eine bestmögliche natürliche Belichtung und Sichtblicke zu schaffen, war Schwerpunkt der gesamten Planungsphase. Die beiden Baukörper weisen eine horizontale und vertikale Versetzung auf . Durch die starke natürliche Hanglage des Wettbewerbsareal wird der oberhalb liegende Baukörper um ein Geschoss versetzt. Die horizontale Versetzung wurde durch eine Verschiebung des unterhalb liegenden Baukörpers in den nordöstlichen Bereich des Areals erzeugt um beiden Gebäuden eine maximale Sicht- und Beleuchtungsverhältnisse zu schaffen. Durch die horizontale Vesetzung wurde im Südwesten ein grosser Freiraum geschaffen, der sich auf natülicher und sanfter Art mit dem mit dem darüberliegendem Freiraum verbindet und somit eine einzige grosse Gemeinschaftsfläche mit verschiedenen Themen bildet. Die im Innenhof liegenden Eingänge werden durch Einschnitte im Bauvolumen gekennzeichnet und es wird somit jeweils ein überdachter wettergeschützter Vorbereich geschaffen. Durch die einfache und überlegte Formgebung sowie der Fassadengestaltung integrieren sich die neuen Baukörper in die Landschaft und das umliegende architektonische Umfeld. Die beiden parallelen Baukörper bilden einen Innenhof, welcher von einer kleinen Grünfläche mit Bäumen einen harmonischen Charakter erhält. Von hier aus hat man eine ebenerdige direkte Zufahrt zur Garage, wo sich 12 Parkplätze befinden.

↧

Bordin_Salizzo De Covoli - Roberto Nicoletti Architettura e Design

December 27, 2013, 12:17 am

≫ Next: House under the oaks - juri troy architects

≪ Previous: Costruzione nove abitazioni a Soprabolzano - Stanislao Fierro, Nadine Saul

Cava Bordin_Salizzo De Covoli

↧

House under the oaks - juri troy architects

December 19, 2013, 6:50 am

≫ Next: Progetto di restauro e valorizzazione del casale rurale prossimo al complesso archeologico delle cosiddette Terme di Tito - Giuseppe (detto Mao) Benedetti, Sveva Di Martino, Spazi Consonanti

≪ Previous: Bordin_Salizzo De Covoli - Roberto Nicoletti Architettura e Design

The house under the oaks is a low budget passive house concept developed for an Austrian family. With a minimum footprint and a wide outstretching wooden box on six columns it offers a living area of about 100 m2.

The whole structure was done in prefabricated timber with all ecological wood wool insulation of up to 60 cm. The interior is done all in local wood as well with a simple white pigmented oil cover. A heat pump with ground collector, a controlled ventilation system with heat exchange and photovoltaic panels on the roof offer a perfect energy concept with a minimum of required external energy – which is provided by eco electricity.

Like this it is a new prototype for affordable living on minimal energy standard in Austria.

↧

Progetto di restauro e valorizzazione del casale rurale prossimo al complesso archeologico delle cosiddette Terme di Tito - Giuseppe (detto Mao) Benedetti, Sveva Di Martino, Spazi Consonanti

December 20, 2013, 5:08 am

≫ Next: villa B&D - COTTONE+INDELICATO ARCHITECTS

≪ Previous: House under the oaks - juri troy architects

Accanto ai monumentali ruderi, si trova un casale agricolo che è stato recuperato per dotare il sito di un laboratorio archeologico aperto al pubblico. L’unico elemento che esternamente rivela il restauro è il “congelamento”, di un crollo murario; sul retro, un nuovo manufatto di corten ospita gli spazi di laboratorio veri e propri; al primo piano è la foresteria e al piano terreno il Centro di documentazione. All’interno, un allestimento visivo e artistico incentrato sulla presenza fisica dell’acqua, tramanda la memoria del vicino lago di Cutilia, sacro alle popolazioni italiche.

Guattani - Monumenti sabini. Published on January 04, 2014.

La grotta delle Commotiles.

Volumen

Stato di fatto.

↧

Latest Images