A2M social housing - Nunzio Gabriele Sciveres

November 21, 2013, 8:13 am

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In un’area di nuova edificazione sulla collina che domina Marina di Ragusa sorge A2M, un progetto con un’ambizione dichiarata: invadere il campo dell’edilizia residenziale pubblica con una proposta che antepone la ricerca delle migliori condizioni di comfort ambientale e qualità dello spazio domestico alle ragioni degli indici di fabbricabilità e del mercato immobiliare: massimo volume costruito per minimo costo di costruzione. Si prova a far valere l’opzione per il miglior soleggiamento, la vista panoramica, la differenziazione delle unità, l’estensione dei giardini e degli spazi aperti privati, su quella della saturazione edilizia del lotto, della ripetizione indifferenziata della stessa tipologia abitativa e della cessione di spazio verde in favore della viabilità.

Il programma costruttivo prevede un’aggregazione delle case a schiera limitando le possibilità d’intervento. Eppure il vincolo della “schiera” diventa un’opportunità se considerato in funzione delle caratteristiche fisiche dell’area: si decide di disporre le unità con il lato lungo ortogonale rispetto alla direzione nord-sud ed alla linea di massima pendenza. Questa disposizione coniuga al meglio le esigenze di soleggiamento e ventilazione naturale, di ampliamento della vista verso il mare e di maggiore privacy degli spazi esterni. L’esito è un sistema a “schiera slittata”, in cui le 25 unità sono aggregate in 6 fasce – profonde ognuna 5 m e orientate secondo la direzione est-ovest – nelle quali si alternano volumi edificati e spazi aperti.

Un percorso carrabile ad anello, e a senso unico di percorrenza, serve tutte le unità.
alcune caratteristiche:
- elaborando 10 tipologie di unità distinte, si elimina il problema dell’uniformità della schiera;
- le 25 unità, diversamente incastrate tra loro, costituiscono delle fasce costruite varie per altezza e articolazione dei volumi, in cui si inseriscono, le pergole e le aree pavimentate;
- ampie porte-finestre su pareti opposte stabiliscono continuità tra interno ed esterno, favorendo ventilazione naturale e garantendo la doppia esposizione;
- lo sviluppo del giardino sui lati lunghi della casa garantisce anche maggiore privacy nei patii e nelle verande. - le ampie zone ombreggiate all’esterno moltiplicano la superficie abitabile.
E tutte le case hanno la vista sul mare.

A2M is located in a new building area on the top of Marina di Ragusa’s hill. It’s a project with a clear ambition: to invade the field of social housing with a proposal that places the best comfort and quality of domestic space before floor area ratio reasons and real estate market principles: maximum built volume and minimum construction costs. The project intends to secure an appropriate sun light in interior spaces, provide wide views of the surroundings, the differentiation of units and maximise the extension of private gardens and open spaces; without falling in the repetition of the same typology and without prioritising the road construction over the creation of green spaces.

The program foresees the aggregation of terraced houses narrowing the field of action.
In addition, the terraced houses configuration represents an opportunity when studied in relation to the physical characteristics of the area: the units are placed having the long side perpendicular to the North-South axis and parallel to the contour lines.
This arrangement meets the daylight and natural ventilation requirements, directs the view towards the sea and provides a greater privacy to the outdoor spaces.

The result is a displaced system, in which 25 units are aggregated into 6 strips – 5 m deep each one oriented along the East-West direction – in which built volumes and green spaces alternate.
A one-way ring road path serves all units.
Complex features:
- 10 different types of separate units, avoiding the problem of uniformity of the array;
- 25 units, differently arranged, form bands of various heights and volume distributions, in which pergolas and paved areas are included;
- Full length windows on opposite walls provide continuity between inside and outside, encouraging natural ventilation and ensuring the double exposure;
- The inclusion of the garden on the long sides of the houses gives as well more privacy to the patios and verandas. - The large shaded outside areas increase the living areas surface.
- All the houses have views towards the sea.

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Vedahaugane & The Den - LJB architecture and landscape

November 20, 2013, 6:37 am

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The fjord landscape of western Norway is not only characterized by precipitous mountain slopes, glaciers, deep valleys and fjords but also by fertile agricultural areas and picturesque villages. These attractions have made the National Tourist route Aurlandsfjellet from Aurland to Lærdal a popular detour with travelers and tourists. The route is open to traffic every year from June to September.  Travelling to Vedahaugane leads one through the birch-forest belt to the edge of the high mountain. This spot has been used as a rest stop by shepherds and hunters for centuries. Also an ideal lookout point, it made sense to put the long and resilient oak bench there and thus move it away from the “modern” road.

The mountain-road lookout, a paved 110-meter path, leads away from the road and into the landscape. The double-curved shape of the path follows the contours of the terrain, effectively taking one from one valley to another, the latter as yet untouched and pristine, spectacularly dominated by high mountains and eternal snow. On a clear day, Jotunheimen Mountains loom in the distance. This view is matched not least by the rich small scale vegetation and the micro landscape surrounding the path, which likewise offers itself to a discerning traveler.  The last third of the path hosts a wooden bench for one to rest while enjoying the magnificent panorama. The wheelchair friendly walkway “floats” a few centimeters above the ground, supported by round columns to minimize the impact on the landscape and reduce the actual footprint of the construction.   Placing a robust geometric form in such a natural setting is not risk-free. Utmost priority was given to constructing a path that most naturally followed the existing terrain. Based on a rigorous survey and a close examination of the terrain’s every detail, the curved path acquired its form from the contours of the landscape, thus allowing the landscape to remain untouched.

Now the ‘floating’ concrete path continues into the mountain and leads the visitors into a concrete cave. This ‘den’ was added to the path to host an installation from the American artist Mark Dion, an artificial bear that lies on a pile of objects gathered from many places around the world. Once passed the big rocks at the entrance and reached the dark exhibition space we can see behind a glass wall a diorama that shows the sleeping bear illuminated only by natural light filtering from the only elements that pokes out of the terrain, a corten-steel cap that is also used to guarantee natural ventilation to the hypogeum space and avoid condensation.

Area:
110 m path, 300 m2 parking, 25 m2 ‘Den’
Design:
2005 – 2009
Construction:
2009 – 2010 (Vedahaugane)
2011 – 2012 (The Den)

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Heydar Aliyev Center - Zaha Hadid Architects

November 21, 2013, 5:40 am

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As part of the former Soviet Union, the urbanism and architecture of Baku, the capital of Azerbaijan on the Western coast of the Caspian Sea, was heavily influenced by the planning of that era. Since its independence in 1991, Azerbaijan has invested heavily in modernising and developing Baku’s infrastructure and architecture, departing from its legacy of normative Soviet Modernism. Zaha Hadid Architects was appointed as design architects of the Heydar Aliyev Center following a competition in 2007. The Center, designed to become the primary building for the nation’s cultural programs, breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the optimism of a nation that looks to the future.

Design concept
The design of the Heydar Aliyev Center establishes a continuous, fluid relationship between its surrounding plaza and the building’s interior. The plaza, as the ground surface; accessible to all as part of Baku’s urban fabric, rises to envelop an equally public interior space and define a sequence of event spaces dedicated to the collective celebration of contemporary and traditional Azeri culture. Elaborate formations such as undulations, bifurcations, folds, and inflections modify this plaza surface into an architectural landscape that performs a multitude of functions: welcoming, embracing, and directing visitors through different levels of the interior. With this gesture, the building blurs the conventional differentiation between architectural object and urban landscape, building envelope and urban plaza, figure and ground, interior and exterior.

Fluidity in architecture is not new to this region. In historical Islamic architecture, rows, grids, or sequences of columns flow to infinity like trees in a forest, establishing non-hierarchical space. Continuous calligraphic and ornamental patterns flow from carpets to walls, walls to ceilings, ceilings to domes, establishing seamless relationships and blurring distinctions between architectural elements and the ground they inhabit. Our intention was to relate to that historical understanding of architecture, not through the use of mimicry or a limiting adherence to the iconography of the past, but rather by developing a firmly contemporary interpretation, reflecting a more nuanced understanding. Responding to the topographic sheer drop that formerly split the site in two, the project introduces a precisely terraced landscape that establishes alternative connections and routes between public plaza, building, and underground parking. This solution avoids additional excavation and landfill, and successfully converts an initial disadvantage of the site into a key design feature.

Geometry, structure, materiality
One of the most critical yet challenging elements of the project was the architectural development of the building’s skin. Our ambition to achieve a surface so continuous that it appears homogenous, required a broad range of different functions, construction logics and technical systems had to be brought together and integrated into the building’s envelope. Advanced computing allowed for the continuous control and communication of these complexities among the numerous project participants. The Heydar Aliyev Center principally consists of two collaborating systems: a concrete structure combined with a space frame system. In order to achieve large-scale column-free spaces that allow the visitor to experience the fluidity of the interior, vertical structural elements are absorbed by the envelope and curtain wall system. The particular surface geometry fosters unconventional structural solutions, such as the introduction of curved ‘boot columns’ to achieve the inverse peel of the surface from the ground to the West of the building, and the ‘dovetail’ tapering of the cantilever beams that support the building envelope to the East of the site.

The space frame system enabled the construction of a free-form structure and saved significant time throughout the construction process, while the substructure was developed to incorporate a flexible relationship between the rigid grid of the space frame and the free-formed exterior cladding seams. These seams were derived from a process of rationalizing the complex geometry, usage, and aesthetics of the project. Glass Fibre Reinforced Concrete (GFRC) and Glass Fibre Reinforced Polyester (GFRP) were chosen as ideal cladding materials, as they allow for the powerful plasticity of the building’s design while responding to very different functional demands related to a variety of situations: plaza, transitional zones and envelope.

n this architectural composition, if the surface is the music, then the seams between the panels are the rhythm. Numerous studies were carried out on the surface geometry to rationalize the panels while maintaining continuity throughout the building and landscape. The seams promote a greater understanding of the project’s scale. They emphasize the continual transformation and implied motion of its fluid geometry, offering a pragmatic solution to practical construction issues such as manufacturing, handling, transportation and assembly; and answering technical concerns such as accommodating movement due to deflection, external loads, temperature change, seismic activity and wind loading.

To emphasize the continuous relationship between the building’s exterior and interior, the lighting of the Heydar Aliyev Center has been very carefully considered. The lighting design strategy differentiates the day and night reading of the building. During the day, the building’s volume reflects light, constantly altering the Center’s appearance according to the time of day and viewing perspective. The use of semi-reflective glass gives tantalizing glimpses within, arousing curiosity without revealing the fluid trajectory of spaces inside. At night, this character is gradually transformed by means of lighting that washes from the interior onto the exterior surfaces, unfolding the formal composition to reveal its content and maintaining the fluidity between interior and exterior.

As with all of our work, the Heydar Aliyev Center’s design evolved from our investigations and research of the site’s topography and the Center’s role within its broader cultural landscape. By employing these articulate relationships, the design is embedded within this context; unfolding the future cultural possibilities for the nation.
Text by Saffet Kaya Bekiroglu, Project Designer and Architect, Zaha Hadid Architects

Start of project September 2007
Completion May 10, 2012
Total floorarea 101,801m2
Site area 111,292m2
Auditorium capacity 1,000
Unique fiberglass reinforced polyester panels 13,000 (40,000 m2)
Fiberglass reinforced concrete panels 3,150 (10,000 m2) GRC panels

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The Three Cusps Chalet - Tiago do Vale Arquitectos

November 20, 2013, 1:49 am

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HISTORICAL CONTEXT
In the second half of the 19th century Portugal saw the return of a large number of emigrants from Brazil. While returning to their northern roots, specially in the Douro and Minho regions, they brought with them sizable fortunes made in trade and industry, born of the economic boom and cultural melting pot of the 19th century Brazil. With them came a culture and cosmopolitanism that was quite unheard of in the Portugal of the eighteen-hundreds.

That combination of Brazilian capital and taste sprinkled the cities of northern Portugal with examples of rich, quality architecture, that was singular in its urban context and frequently informed by the best that was being done in both Europe and Brazil.

BUILT CONTEXT
The “Three Cusps Chalet” is a clear example of the Brazilian influence over Portuguese architecture during the 19th century, though it’s also a singular case in this particular context.
Right as the Dom Frei Caetano Brandão Street was opened, a small palace was being built in the corner with the Cathedral’s square and thanks to large amounts of Brazilian money. It boasted high-ceilings, rich frescos, complex stonework, stucco reliefs and exotic timber carpentry. In deference to such noble spaces, the kitchen, laundry, larders and personnel quarters, which were usually hidden away in basements and attics, were now placed within one contiguous building, of spartan, common construction.

Built according to the devised model of an alpine chalet, so popular in 19th century Brazil (with narrow proportions, tall windows, pitched roofs and decorated eaves), the “Three Cusps Chalet” was that one building.
Due to the confluence of such particular circumstances it’s quite likely the only example of a common, spartan, 19th century building of Brazilian ancestry in Portugal.

Siting at the heart of both the Roman and medieval walls of Braga, a stone’s throw away from Braga’s Cathedral (one of the most historically significant of the Iberian Peninsula) this is a particularly sunny building with two fronts, one facing the street at West and another one, facing a delightful, qualified block interior plaza at East, enjoying natural light all day long.
At the time of our survey, its plan is organized by the staircase (brightened by a skylight), placed at the center of the house and defining two spaces of equal size, East and West, on each of the floors.

The nature of each floor changes from public to private as we climb from the store at the street level to a living room (West) and kitchen (East) at the first floor, with the sleeping quarters on top.
Materials-wise, all of the stonework and the peripheral supportive walls are built with local yellow granite, while the floors and roof are executed with wooden beams with hardwood flooring.

ARCHITECTURAL PROJECT
Confronted by both its degrading state and degree of adulteration, and by the interest of its story and typology, the design team took as their mission the recovery the building’s identity, which had been lost in 120 years of small unqualified interventions. The intention was to clarify the building’s spaces and functions while simultaneously making it fit for today’s way of living.

The program asked for the cohabitation of a work studio and a home program. Given the reduced area of the building, the original strategy of hierarchizing spaces by floor was followed. The degree of privacy grows as one climbs the staircase. The stairs also get narrower with each flight of steps, informing the changing nature of the spaces it connects.

A willingness to ensure the utmost transparency throughout the building, allowing light to cross it from front to front and from top to bottom, defined all of the organizational and partitioning strategies resulting in a solution related to a vertical loft.

The design team took advantage of a 1,5 m height difference between the street and the block’s interior plaza to place the working area on the ground level, turing it westward and relating it to the street. Meanwhile, the domestic program relates with the interior plaza and the morning light via a platform that solves the transition between kitchen and exterior. This allows for both spaces to immediately assert quite different personalities and light, even though they are separated by just two flights of stairs.
The staircase geometry, previously closed in 3 of its sides, efficiently filters the visual relations between both programs while still allowing for natural light to seep down from the upper levels and illuminate the working studio.

The second floor was kept for the social program of the house. Refusing the natural tendency for compartmentalizing, the staircase was allowed to define the perimeters of the kitchen and living room, creating an open floor with natural light all day long. Light enters from the kitchen in the morning, from the staircase’s skylight and from the living room in the afternoon.
Climbing the last and narrow flights of stairs we reach the sleeping quarters where the protagonist is the roof, whose structure was kept apparent, though painted white. On the other side of the staircase, which is the organizing element on every floor, there’s a clothing room, backed by a bathroom.
If the visual theme of the house is the white color, methodically repeated on walls, ceilings, carpentry and marble, the clothing room is the surprise at the top of the path towards the private areas of the house. Both the floor and roof structure appear in their natural colors surrounded by closet doors constructed in the same material. It reads as a small wooden box, a counterpoint to the home’s white box and being itself counterpointed by the marble box of the bathroom.

MATERIALS
Fitting with the strategy of maximizing light and the explicitness of the spaces, the material and finish choices used in this project were intentionally limited. White color was used for the walls, ceilings and carpentry due to its spacial qualities and lightness. Wood in its natural color is used for the hardwood floors and clothing room due to its warmth and comfort. Portuguese white Estremoz marble, which covers the ground floor, countertops and on the bathrooms and laundry walls and floors, was chosen for its texture, reflectivity and color.

All of the original wood window frames of the main façade were recovered, the roof was remade with the original Marseille tiles over a pine structure and the decorated eave restored to its original glory.
The hardwood floors were remade with southern yellow pine over the original structure and all the surfaces that required waterproofing covered with Portuguese Estremoz marble.
Ground floor window frames were remade in iron, as per the original, but redesigned in order to maximize natural illumination (as on the east façade).

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Museum of the Human Body - BIG - Bjarke Ingels Group, A+Architecture

November 21, 2013, 12:35 am

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The Museum of the Human Body, which will be part of the newly developed area Parc Marianne, is rooted in the humanist and medical tradition of Montpellier and its world renowned medical school, which dates back to the 10th century. The new Museum will explore the human body from an artistic, scientific and societal approach through cultural activities, interactive exhibitions, performances and workshops.

The 7,800 m² (ca. 84,000 sqf) museum is conceived as a confluence of the park and the city – nature and architecture – bookending the Charpak Park along with the Montpellier city hall. The building’s program consists of eight major spaces on one level, organically shaped and lifted to form an underlying continuous space. Multiple interfaces between all functions create views to the park, access to daylight, and optimizing internal connections.

‘Like the mixture of two incompatible substances – oil and vinegar – the urban pavement and the parks turf flow together in a mutual embrace forming terraced pockets overlooking the park and elevating islands of nature above the city. A series of seemingly singular pavilions that weave together to form a unified institution – like individual fingers united together in a mutual grip’, explains Bjarke Ingels.

The museum’s roof functions as an ergonomic garden – a dynamic landscape of vegetal and mineral surfaces that allow the park’s visitors to explore and express their bodies in various ways – from contemplation to the performance – from relaxing to exercising – from the soothing to the challenging.

The façades of the Museum of the Human Body are transparent, maximizing the visual and physical connection to the surroundings. On the sinuous façade that oscillates between facing North and South, East and West, the optimum louver orientation varies constantly, protecting sunlight, while also resembling the patterns of a human fingerprint – both unique and universal in nature.

The jury, headed by the City’s Mayor Ms Hélène Mandroux, chose BIG over 5 other shortlisted international teams and praised BIG’s design for combining innovative, environmental and functional qualities. The new Museum will contribute to Montpellier’s rich scientific and cultural heritage, attracting tourists, families, as well as school classes, academics and art lovers. Construction is scheduled to start in 2016, and the building will open its doors to the public in 2018.

The Museum of the Human Body follows BIG’s experience in Museum Design as well as contributes to BIG’s growing activities in France. BIG recently completed the Danish National Maritime Museum, in which crucial historic elements are integrated with an innovative concept of galleries. Other current cultural projects include the LEGO House in Billund, the recently announced Blaavand Bunker Museum in Western Denmark, and MECA Cultural Center in Bordeaux, along with EuropaCity, an 80 hectare masterplan on the outskirts of Paris.

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Renovation & extension of a holiday house - Dehullu Architecten

November 20, 2013, 4:47 am

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The quality of the existing dwelling consists not only of the building itself, but also of the surroundings and orientation. On renovating the existing building the architects worked with local materials to stay as close as possible to the original design. Logically the main living room was relocated in an extension oriented on the beautiful surroundings of the small and rural town of Villers-en-Fagne. This extension was conceived in a delicate and quite sober structure. The living area is suspended between the two slabs of roof and floor. The connection with the terrace and the green and hilly surroundings is optimized for a relaxing and enjoyable stay.

Surface : 240 m²
Client : private

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Teshima Art Museum - Ryue Nishizawa, Rei Naito

November 22, 2013, 8:52 am

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See more photos by Iwan Baan

Uniting the creative visions of artist Rei Naito and architect Ryue Nishizawa, Teshima Art Museum stands on a hill on the island of Teshima overlooking the Inland Sea. Shaped like a drop of water, the museum lies in a corner of the spacious grounds surrounded by once-fallow rice terraces that have been restored with help from local residents.

Photo: © Iwan Baan. Published on November 22, 2013.

Structurally, the building consists of a concrete shell, devoid of pillars, coving a space 40 by 60 meters. On the highest ceiling 4.5 meters above, two oval openings allow the air, sounds, and light of the world outside into this organic space where nature and architecture seem intimately interconnected. Inside one finds an ever-flowing fountains and an ambiance that changes from hour to hour and season to season, revealing countless appearances as time passes.

Photo: © Iwan Baan. Published on November 22, 2013.

Photo: Ken'ichi Suzuki. Published on November 22, 2013.

Photo: Naoya Hatakeyama. Published on November 22, 2013.

Photo: Noboru Morikawa. Published on November 22, 2013.

Photo: Ken'ichi Suzuki. Published on November 22, 2013.

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Centre for Earth Architecture - kere architecture

November 21, 2013, 8:45 am

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See more photos by Iwan Baan

The construction of the Centre for Earth Architecture accomplishes the activities of the AKTC in Mopti after the restoration of the mosque and the construction of a new sewerage system. The construction site has been gained by a backfill at the waterside of an interior lake and so the lakeside has been made accessible for public use. The program itself responds both to the needs of the district management Komoguel as to the visitors of the cultural facilities of the district.

  Urban context and volumetry
 From the crest of the dike the construction site and therefore also the building project are in one sight axis together with the mosque. The building is clearly structured and its building height responds to the existing fabric without compromising the view on the mosque. The visitor centre, according to its program is divided into three different buildings which are connected by two roof surfaces. All the walls and the barrel vaults are constructed of BTC (compressed earth blocks) which are very suitable to the climatic conditions for their natural temperature buffer and therefore guarantee comfortable indoor temperatures. The overhanging roof blocks the insolation on the walls and provides qualitative outdoor spaces. Ventilation openings in the walls and the vaults provide a natural flow of air so that the building conditioning works without mechanic backing. The landscape project includes wide public spaces and a promenade on top of the dike. The project for the new building responds to this initial planning as it keeps adjacent to the dike.

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Didomestic - elii - Uriel Fogué + Eva Gil + Carlos Palacios

November 22, 2013, 3:47 am

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The scope of the project covers from the development of a customised functional proposal for a user that is turning a new leaf to the rehabilitation of the structure, the insulation, the facilities and the modernisation of the existing construction systems.

The selected approach removes all obstacles from the floor to provide the greatest possible flexibility. Two basic elements are used: firstly, the central core, comprising the staircase, some shelves and the larder. The core is at the centre of the main space under the mansard roof. It connects the access floor and the space under the roof and allows the natural lighting coming through the roof into the living room. Secondly, there are two side strips for the functional elements (kitchen, bathroom, storage space and domestic appliances).
This basic arrangement is complemented by two strategies that provide flexibility to the domestic spaces.

Firstly, the moving panels that are integrated into the core and run along guide rails. These panels can be used to create different arrangements, such as adding an extra room for a guest, separating the kitchen from the living room area or opening the whole floor for a party. The panels have transparent sections so that the natural lighting coming through the mansard roof can reach this space.

Secondly, the secret trap doors that are integrated into the ceiling of the access floor and into the floor of the mezzanine and that house the rest of the domestic functions. The ceiling doors are opened with handles fitted on the walls. These handles actuate pulleys that lower part of the furniture (such as tables and the picnic benches, a swing or the hammock) or some complementary functions and objects (such as the disco ball, the fans to chill out on the hammock or an extra shelf for the guest room). In addition, the floor of the space under the roof has a series of invisible doors that can be opened to alter the functionality of the raised space where the bedroom area is (these spaces house the dressing table, the tea room and the storage spaces for the bathroom).

All these elements are integrated within the floor and the ceiling and they appear and disappear at the user’s whim. The secret trap doors and the sliding panels complement the basic configuration, fit the needs of the moment and provide different home layout combinations.

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Nuovo Centro Diurno per Anziani a Mirandola (MO) - Mauro Frate, Ludovico Sternini, Simone Visentin

November 23, 2013, 3:11 am

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Oggi la nozione di welfare ha perso i suoi connotati utopici per essere assorbita in quella più generica di «servizi»: diviene allora fondamentale riproporre come centrale la dimensione spaziale delle politiche di welfare, perchéè proprio lo spazio della città il terreno fisico e simbolico dove possono affermarsi nuove cittadinanze, e dove possono riconfermarsi i vecchi diritti come ancora solidi e attuali. Lo spazio non può essere considerato il supporto inerte delle politiche, ma va considerato non solo come strumento attivo per una riflessione sullo sviluppo del benessere e dei diritti sociali, ma come l’ambito privilegiato dove testare e promuovere sperimentazioni e nuove utopie. Anche una piccola architettura come un Centro Diurno può rappresentare una grande occasione di riflessione in questo senso.

Vista da via A. Fogazzaro

Andrea Avezzù. Published on November 23, 2013.

Quella realizzata a Mirandola è una struttura di carattere semi-residenziale rivolta ad anziani non autosufficienti affetti da patologie tipiche dell’età senile o con problematiche relazionali e/o sociali la cui realizzazione era stata immaginata immediatamente dopo il sisma che ha colpito l’Emilia centro-settentrionale nel Maggio 2012.

Schema delle relazioni urbane

L’edificio è inserito in grande spazio verde a Parco entro il quale insistono diverse strutture di servizio alla collettività, tra cui l’Ospedale e la Casa Protetta C.I.S.A., di cui il centro diurno costituisce un servizio complementare. Si tratta dunque di un ambito senza soluzione di continuità, privo di recinti, fittamente alberato, collocato subito a ridosso del limite meridionale del centro antico di Mirandola e fa parte di un più ampio sistema di spazi verdi pubblici e privati che nell’insieme media le relazioni fra il centro consolidato e quel tessuto urbano di edilizia residenziale a bassa densità che caratterizza la quasi totalità dell’espansione urbana al di fuori del contesto storico.

Planivolumetrico

L’articolazione volumetrica è quella di un edificio di un piano fuori terra con impianto ad “L”, organizzato attorno ad una cortile pertinenziale definito dall’edificio stesso, da una lunga vasca di terra che lo connette alla centrale termica e da un sistema di recinzione rivolto verso la casa residenza C.I.S.A. . La stereometria e l’introduzione di alcuni dispositivi passivi quali l’ambito pergolato di relazione fra l’interno ed il giardino, è l’esito anche di una ricerca volta all’ottimizzazione dell’apporto solare nel periodo invernale e alla protezione dai raggi incidenti nel periodo estivo. L’inclinazione delle falde di copertura, predisposte ad accogliere, in forma integrata, i campi fotovoltaici o solari termici, è volta alla ricerca della massima performance nella captazione dei raggi del sole.

Esploso assonometrico

Il sistema strutturale è costituito da pareti multistrato di legno con funzione portante (x-lam), e solai di copertura formati da moduli prefabbricati in legno: tale concezione costruttiva ha permesso il conseguimento di una forte integrazione edificio-impianti in fase di progettazione, oltre ad una realizzazione della struttura in tempi estremamente contenuti.

Pianta piano terra e sezioni

Sezione costruttiva

Vista da via A. Fogazzaro

Andrea Avezzù. Published on November 23, 2013.

Vista dell'accesso principale

Andrea Avezzù. Published on November 23, 2013.

Vista di un patio verso il parcheggio

Andrea Avezzù. Published on November 23, 2013.

Vista da Sudest

Andrea Avezzù. Published on November 23, 2013.

Vista da Nordest

Andrea Avezzù. Published on November 23, 2013.

Vista dall'alto (Est)

Andrea Avezzù. Published on November 23, 2013.

Vista dell'accesso secondario

Andrea Avezzù. Published on November 23, 2013.

Vista del giardino pertinenziale

Andrea Avezzù. Published on November 23, 2013.

Vista del fronte Est

Andrea Avezzù. Published on November 23, 2013.

Vista del pergolato

Andrea Avezzù. Published on November 23, 2013.

Vista degli spazi di soggiorno

Andrea Avezzù. Published on November 23, 2013.

Vista degli spazi di soggiorno

Andrea Avezzù. Published on November 23, 2013.

Vista del fronte Ovest

Andrea Avezzù. Published on November 23, 2013.

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Bivacco alpino al Pian Vadà - areArchitettura, Luciano Uccelli, Carlo Ghisolfi, Giancarlo Paolino

January 9, 2009, 10:01 am

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UBICAZIONE: località Pian Vadà (1.750 m. s.l.m.); Comune di Aurano, Provincia del VCO, PARCO NAZIONALE VALGRANDE; ANNO DI COSTRUZIONE: 2008; PROGETTO areArchitettura; TIPOLOGIA: BIVACCO ALPINO; SUPERFICIE COMPLESSIVA: 103,50 mq. (51,75+51,75)

Le scelte progettuali hanno avuto l’obbiettivo di minimizzare l’uso della cosiddetta energia grigia. Per ottenere ciò si è ricorso alla tecnologia della prefabbricazione leggera. Tale sistema ci ha permesso di controllare gli elementi di sostenibilità dell’organismo edilizio e costituire un cantiere che rispetti il contesto ambientale in cui si inserisce per durata e modo di intervento. La tipologia architettonica ricalca, per forma, l’edificio dell’architettura rurale alpina caratteristico di questa parte dell’arco alpino reinterpretando la tecnologia costruttiva ma mantenendo, quale elemento fondante, l’uso di materiali naturali. Gli aspetti dell’inserimento sul territorio del bivacco d’emergenza nel sito dove una volta sorgeva il rifugio del CAI sez. Verbano è mirata a recuperare l’importanza del percorso storico lungo le linee fortificate Cadorna e a sottolineare l’importanza del percorso che porta verso il Monte Zeda (2.156 m. s.l.m.). Il manufatto è posto all’interno del Parco Nazionale Valgrande.

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Arturo Montanelli recupera la Masseria Storica “Le edicole” - Arturo Montanelli

October 18, 2012, 1:52 am

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Collocata in uno degli scenari più suggestivi della Sicilia, la Masseria “Le edicole”è immersa in un paesaggio tipicamente mediterraneo dell’altopiano ibleo: Ragusa.

production Martina Hunglinger, photo Mads Mogensen. Published on October 18, 2012.

Completamente reinterpretata da Arturo Montanelli, che con il suo progetto ha trasformato l’edificio, originariamente diviso in tre case più piccole, in un’unica dimora, la masseria ha mantenuto la sua natura rustica e semplice, divenendo al contempo un laboratorio d’arte. Casa dell’artista Velasco Vitali, è stata sottoposta a una delicata operazione di restauro teso al recupero conservativo e alla valorizzazione del manufatto attraverso interventi puntuali di consolidamento delle strutture, di ripristino delle tessiture murarie, di pulitura e levigatura di quelle parti che manifestavano patine biologiche e degrado superficiale e con l’armonica integrazione di nuove parti realizzate con materiali come il corten, l’acciaio, il legno.

production Martina Hunglinger, photo Mads Mogensen. Published on October 18, 2012.

La materia diventa, come in buona parte delle opere di Arturo Montanelli, elemento principe. Texture e colore si trasformano in quinte murarie di pietra bianco-ragusano, layer orizzontali di pietra nero pece, piani inclinati delle coperture in “incannicciato” e gesso bianco. I serramenti e le porte sono in ferro zincato, memoria delle storiche porte in legno rivestite di lastre di ferro zincato e chiodature a vista, scale e camini in ferro arrugginito.

production Martina Hunglinger, photo Mads Mogensen. Published on October 18, 2012.

Basato su un processo di sottrazione e pulizia formale dei volumi, il progetto esalta una composizione architettonica primaria costituita da linee pure e materia antica.

production Martina Hunglinger, photo Mads Mogensen. Published on October 18, 2012.

Con tre ingressi, la masseria, dotata di una piscina color sabbia, trova il suo centro propulsore nello studio dell’artista, ottenuto dall’unione del vecchio granaio e della stalla. Studio – laboratorio all’interno del quale hanno preso vita molte delle opere progettate a 4 mani da Velasco Vitali e Arturo Montanelli.

production Martina Hunglinger, photo Mads Mogensen. Published on October 25, 2012.

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Casa a Bozzolo - paola marini

November 4, 2013, 11:21 am

≫ Next: Square & Round - Turenscape

≪ Previous: Arturo Montanelli recupera la Masseria Storica “Le edicole” - Arturo Montanelli

La casa occupa un piccolo terreno alla periferia del paese, fuori dal tracciato delle antiche mura Gonzaghesche i cui resti ancora oggi delimitano lo spazio denso della città dalla campagna. Il volume dal quale si sviluppa l’idea, forma primitiva ed astratta, viene scolpito direttamente a partire dalla geometria irregolare del lotto e dai suoi propri limiti, rompendo da subito qualsiasi possibile regola di simmetria a favore di un gioco di linee inclinate in pianta e in alzato, alterando le proporzioni delle facciate. Il progetto prende forma attraverso gesti di sottrazione della materia: la massa scavata modella lo spazio in una continuità tra interno ed esterno. Sui lati della casa quattro incisioni astratte e decise determinano le aperture delle facciate che prolungandosi nel terreno ne ritagliano i patii: il piano terra infatti, si sviluppa su una quota leggermente inferiore a quella del giardino, attribuendogli un carattere più riservato ed accogliente, proteggendolo dalla strada.

alzato ovest

alzato sud

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Square & Round - Turenscape

November 25, 2013, 5:39 am

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Installed in Château Chaumont, French, this small rain garden, Square & Round, meaning Land and Sky, is a contemporary re-interpretation of Chinese Traditional Gardens by applying the formal language of curvilinear and square, the spatial experiential strategy of enclosure and making small into big, and through the building technique of cutting and fill. This project integrates the contemporary concept of stormwater management with the Chinese gardening philosophy about man and nature and provide an intimate pleasant experience both for viewing and for performing.

Traditional Chinese garden represents natural landscapes in miniature. Typically built by scholars, poets, and former government official, the garden is always enclosed by a wall and has ponds, rocks, trees, flowers, and assortment pavilions that are connected by winding paths. Through a series of carefully composed scenes, the traditional Chinese garden becomes a replica of nature in miniature, “an artificial nature” intended for daily use.

Spatially, the Chinese intend to see big from the small, and developed a taste of closed, box-within-box landscape, compared to the westerners’ open, point-to-point and radiant view. Square & Round distills the Chinese experience of landscape but with a new look, both psychologically and physically. A 9×9m square-shaped rain garden situates right in the center of the project, a depression excavated on site that allows rainwater runoff from the surrounding area. Through the cut-and-fill process, the mount is formed around the pond with bamboo planted on top, which creates a dense screen to block the pond from its surroundings. The creation of a curved floating path visually dividing the water surface in two areas, is inspired by the Chinese T’ai chi symbol, which is based on the idea that everything goes in cycles: the years, the months, the seasons, even human life itself. Through the integration of two seemingly contrasting forms – Square & Round – represents the idea of complementary rather than conflicting.

Sharing the Chinese garden’s tradition of being a replica of nature in miniature, Square & Round / 方圆 demonstrates an ecological minimalism beyond an aesthetic one within an area of 100 square meters. Storm water is retained in the depressions with Chinese lotus (Nelumbo nuceifera) blossom in summer,. Chinese plants are applied in the project to create a tranquil space with a sense of both Chinese traditions and contemporary sensibilities and materials. Bamboo branches that were seen as garden waste from the bamboo groves that define the square boundary will be collected on site and reused in this project: the red colored bamboo sticks groups in the middle of the reflection ponds along the curvilinear (symbolizing “round”) wooden path. Combined with vertical bamboo sticks, the path not only creates a diagonal link across the water but also provides a “winding through” experience that Chinese classical gardens always celebrate.

Designed: February 2013
Built: May 2013
Size: 100 Square meters

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De Rotterdam - OMA

November 25, 2013, 5:59 am

≫ Next: Moritzkirche - John Pawson

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Ellen van Loon: “Efficiency has been a central design parameter from day one. The extreme market forces at play throughout the course of the project, far from being a design constraint, have in fact reinforced our original concept. The result is a dense, vibrant building for the city.”

Image courtesy of OMA; photography by Ossip van Duivenbode. Published on November 25, 2013.

With the building’s completion, a critical mass has been established on the Kop van Zuid, realizing the long-established vision of a second city center south of the Maas. The building is named after one of the original ships on the Holland America Line, which from 1873 to the late 1970s transported thousands of emigrating Europeans bound for New York from the Wilhelmina Pier, next to which De Rotterdam is situated.

Image courtesy of OMA; photography by Charlie Koolhaas. Published on November 25, 2013.

The three stacked and interconnecting towers of De Rotterdam rise 44 floors to a height of 150 meters and span a width of over 100 meters. Nevertheless, the building is exceptionally compact, with a mix of programs organized into distinct but overlapping blocks of commercial office space, residential apartments, hotel and conference facilities, restaurants and cafes. Office employees, residents and hotel guests are brought together in conference, sport and restaurant facilities. The building’s shared plinth is the location of the lobbies to each of the towers, creating a pedestrianized public hub by means of a common hall.

Image courtesy of OMA; photography by Charlie Koolhaas. Published on November 25, 2013.

Rem Koolhaas: “Despite its scale and apparent solidity, the building’s shifted blocks create a constantly changing appearance, different from every part of the city. The fact that it stands today represents a small triumph of persistence for the city, the developer, the contractor and the architects.”

Image courtesy of OMA; photography by Ossip van Duivenbode. Published on November 25, 2013.

The various phases of design and construction were supervised by partners-in-charge Rem Koolhaas, Ellen van Loon and Reinier de Graaf, and associate-in-charge Kees van Casteren. De Rotterdam is developed by MAB Development and OVG Real Estate.

Image courtesy of OMA; photography by Ossip van Duivenbode. Published on November 25, 2013.

CREDITS

Partners in charge: Rem Koolhaas, Reinier de Graaf, Ellen van Loon
Associate in charge: Kees van Casteren
Team 1997–2001 (50% SD): Christina Beaumont, Stefan Bendiks, Frans Blok, Robert Cheoff, Bert Karel Deuten, Sharon Goren, Juan Guardetti, Jens Holm, Alex de Jong, Adam Kurdahl, Carolien Ligtenberg, Anna Little, Nuno Ro- sado, Saskia Simon, Johan de Wachter, Barbara Wolff
Team 2007–08 (50% SD – building permit): Chantal Aquilina, Eva Dietrich, Anita Ernödi, Markus Frank, Jonah Gam- blin, Clarisa Garcia-Fresco, Alex de Jong, Michel van de Kar, Christoph Michael, Elida Mosquera, Mauro Parravicini, Ippolito Pestellini Laparelli, Raphael Pulido, Louise Sullivan, Olaf Turck, Manuel Villanueva, with: Chun Chiu, Duncan Flemington, Evangelos Kotsioris, Sören Martinussen, Nobuki Ogasahara, Theo Petrides, Benoit Schelstraete, Ian Schopa, Kyo Stockhaus, Joao Viera Costa, Luca Vigliero, Jussi Vuori, Jean-Paul Willemse
Team 2009–13 (construction phase / interiors): Michel van de Kar (associate), Marlies Boterman, Christoph Mi- chael, with: Katrien van Dijk, Nathalie Gozdziak, Sai Shu, Saskia Simon, Tomas Dirrix, Erik de Haan, Jue Qiu, Pal Trodahl
Interiors hotel (2013): Saskia Simon, Marina Cogliani, Clive Hennessey, Yasuhito Hirose, Arminas Sadzevicius

Image courtesy of OMA; photography by Ossip van Duivenbode. Published on November 25, 2013.

Image courtesy of OMA; photography by Philippe Ruault. Published on November 25, 2013.

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Moritzkirche - John Pawson

November 27, 2013, 2:40 am

≫ Next: Bridged Gardens - Turenscape

≪ Previous: De Rotterdam - OMA

The renovation of the church of St Moritz in Augsburg

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Bridged Gardens - Turenscape

November 25, 2013, 5:15 am

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In the northern coastal city of Tianjin, a series of differently designed gardens form this L-shaped linear open space located along a small man-made lake between the city and the large Tianjin Qiaoyuan Wetland Park. The site was heavily polluted, littered, deserted, and scattered with slums and temporary structures. The Wetland Park and Bridged Gardens, built simultaneously, were designed to improve local water and soil conditions, to create an environment that celebrated the local culture and its landscapes, and to provide recreational opportunities for the surrounding communities of more than ten million people.

This open space presented challenges and opportunities: How could it be made adaptable to the site’s soil and water conditions? How could the city be connected to the nature? How could a boring, flat landscape be made interesting? Bridged Gardens combines five areas—Hilled Gardens, City Windows, Sunken Gardens, Terraced Waterfront, and a Skywalk—to create a banded landscape that provides ecological and recreational services as well as aesthetic pleasure. The regional landscape was once rich in wetlands and salt marshes; many were destroyed by decades of urban development and infrastructure construction. Because it was difficult to grow trees in the saline and alkaline soil, a thick layer of balanced soil was imported. But uniformly raising the soil level would have blocked the view to the water’s edge from the city. The landscape architect approached these challenges by digging earth to expand and integrate the existing ponds and swales into a linear lake, and by using the excavated soil to make eleven terraces, which were then bridged with the Skywalk. A series of city “windows” were created between the terraces relinking the city with nature: From the city one can see through the windows to the sunken gardens, and from the gardens one can see back to the city.

In the valleys are nine sunken gardens and at the crests are ten hilled gardens connected by a red elevated path that intersects ten watchtowers. To allow park users, including the elderly and handicapped, to easily enter the gardens and the Skywalk from the street, the hilled gardens gradually slope to the waterfront. Both the “windows” and the high areas provide views not only to the water (fed by rainwater and a nearby canal) and lower gardens but also to the man-made wetland beyond. Finally, the continuous red bridge Skywalk links each hilled and sunken garden with separate watchtowers offering fresh perspectives on the wetlands and gardens. At the waterfront edge, cascading planters hold diverse species. The inclined stone retention walls are composed of varying rocks excavated in the region. The sum of references in the park to its region makes it embody its own place and culture. The nine sunken gardens, 20 by 8 meters (22 by 9 yards), are inspired by the local land patterns: water borders, crop fields, harvested farmlands, flowing rivers, marshes, meadows, and pastures. The designer reinterpreted these patterns with sustainable materials and contemporary designs that allow people to make playful use of the space. Five meters above the main garden level, large observation walkways run the length of the site and provide ideal points of observation and connection among the various small gardens and the large park beyond, with vistas of the water and the metropolis of Tianjin.

Site area: 10 hectares (28 acres) within the 22-hectare (54-acre) Tianjin Qiaoyuan Wetland Park
Designed May 2005 to October 2006
completed May 2008

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casa zii - dep studio

November 23, 2013, 1:50 am

≫ Next: Finish Tower Rotsee - Andreas Fuhrimann Gabrielle Hächler

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L’intervento riguarda la costruzione di una nuova abitazione in un’area già ampiamente edificata direttamente affacciata sul lago d’Iseo. La nuova costruzione si configura come un ampliamento di un edificio residenziale degli anni ’70 anche se, dal punto di vista tipologico, si distacca dichiaratamente dalla preesistenza. La composizione architettonica dell’edificio è il risultato della sovrapposizione di volumi semplici: tre parallelepipedi regolari con finitura esterna a intonaco di colore chiaro destinati agli spazi abitativi e un quarto volume in cemento con finitura a vista, destinato ad autorimessa, che si configura come uno zoccolo, distaccato dal resto anche cromaticamente grazie a una colorazione scura. Particolari rapporti geometrici accomunano i tre volumi bianchi che sono generati in pianta componendo quadrati da 620 cm di lato.

Il parallelepipedo collocato più in basso è composto da due moduli affiancati, il successivo da 1,5 e il terzo da uno solo. In prospetto si nota il rapporto aureo fra la dimensione di base e l’altezza, identica per i tre solidi. Queste relazioni dimensionali, anche se magari non percepibili a prima vista, generano una particolare armonia nell’osservatore. Ogni volume che compone l’edificio si colloca quindi a una quota diversa e ospita al suo interno una destinazione d’uso specifica. L’ingresso comunica direttamente con l’ampio soggiorno che termina verso nord con un grande terrazzo contraddistinto da una cornice in grado di guidare la vista verso il territorio circostante. Al livello superiore si trova invece la zona notte e salendo ulteriormente si raggiunge il terzo volume, posto in prossimità della copertura, caratterizzato da ampie superfici trasparenti utilizzabile come zona studio e relax. A livello del cortile trova posto l’autorimessa.

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Finish Tower Rotsee - Andreas Fuhrimann Gabrielle Hächler

November 26, 2013, 8:18 am

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The topographical situation on the Rotsee-Delta is a unique landscape, embedded in between two hill chains the lake is very calm. Through its ideal character for rowing regattas the lake is called the „Lake of Gods“ amongst rowers. The requirements for the new finish tower were various and complex. Based on its function and the surrounding landscape the main aim was to create identity. By stacking the spacial units, the vertical volume achieves a point of reference on the wide horizontal plane of the Rotsee. By subtle offsets of the three levels, the volume seems fragile and delicate, despite it‘s considerable volume.

Photo: Valentin Jeck. Published on November 26, 2013.

The finish tower is part of the first phase of the Naturarena Rotsee area development. The opening of the rowing center is scheduled for july 2016. The finish tower and the future rowing center will form one architectural ensemble, perceivable by the mutual materialization, constructive and aesthetic themes. The three story high, prefabricated wood construction is carried by a pillared concrete platform above the water level. The statically active concrete platform, provides access to the tower from the water and the shore. In combination with the stairway on the rear, but no less prominent facade of the building, the concrete structure anchors the building close to the lakeshore. This allegorizes the hybrid character of the building, being a functional active building on one side and a sculpture in the lake on the other. While the building is in use only during the rowing regattas, three weeks every summer, it usually remains closed and stands still on the reflecting water surface, transformed in an enigmatic sculpture-like house, with its shutters closed. This metamorphosis taking place every year was the ambitious challenge in designing the finish tower. A architectural manifestation for this prominently situated finish tower in the picturesque landscape is necessary in order to find the balance between the practical functional and the sculptural-aesthetic requirements.

Photo: Valentin Jeck. Published on November 26, 2013.

The aesthetic impression of the tower is emphasized once the building is closed and the sliding shutters are retracted. The large-sized sliding shutters give the facade a relief-like expression and let the tower appear plastic and house related. Similar to a classical sculpture the tower changes it‘s appearance depending on the position of the observer and blends into the surrounding natural landscape, influenced by the constantly changing days and seasons. The intrinsic, however abstract form has a strong recognition value, and therefore conveys identity for the rowing sport; illustrating the function of the building, the context related access of the tower and the stacked units.

Photo: Valentin Jeck. Published on November 26, 2013.

Program
The functional units OK-FISA, Jury-Timing and Event-Speaker are axially arranged with the finish line, one above the other. Whilst the shorter facade is pointing towards the finish line, the longer facade is facing towards the finish area indicating the end of the sports ground.

Photo: Valentin Jeck. Published on November 26, 2013.

Construction/ Materialization
The wooden construction of the finish tower consists of prefabricated elements, in order to build cost- and time efficient. The wood used for the facade is a specially treated pinewood, from sustainable forests. A innovative method using pressure, heat and acetic acid brings the wood to reaction so that the ability of absorbing water can be reduced essentially, making the wood dimensionally stable and extremely durable.

Planning: 2012 (May) – 2013 (March)
Construction: 2012 (December) – 2013 (May)
Area: 123 m2
Costs: 1,3 Mio. CHF

Photo: Valentin Jeck. Published on November 26, 2013.

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Agriturismo Principessa Pio - Map studio - Magnani Pelzel Architetti Associati

September 1, 2010, 8:45 am

≫ Next: OZ 3459 - Estudio Trama, Estudio Arqtipo

≪ Previous: Finish Tower Rotsee - Andreas Fuhrimann Gabrielle Hächler

Obiettivo dell’intervento, è quello di conservare l’organismo edilizio preesistente e assicurarne la funzionalità mediante un insieme sistematico di opere che, nel rispetto degli elementi tipologici, consenta di coniugare l’esigenza di conservazione e di attento recupero del manufatto alla necessità di adeguamento dello stesso ad un uso residenziale legato all’attività agricola. Il progetto ha dunque previsto la restituzione dell’unitarietà ai fronti principali e secondari, il consolidamento con sostituzione di parti non recuperabili, il risanamento della muratura perimetrale, l’eliminazione dei volumi accessori – incongrui all’impianto originario – ed il loro accorpamento in riduzione di volume per consentire un ottimale uso degli spazi esterni ed un adeguato ricovero dei macchinari per la manutenzione del fondo agricolo;