Australian Pavilion - Denton Corker Marshall, FAREstudio

April 20, 2015, 3:17 am

≪ Previous: Apple Store Zorlu - Foster + Partners

The design of the new Australian Pavilion is of the utmost simplicity, architecturally expressed as a white box within a black box. The exterior, a black granite envelope, features large operable panels which open up to ‘reveal’ the interior or to provide outlook or natural light. The operable panels also allow for the otherwise solid, singular object to take on a changing character depending on the requirements of a particular exhibition.

The exhibition space is a pure rectilinear white space of an almost perfect square proportion, where art is the focus. Entry to the two level concrete and steel structure, is via a steel ramp leading to a floating concrete terrace overlooking the Rio dei Giardini canal. The new Australian Pavilion is the first 21st century pavilion in the Giardini della Biennale, finished for the 56th International Art Exhibition, La Biennale di Venezia, in May 2015. With completion of the Pavilion, an ambitious new chapter will begin for the representation of Australian art and architecture internationally.

Our idea for the new Pavilion of Australia was to create a simple yet powerful pavilion – a distinct presence within the Giardini della Biennale, yet sensitive to the historic gardens and surrounding pavilions. We also wanted to create a ‘pure,’ timeless sculptural object that could exude both subtlety and confidence within the context of the Giardini. Thus, we designed a white box within a black box, carefully positioned on the site to ensure minimal impact on the existing landscape.

In the interest of both artists and visitors, we were determined not to cross the line of architectural expression by competing with display content. The white box interior is a pure rectilinear space of an almost perfectly square proportion. It is the largest single volume that the site allows, thus providing maximum exhibition flexibility.

The black box exterior is a rectilinear block modified to incorporate a cantilever over the canal-side pathway. Its granite exterior can nearly disappear into the treescape or assert its power, depending on one’s angle of approach. The black box also features large operable panels on three faces, which may be opened to reveal the interior, or to provide natural light or a sense of vista.

By allowing the opening of the panels, this otherwise solid, singular object is able to change character, chameleon-like, as the exhibitions themselves change within – closed and mysterious, open and visually accessible, or extroverted and colorful. One of these panels, the entry platform, is positioned for views of the canal, bridge, and Giardini, and was envisaged as a space for outdoor gathering, reinforcing a sense of arrival and placing the pavilion’s entry in wide public view.

In designing the pavilion as a sculptural object or, a box inside a box, we envision it as a container, transporting it from Australia to Venice. We like the idea of a mysterious black box that opens up to reveal its contents particularly in the context of the Giardini, which closes during the winter months and reopens in the spring.

We hope we have achieved a timeless and powerful addition to the Giardini; one that respects an important heritage, as well as promotes a sense of Australia.

Consultants in Australia:
Denton Corker Marshall – Architect
Arup – Services and Structural Engineers
Advanced Design Innovations Pty Ltd – Engineering consultant for operable panels

Consultants in Italy:
FAREstudio – Local Architectural Associate
STEAM– Services and Structural Engineers
InTeA SrL – Project Manager
Contractor –SICOP SrL

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shrimp - UID

April 14, 2015, 7:14 pm

≫ Next: Troia MED - Nuno Montenegro

≪ Previous: Australian Pavilion - Denton Corker Marshall, FAREstudio

The new three-dimensional courthouse in the city A plan in the housing built in the center of Fukuyama city. The site where touch the north side frontal road is bent slenderly in north and south, and the site is enclosed by housing and a building. The sky, the water, the earth sunlight and the environment like house in mountain that a look and interactive relationship with animals and plants are born also to play some time abundant in daily life in such site. A courthouse-like element was taken in the interior in three dimensions aiming at the relationship into which a person can expand the reach with concerning more, not the relationship sheltered from circumference outside. We cut site to 3 volumes and expected the connection with the external environment. 3 shells were formed by 6 RC independent cantilevering walls which stand up from the ground of eastern and western neighboring land. The big hollow was born between the shell and slits are made by mixing with the outside and inside shells. That, the shell cut down is chosen as the free wooden Slave with the different floor level sitting astride, and the respective whereaboutses are being produced while twining with a landscape. And sunlight and a wind are going through the stay location of the person while a shell’s different in the size connecting inside space and outside space complicatedly. Though it seems to be the part ridge form by an opening between shell from shell like a crustacean and the intermittent internal space, there is the expanse where territory isn’t prescribed. Though there is that in center city, the present-day environment like house in mountain is invented there. Though the situation around the site is being read politely in a residential area in an urban area, it’s important to produce relationship in moderate territory with neighborhood. I think that is the essence would take some casual daily time something abundant.

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Troia MED - Nuno Montenegro

April 17, 2015, 7:31 am

≫ Next: green box - act _ romegialli

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Architecture

Located between pine trees, its architecture of abstract volumes draws angles toward the sea and the Mediterranean forest. The experience of the interior spaces is amazing at every step. The geometry is unrepeatable, providing a unique experience to users. The landscape varies from the interior, this is reflected on the variety of shadows projected by the white volumes. From the sky, the project has the shape of a butterfly on a garden.

Siting and Functional Organization

Troia MED is a small resort consisting of six (3 + 3) homes, and is located in the Troia peninsula, in southern Portugal. The buildings are located along the Troia golf course, along the Atlantic coast. The various apartments consist of a typology of common rooms with integrated kitchens, and bedrooms with various health facilities. Of the three floors, only two are more visible. The partially buried floor is linked to the land by taking advantage of various gaps created for that purpose. Thus the house becomes practically invisible, despite its great luminosity and spaciousness inside. The garden does not have any type of enclosure. The boundary of the property is understood as a continuous process, connecting the building with the surroundings.

Structures: Vitor Roque
Paint: Dyrup
Waterproofing: Sika
Thermal Insulation: Weber Therm
Plumbing: Sanitana

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green box - act _ romegialli

October 31, 2011, 8:21 am

≫ Next: Ant House - mA-style architects

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green box

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Ant House - mA-style architects

June 3, 2013, 6:29 am

≫ Next: House Belgrade - architecten de vylder vinck taillieu

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The outer wall of black covers whole cube, and that screens visual field completely. Inside of heavy door, the space turns to vivid yellow covered by larch plywood. It seems that the world changed. It looks like hiding place. This is the house which lives married couple and their three sons.

Photo:Kai Nakamura. Published on June 03, 2013.

We planned ambiguous space without partition a room. By doing so, it makes us free use of the space. First of all, we drew simple rectangle without any daring idea on the ground for suiting the cost. Second, we sat up panels along the line. Then, we lined kitchen, washroom, desk and storage shelfs. The space is like a room, but it also would be passage. In the middle of first and second , we placed free place. Top of the space is gable roof, it makes new blank in the house. The blank is free, the sunlight and the wind comes into the space from aperture.

Photo: Kai Nakamura. Published on June 03, 2013.

In the night time, we can hear the sining of insects and also can feel moonlight. The space also enable us to see each other. The space that has no partition does not have usual conception as a room. So, we can give the role for the space as our favor. In the cube which was covered by black wall, very free world becomes larger like ant’s nest.

Site Area: 241.13m2
Building Area: 66.24m2
Gross Floor Area: 119.24m2
Completion: March 2012

Photo: Kai Nakamura. Published on June 03, 2013.

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House Belgrade - architecten de vylder vinck taillieu

August 19, 2013, 7:26 am

≫ Next: Suppose Tokyo Office - Suppose Design Office

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Another factory premises, with a difference. Stacked.
Degraded structure. In concrete, steel, vaulting. Has been altered again and again. Traces of lots. That we don’t know. Will never know.

Lived and worked with. Drawn. Painted.
We bring peace and quiet. Canvas. Background. Scene. Sets. Silent sets. Plane.
And behind those sets. Structure again. And wood too now.

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Suppose Tokyo Office - Suppose Design Office

February 12, 2015, 1:18 am

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Suppose Tokyo Office

■Main materials
Floor: Old scaffold board
Wall: Existing concrete wall + Dust-proof paint finish / Galvanized
Steel Plate t2.3 + Paint finish Ceiling: Existing concrete ceiling + Dust-proof paint finish
Steel Beams: Galvanized steel + Paint finish

■Furnitures
Desk: Old scaffold board / Galvanized steel +Paint finish
Kitchen: Countertop/European Larch Plywood t24 / Shelf/Steel + Paint finish
Bench: European Larch Plywood t24 + Fabric
Book shelf: Steel + Paint finish / European Larch Plywood t24

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Rabbit hole - Lens°ass Architecten

May 8, 2012, 7:21 am

≫ Next: A05 Réhabilitation d’un appartement - BAST

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Winner at International Wienerberger Brick Award 2012 for ‘single-family house’.
A farm in the sloping Pajottenland landscape becomes a private family home and veterinary practise. A masoned brick shaft that connects the practise, the private home and the garden brings order to a cluster of existing buildings. The shaft was nicknamed ‘the rabbit hole’. It leads to an inside yard, which is also finished in brickwork. From the higher location of the castle of Gaasbeek, the brick roofing of the rabbit hole can easily be spotted. Just like the castle, it has become a visually strong and culturally defining element in the landscape. Once inside the house, other unexpected surprises await the visitor’s eye. Even the smallest of windows frames the age-old landscape with its seventeenth-century castle. Architecture and surroundings are splendidly interlaced. The effect is so natural that it seems to have been shaped by nature and history alone.

Konijnenpijp
Een hoeve in het glooiende landschap van het Pajottenland wordt woning en dierenartsenpraktijk. Een clustering van bestaande gebouwen wordt geordend door een volledig in baksteen gemetselde koker die praktijkruimte, woning en tuin verbindt. De koker kreeg algauw de bijnaam ‘konijnenpijp’. Hij geeft uit op een binnenhof, eveneens afgewerkt met baksteen. Vanaf het hoger gelegen kasteel van Gaasbeek is de bakstenen dakbekleding van de konijnenpijp goed te zien. Ze vormt net zoals het kasteel een beeld- en cultuurbepalend element in het landschap. In huis wachten het oog onverwachte verrassingen. Zelfs het kleinste vensteropeningetje kadert het oude landschap en het bijbehorende zeventiende-eeuwse kasteel. Architectuur en omgeving hebben elkaar rijkelijk gevoed. Het effect is zo natuurlijk dat men de indruk krijgt dat het concept het product is van natuur en geschiedenis.

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A05 Réhabilitation d’un appartement - BAST

November 7, 2013, 7:55 am

≫ Next: VIPP Shelter - Morten Bo Jensen - VIPP

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Au 3e étage d’un immeuble de rapport, ce plateau traversant souffre de sa profondeur. Des parois en bois et polycarbonate redécoupent cet espace et permettent à la lumière d’entrer dans les pièces qui se trouvent au centre. Salle d’eau et bureau acquièrent alors un autre statut de part la matérialité de leur limites et leurs utilisations. Le système épais composé d’épines verticales en bois accueille les différents éléments nécessaires au fonctionnement : rangements, plan de travail, postes de commande. Un logement vaste et lumineux

Surface : 82m2
Budget : 30 000 € ht
Date : Livraison octobre 2013

Plâtrerie : DKM Habitat
Plomberie : Société Toulousaine du Froid
Courant Fort/Faible : J.Bela Elec
Menuiserie bois : Remy Vaysse

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VIPP Shelter - Morten Bo Jensen - VIPP

April 22, 2015, 3:53 am

≫ Next: Micro-Yuan’er - Standardarchitecture

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Vipp has made a plug & play getaway that allows you to escape urban chaos in a 55m2 all-inclusive nature retreat called ‘shelter’ — a prefabricated object designed down to the last detail, where the only choice left to the customer is where to put it.

‘A battery-charging station for humans’ is how Vipp’s CEO, Kasper Egelund, describes the company’s latest investment, which marks quite a category jump from Vipp’s signature product; “There is no evident link between a pedal bin, a kitchen and a shelter, but enter the shelter and the philosophy of one, long lasting, functional tool per category is embodied in every object you see — each crafted from our 75 year long tradition of steel processing”. The simple steel grid structurally supports the two level space, where only the bathroom and bed loft is shielded from the main living space. Nature is omnipresent within the transparent shell, yet with a physical blindage in the form of parallel, sliding window frames that provide shelter from the forces of nature. The starting point of the Vipp shelter is going bacl< to basics; back to nature in a dense, compact space wrapped in the Vipp DNA. The landscape is purposely framed, turning it into the predominant element of the interior space fitted with a predominantly dark-toned interior carefully selected to keep focus on nature. “Vipp is rooted in the manufacture of industrial objects, so the term ‘shelter’ is a typology that allows us to define this modern escape as a product inspired by large volume objects such as airplanes, ferries and submarines.” – Morten Bo Jensen, chief designer in Vipp. The shelter comes fully equipped with Vipp products including everything from lighting to linen, from table to toilet brush, andfrom shelves to soap dispenser.

It’s refabricated north of Copenhagen with a production time of 6 months and 3-5 days of installation.

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Micro-Yuan’er - Standardarchitecture

April 22, 2015, 4:32 am

≫ Next: Progetto di riqualificazione di Piazza Augusto Imperatore - Francesco Cellini

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Cha’er Hutong (hutong of tea) is a quiet spot among the busy Dashilar area, situated one kilometre from Tiananmen Square in the city centre. No.8 Cha’er Hutong is a typical “Da-Za-Yuan” (big-messy-courtyard) once occupied by over a dozen families.

These add-on structures form a special density that is usually considered as urban scrap and almost all of them have been automatically wiped out with the renovation practices of the past years. In this project the architects tried to redesign, renovate and re-use the informal add-on structures instead of eliminating them. In doing so, they intend to recognize the add-on structures as an important historical layer and as a critical embodiment of Beijing’s contemporary civil life in hutongs that has so often been overlooked. In symbiosis with the families who still live in the courtyard, a nine-square-metre children’s library built of plywood was inserted underneath the pitched roof of an existing building. Under a big ash tree, one of the former kitchens was redesigned into a six-square-metre mini art space made from traditional bluish grey brick. On its exterior, a trail of brick stairs leads up to the roof, where one may delve into the branches and foliage of the ash tree. With the small-scale intervention in the Cha’er Hutong courtyard, the architects try to strengthen bonds between communities, as well as to enrich the hutong life of local residents. A child may stop by after school, pick out a favourite book, and read in his little niche before getting picked up by the parents. Or the kids may climb up onto the roof, sit in the shade, and engage in a cosy conversation with the elderly in a familiar but new space.

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Progetto di riqualificazione di Piazza Augusto Imperatore - Francesco Cellini

April 20, 2015, 5:33 am

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IL MAUSOLEO DI AUGUSTO E IL SUO NUOVO RUOLO PUBBLICO NELLA CITTÀ CONTEMPORANEA
Il progetto attuale, redatto dal gruppo vincitore di un concorso internazionale del 2006, tende in primo luogo a ripristinare il senso e l’importanza dell’area come spazio pubblico. In sintesi si propone che la città si riavvicini al monumento e dialoghi con esso, contrastando la tendenza a trattare le aree archeologiche come luoghi inaccessibili e generalmente incomprensibili.

IL PROGETTO ESECUTIVO: LE SUE FASI
Il progetto esecutivo è articolato in due fasi di attuazione. La prima fase, completata nel dicembre 2014, riguarda la zona meridionale dell’area, fra l’abside di San Carlo e le scalinate della Teca dell’Ara Pacis. Essa comprende la sistemazione della grande piazza alla quota archeologica.

La seconda fase, ancora in corso di completamento, riguarda la zona settentrionale dell’area e la riorganizzazione delle strade perimetrali; prevede la ristrutturazione e l’ampliamento della piazza attuale attorno al Mausoleo, reinterpretando il rapporto storico fra città contemporanea e antico. Parallelamente verrà attuato il progetto di restauro e di sistemazione dello stesso Mausoleo (il progetto, in cui il gruppo vincitore del concorso ha un ruolo di consulenza, è a cura della Sovraintendenza Capitolina).

IL PROGETTO ESECUTIVO: PRIMA FASE– OBIETTIVI
A – realizzare una grande, vitale e attraente piazza urbana che comprenda il livello della quota archeologica, avvicinando la città al suo passato e ricollegando i suoi spazi e percorsi storici (la Scalinata di Spagna, via Condotti, San Carlo, San Rocco, San Giacomo ecc.) col Tevere e col museo dell’Ara Pacis. B – permettere una facile accessibilità al Mausoleo ed ai reperti connessi, per una visita animata da una vera sensibilità archeologica. La piazza è composta da tre parti: Un grande spazio piano, la piazza alla quota archeologica (I° e II° secolo d.C.). Un’ampia terrazza urbana si affaccia sul suo margine meridionale. La cordonata Est, che è rivolta verso il centro della città e ne raccoglie i flussi, non è un solo un percorso, ma uno spazio per stare, passeggiare e riposare: è anch’essa piazza (come la Scalinata di Spagna). La cordonata Ovest conduce al sistema di scalinate e fontane dell’edificio di Meier. Con essa si attua un indispensabile collegamento funzionale fra il museo, i suoi spazi, i nuovi servizi della piazza, l’area archeologica e il Mausoleo.

LA PIAZZA ALLA QUOTA ARCHEOLOGICA: PAVIMENTAZIONE ANTICA E DI PROGETTO
Tra i reperti emergenti sono presenti ampie zone di pavimentazioni antiche, tra le quali spicca la pavimentazione Domizianea del sec. I° in blocchi di travertino. Le pavimentazioni antiche sono integrate nella pavimentazione della piazza, rispettandone la leggibilità ed i caratteri. Le pavimentazioni di progetto adottano lo stesso materiale di quelle antiche, ma si distinguono per il diverso trattamento superficiale. Sono removibili e posate senza far danno agli strati sottostanti.

LA PIAZZA ALLA QUOTA ARCHEOLOGICA: LA CAFFETTERIA/INFO POINT
Sulla piazza archeologica si affaccia una struttura di servizio: un’ampia caffetteria che completa la dotazione di attrezzature del sistema museale Augusteo – Ara Pacis. La caffetteria arricchisce di vita pubblica la piazza. Una leggera differenza di quota garantisce una civile convivenza fra la quotidianità degli usi e il rispetto dell’antico.

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Westlake Apple Store - Foster + Partners

April 15, 2015, 4:00 am

≫ Next: House in Yagi - Suppose Design Office, Ohno JAPAN

≪ Previous: Progetto di riqualificazione di Piazza Augusto Imperatore - Francesco Cellini

Foster + Partners has completed a major new Apple store close to Hangzhou’s West Lake, which combines an understanding of the local context with the philosophy of simplicity, beauty and technical innovation that characterises Apple’s products.

Close collaboration between Apple and Foster + Partners’ integrated team of architects and engineers has created the ideal environment in which to view and interact with Apple’s products. Every aspect of the store has been optimised, minimised and de-cluttered. The white ceiling, which appears as an opaque surface during the day, is dramatically illuminated at night – the custom-made lighting panels emit a pure, even glow, as well as absorbing noise.

The 15-metre-high volume creates a sense of space and calm within the busy store and city. It is divided horizontally by a dramatic cantilevered floor, which extends 12 metres from the rear wall like a diving board to create a 9-metre-high piano nobile. The extremely slim floor structure is only made possible by tuned mass dampers to eliminate vibration, and it tapers from 1.2 metres to just 10 centimetres. This gives the impression of a floating stage in the centre of the space – a new living room for the city.

The miniaturisation of architectural elements demanded the highest levels of technical innovation and integration. The practice’s in-house structural and environmental engineers, architects, lighting, acoustic and fire safety teams worked closely with Apple, local partners in China and manufacturers to create a completely streamlined, even ceiling. In addition, the treads of the glass staircases on either side of the space are held in place by a discreet bolt, embedded into the glass to give the impression of floating glass steps – an appearance of effortless simplicity, which belies the complexity of the engineering solution. Apple has always been at the forefront of technological advances in the use of glass, and the façade comprises 11 large double-glazed panels, each rising 15 metres. The space is shaded by a series of blinds, which respond to the path of the sun and, when retracted, are concealed within the ceiling.

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House in Yagi - Suppose Design Office, Ohno JAPAN

May 6, 2013, 7:34 am

≫ Next: The „Goldener Adler“ - BGS & Partner Architekten

≪ Previous: Westlake Apple Store - Foster + Partners

principal use :personal house
client: a couple and children
site area: 155.60sqm　
building area: 56.24sqm　
total ﬂoor area: 112.48sqm, (1F: 56.24sqm 2F: 56.24sqm )
completion : June. 2012　
design period: April.2011-January.2011
construction period: February.2011-June.2012

Lighting: Original
Chair: None
Products:Dining Table
Flooring:1F・Masa soil, 2F・Elm flooring + WAX
Internal Wall: walls of exposed concrete
Ceiling:The ceilings of exposed concrete

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The „Goldener Adler“ - BGS & Partner Architekten

May 11, 2011, 7:21 am

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The „Goldener Adler“, situated in the heart of Rapperswil town center, consists of three layers, which were erected between the 13th and 17th century.

During the third extension in 1613 the house has been covered with a homogenous roof truss. The building stages can only be seen from the exterior by fine alterations of heights and bends in the façade. After rubbishy interior “upgrades” during the 20th century the substance was in various conditions. The middle part of the building was in very bad condition due to massive lowerings of the wooden slabs and intense damages of the girders. Due to this fact finally the whole part of the building had to be replaced. This new intervention was realized in golden yellow fair faced concrete. Adjacent to the new core the new bathrooms, wardrobes etc. were placed. This modern middle part contrasts to the carefully renovated rooms in the northern and southern part of the building, partly conserving the original slab constructions.

In the first floor with rooms orientated to the streets, the former “Trinkstube zum Goldenen Adler” was situated. The painted ceilings with multiple layers of paint were able to be conserved and carefully renovated. In the process of this renovation delicate wooden marqueteries were uncovered. Similar valuable parts were conserved due to professional abilities of the workers. The raw stone walls were covered with slaked lime. New interior carpenter work like kitchens and cabinets were realized in reduced esthetics and without ingratiation to the existing surroundings.

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Paula Rêgo Museum - Eduardo Souto De Moura

December 17, 2009, 7:31 am

≫ Next: House in Bom Jesus - Eduardo Souto De Moura

≪ Previous: The „Goldener Adler“ - BGS & Partner Architekten

I was lucky to choose the site, what increased my responsibility after the painter Paula Rêgo had chosen me as projectist. The site was a wood, all surrounded by a wall, with a big empty in the middle, some former club tennis courts, that had disappeared with the Carnation Revolution. With the trees survey, especially their tops, I have developed a set of volumes with different heights, to respond to the plurality of the program.

The boxes distribution works like a mineral positive, from the negative that remains from the tree top perimeter. This “Yang” and “Yin” game between artifact and nature, helped me to decide the exterior material, red concrete, the opposite color to the green wood, that meanwhile decreased by botanic prophylaxis. As I didn’t want the building to be a neutral sum of boxes, I have established a hierarchy, introducing two big pyramids (skylights) in the entrance axis, that are the library and the café, where it wasn’t indifferent Alcobaça’s kitchen, some houses from arch. Raul Lino and some illustrations from Boullé. It was my concerning that every exhibition room had always an opening to the exterior , to the garden. It’s never too much to oppose the abstract and totally artificial reality of contemporary art to the daily and ruff reality that surround us.

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House in Bom Jesus - Eduardo Souto De Moura

April 22, 2015, 9:52 am

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This large house is composed in a series of broad terraces that extend off a natural knoll. Each level of the house corresponds to a level of the terracing. The walls are all of board-formed concrete, whether merely a retaining walls in the landscape or a wall of the house itself. The roof of a lower level becomes the earth-covered terrace for the level above. The heavy concrete construction and rough, windowless surfaces give the impression of a low-slung 19th century military fortifications.

Subtle banding is made in the rough surfaces of the exposed concrete through a change in the direction of the boards. Its north side (entry side) has been left almost entirely windowless while the south façade has large banks of glazing, particularly at the living spaces where a continuous wall of glass allowing one to pass between the two dining rooms, the living room, a sitting room and the office. At each wall end there is a pocket door that can be pulled out to meet the exterior glass wall.

Structural consultants: S.G.P.E.
Electrical consultants: Fernando Ramos
Mechanical consultants: Matos Campos
General contractor: Sá Machado & Filhos

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House in Moledo - Eduardo Souto De Moura

April 23, 2015, 6:11 am

≫ Next: City of Culture of Galicia - Peter Eisenman

≪ Previous: House in Bom Jesus - Eduardo Souto De Moura

After the experience at the Baião House, I felt that it would be more natural, in Portugal, to design wooden frames.
To this end, the roof has to be exposed to view, declaring itself a new object, visible as if fallen from the sky.
The project set out to redesign another, earlier house, analogous in terms of site, program and materials.
One exception, one aspect that was not a redesign, is that we had to reconstruct the hillside with new retaining walls and platforms, and this cost more than the house itself. “Le coeur a des raisons…”
The client, as an intelligent man, was in agreement, and during seven years the house progressively gained in autonomy, passing from the redesign to the specific design for the occupants and the site which we progressively discovered and modified.

Structural consultants: José Adriano Cardoso

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City of Culture of Galicia - Peter Eisenman

April 24, 2015, 2:24 am

≫ Next: Parking in Portalegre - Eduardo Souto De Moura, Graça Correia

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City of Culture of Galicia

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Parking in Portalegre - Eduardo Souto De Moura, Graça Correia

April 23, 2015, 7:18 am

≫ Next: Santa Maria do Bouro Convent - Eduardo Souto De Moura, Humberto Vieira

≪ Previous: City of Culture of Galicia - Peter Eisenman

Within the definitions of the General Plan, the location of the parking is essential. Its frank and direct relation with the street is enhanced by the clarity of the relation established with all the equipment in the area, so it is not necessary to build a new structure with its costs as this offers the advantages of a large and airy structure with good light and naturally ventilated. Given its proximity to the Tourism and Hotel School as well as other teaching units as the Conservatory of Music and Culture Associations, which provides a large young population, this structure allows the happening of concerts featuring DJs.
Since it has two clearly defined openings in the facade they will be used for entry and exit of vehicles in accordance with circulations defined in the General Plan, the open side to the open space between the Auditorium and this building will be terminated with a steel mesh of approximately 2.50 m height. In it, as well as in the existing metal structure one intends to keep, should be placed a vine type vegetation, such as wisteria or a Kiwi, which will provide the necessary freshness to a space of this nature; a traditional attitude in the region.

Engº. Estruturas: GOP– Gabinete de Organização de Projectos, Lda
Engº. Hidráulica: GOP– Gabinete de Organização de Projectos, Lda
Engº. Electricidade: GPIC– Gabinete de Projectos, Consultadoria e Instalações, Lda
Engº.Inst.Mecânicas: GET– Gestão de Energia Térmica, Lda

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