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Villa T, Ragusa, Sicily

Anabel — Tue, 15 May 2012 14:58:48 +0000

Villa T, Ragusa, Sicily

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The context is agricultural, a plateau with sandstone walls to divide the various portions of property. Once marked by the productive outposts of the “masserie”, farms with cultivated fields and cattle, today the Ibleo territory has changed its look. Instead of scattered farmhouses, isolated and divided by farmlands, construction has gradually filled spaces, erasing the network of isolated architectural complexes gathered around courtyards, like ‘pacific forts’. Nevertheless, the site of this project has partially conserved that precious idea of ‘isolation’, and the whole design comes to grips with this context, constructing a direct relationship with the landscape, faced openly on two sides, while emerging from it thanks to an eloquent contemporary design.

The program of the compositional process is that of a large single-family house, alone at the center of a meadow, bordered by the free, linear horizon of the plateau. Here, in the midst of the grassy terrain, treated as virgin land for construction, the architecture stands out clearly as a complete entity with definite limits. But its borders are not ‘introverted’, they are open to visual enjoyment of the outside world, through the creation of outdoor living spaces, rooms without walls that become parts of the overall solution.

The relationship with the context and the sequence of the three stacked floors relies on a sort of continuous architectural ribbon that reinterprets the flavor of the Mediterranean home, developing, bending to form rooms and the roof, outdoor zones raised from the meadow like platforms, porticos and overhangs, balconies and terraces. A solid facade clad in stone, to the north, is flanked by the harmonious antithesis of the southern and eastern facades, fully glazed and open to the greenery.

They reveal the two-storey height of the living area, with the mono-beam staircase leading to the first floor, containing a studio zone and a bedroom. The daytime area is joined to the kitchen, located in the lower volume, while the luminous living and dining area emphasizes the double height of the construction, with its large pitched roof. The master bedroom zone with bath and closet is located behind the living area. The sequence living-dining-kitchen encounters two outdoor spaces: on one side, facing the living room, a terrace at ground level connects to a recessed patio faced by the underground spaces, with two bedrooms and a den, shaded for cool comfort.

Behind the kitchen, connected by a full-height glazing, an external portico is like a room without walls, open to the surrounding lawn. The white stucco and stone facings that wrap the forceful geometric design, highlighted by a red floor marker that interrupts the high corner glazing, the planes that combine, in a dynamic way, around the sloping roof, reveal the pursuit of a ‘possible Mediterranean style’ that pays attention to local history, but without copying, ready for experimentation with new possibilities.

Villa T, Ragusa, Sicily

Ground floor

Villa T, Ragusa, Sicily

Basement

Villa T, Ragusa, Sicily

East elevation

Villa T, Ragusa, Sicily

North elevation

Villa T, Ragusa, Sicily

West elevation

Villa T, Ragusa, Sicily

South elevation

Villa T, Ragusa, Sicily

Section A-A

Villa T, Ragusa, Sicily

Section B-B

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Fuente: Villa T, Ragusa, Sicily

Kilden Performing Arts Centre, Norway

Anabel — Tue, 15 May 2012 14:25:48 +0000

Kilden, una sala de teatro y conciertos en Kristiansand, Noruega, ha reunido en un solo edificio a todas las instituciones de las artes escénicas de la ciudad. La Orquesta Sinfónica de Kristiansand tiene ahora una sala de conciertos con una capacidad de 1200 asistentes. Agder Theater, un grupo de teatro regional, está llevando a cabo su performance en una sala con una capacidad de 700 asientos, la cual puede ser transformada para dar cabida a las representaciones de la Ópera del Sur. El complejo cuenta además con un escenario para teatro experimental y una sala polivalente con suelo plano.
Kilden produce experiencias. El núcleo de su arquitectura es la forma en que se accede a las salas de conciertos, teatro y polivalentes de manera eficiente y sin interferencias. La forma abstracta monumental de la pared de madera de roble separa la realidad de la fantasía. La pared atrae a la audiencia y expresa la diversidad de espectáculos artísticos que se llevan a cabo en el edificio.
El muro de tablones sólidos fresados no es sólo un efecto teatral, es también un artefacto concreto táctil que mejora la acústica del hall de entrada. La negrura infinita de las otras fachadas destaca el espectáculo del vestíbulo.

Kilden Performing Arts Centre, Norway

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Kilden, a theatre and concert hall in Kristiansand, Norway, has brought together all the city’s institutions of performing arts. Kristiansand Symphony Orchestra now has a concert hall accommodating 1200 attendees. Agder Theater, a regional group, is performing in a theater with a capacity of 700. The theater hall can be transformed to accommodate opera performances to house the ensemble Opera South. In addition, there is a stage for experimental theater and a multi-purpose hall with a level floor.

Kilden produces experiences. The core of its architecture is the way the concert, theater and multi-purpose halls are serviced efficiently and without interference. The monumental abstract form of the wall of local oak, separates reality from fantasy. Passing through, the audience will move from natural landscape to the realm of performing arts. The wall allures the audience and expresses the diversity of artistic performances housed by the building as well as the power induced by their combination.

The wall made of wedged CNC milled solid planks is not only a disguised theatrical effect but a concrete tactile artifact, which also improves the acoustics of the foyer. The infinite blackness of the other facades emphasizes the spectacle of the foyer.

Kilden Performing Arts Centre, Norway

1st floor

Kilden Performing Arts Centre, Norway

2nd floor

Kilden Performing Arts Centre, Norway

3rd floor

Kilden Performing Arts Centre, Norway

4th floor

Kilden Performing Arts Centre, Norway

Mezzanine floor

Kilden Performing Arts Centre, Norway

Concert hall section

Kilden Performing Arts Centre, Norway

Multi purpose hall section

Kilden Performing Arts Centre, Norway

Theater hall section

Kilden Performing Arts Centre, Norway

Theatre hall

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Fuente: Kilden Performing Arts Centre, Norway

Villa GM, Marina di Ragusa, Sicily

Anabel — Mon, 14 May 2012 14:26:28 +0000

La villa, como el pabellón de un jardín, es parte de un complejo de casas situadas en Marina di Ragusa, un pueblo con hermosas vistas al Mediterráneo cuya costa mira a la isla de Malta, distante a unos 600 kilómetros, pero que en un día despejado se puede ver con claridad. El diseño de la villa se inspiró en el programa de las Case Study Houses (CSH) implementadas en los años ‘50 por John Entenza y su revista “Arte y arquitectura”.

Villa GM, Marina di Ragusa, Sicily

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This villa, like a garden pavilion hung with a spectacular view of the sea, is part of a complex of houses located in Marina di Ragusa, the seafaring village of Ragusa, on a plot of land with beautiful views overlooking the Mediterranean and a stretch of coast in the direction of the island of Malta, distant about sixty miles off, and that in a bright day you can see clearly.

The design of the villa derives from the influence exercised by the program of the Case Study Houses (CSH) implemented in the ’50s by John Entenza and the magazine he founded “Art & Architecture”.

The house is more representative of the program is certainly the case study houses of Pierre Koenig’s Stahl House, masterfully photographed by Julius Shulman, became an icon of American lifestyle in the famous photo of the living room of the house with the background on the amazing night view of Los Angeles.

The position of the batch of the project and the cultural similarities with that program became the essence of contemporary absolutely present after more than fifty years, has determined the main choices that affect the architecture of the house.

The villa has an L-shaped ground plan shape, is set around a large swimming pool with sun terrace paved with planks of larch treated with a white primer.

The continuity of the interior of the living room and is secured by a glass wall that continues to spread around the perimeter of the house facing the sea view.

Compared to the garden the house is almost suspended, because a continuous and smooth edge, detached from the ground, surrounds the house, determine the line of coverage, the line connects with the base, is defined by vertical sidewalls.

Two walls demarcating the inlet side and the opposite border of the pool are independent of the structure and connected with it through a high window and continuous thought of as individual plates that slide, too detached from the line of soil and structure.

Architecture is dry and clear, made so well by the economy of the materials used, steel and wood frame, glass for the side walls and cement floors for both internal and external.

The only element of disturbance, at a scale consisting of a thin folded sheet which is held at a red carpet to mark the entrance.

The garden was designed as a collection of Mediterranean plants with the edge of the sea area defined by a sinuously to the cacti, palm trees here and there are some underlying organic forms in which the white gravel of the materials are clearly delineate the Green lawns.

The interiors are essential ports are designed as full-height panels of the same thickness of the partition, and then back to the wall on both the internal and the external room hallway are white lacquered opaque white as the walls the house, white as the wooden beams of the roof.

The white fluid that surrounds the dimension of the interiors, white is also the kitchen island facing out to sea and pool. Gray are the seats of living a light gray shading into the white furniture and the gray cement floor. The dining table is the Saarinen Tulip, the chairs are the Series 7 by Arne Jacobsen, while the light above the table is a ball of light in glass such as the Stahl house.

The charm of the Stahl house determined the character of the villa, its planimetric shape, its design philosophy with the choice of using the exposed structure.

The whole house is a tribute to its architect Pierre Koeing, perhaps the most brilliant architects with Craig Ellwood Americans who have given it a great contemporary American and world architecture.

Villa GM, Marina di Ragusa, Sicily

Plan

Villa GM, Marina di Ragusa, Sicily

Section

Villa GM, Marina di Ragusa, Sicily

Facade

Villa GM, Marina di Ragusa, Sicily

Facade

Villa GM, Marina di Ragusa, Sicily

Facade

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Fuente: Villa GM, Marina di Ragusa, Sicily

Åre Solbringen, Sweden

Anabel — Mon, 14 May 2012 14:13:40 +0000

3 casas en la ladera sur de Åreskutan con vistas al río y a las montañas. Se nos encargó dividir la parcela en tres partes iguales y construir en ellas 3 casas para uso recreativo.
A menudo las casas en Åre se han diseñado semienterradas, de 1 planta y media, con techos inclinados y grandes aleros con vistas hacia la montaña. Como resultado esas casas tienen solo una planta realmente aprovechable ya que generalmente el nivel semienterrado tiene pocas ventanas y el superior está limitado por sus techos bajos en pendiente.
De acuerdo con las regulaciones locales, la parcela sólo se puede subdividir en dirección de la pendiente y su tamaño mínimo es de 800 m2, la construcción máxima permitida es de 120 m2, la distancia mínima a la propiedad vecina es de 4,5 m y la altura máxima es de 5,2 m. Al tener el terreno una pendiente ideal para la práctica de esquí, era tentador procurar que los edificios mantuvieran esa condición, o al menos que dieran esa impresión. Así fue que decidimos hacer un edificio implantado sobre el suelo para no perturbar la montaña, donde todas las habitaciones tuvieran una altura generosa y ventanas con amplias visuales. Como esta idea encajaba perfectamente con las regulaciones locales, el único desafío era proyectar un edificio inclinado interesante.
Una conexión axial se extiende a lo largo del edificio, dividido en cuatro grupos de escaleras de generoso tamaño. Este espacio permite una visión total de la casa desde la entrada hasta el extremo opuesto. La diferencia de altura entre los puntos máximo y mínimo es de 31 escalones, como en cualquier otra casa de 1 ½ planta con dos cajas de escaleras. La diferencia, sin embargo, es que estas casas tienen 5 niveles independientes: en los niveles superiores se ubican la sala, dos dormitorios con un baño y sauna, y en los niveles inferiores la cocina y la sala de estar, con una terraza orientada al sur.
La casa está totalmente construida con un sistema de marcos de madera (wooden frame system). Debido al limitado ancho de la casa, fue posible utilizar piezas estándar con forjados construidos en madera laminada. La construcción de madera descansa sobre losas de ladrillo situadas en todo el eje longitudinal de las casas. La fachada es de paneles de madera que se tornará gris durante su envejeciment0. Las ventanas y las puertas de madera tienen una estructura de acero pintado y el techo está construido con tejas metálicas pintadas. Los suelos son de roble macizo y las paredes y los techos están acabados en yeso blanco.

Åre Solbringen, Sweden

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3 houses on Åreskutan’s southern slope. Partly, the houses’ shape is a consequence of the urban regulations. Partly, the form is also the consequence of a discussion on the site.

The commission was to divide the plot into three equal ones where houses for recreational use would be built.

The property is located just outside Åre’s centre, in Åreskutan south-facing slope, overlooking the river and the mountains.

Building designs in Åre are often half buried houses in 1 ½ plans with a sloping roof and big gables facing the views down the mountain, resulting in houses with only one really profitable floor. The half-buried level is partly windowless, and the upper level is limited by its low, sloping ceilings.

According to the local regulations the plot could only be divided in the direction of the slope, with a minimum size of 800 m2, maximum built area of 120 m2, minimum distance to the neighbouring property 4,5 m and maximum height of 5,2 m.

Being the slope one of the conditions for skiing it was tempting to let the buildings doing so. Or at least to let them give that impression.

So we decided to make a building which would lay over the ground without disturbing the mountain, where all the rooms would have a generous height and windows with views.

As this idea fitted perfectly with the local regulations, the question left was if it would be possible to have a working and interesting plan in this sloping building.

A connection axis extents along the building’s long side, divided in four generously sized sets of stairs. This space allows a view of the whole house from the entrance to the opposite end. Height difference between the highest and lowest points is 31 stairs, as in any other 1 ½ storey house with two stair cases. The difference, though, is that this house has 5 individual levels.

The upper levels house the hall, two bedrooms, bathroom and sauna, and the two bottom levels the kitchen and the living room, with a terrace facing south.

In this case, a construction that follows the topography of the mountain concludes the whole idea of going there. The house is completely built in a wooden frame system. Due to the limited width of the house it was possible to use standard pieces everywhere but in the floor slabs, built in glued laminated timber. The wooden construction rests over brick slabs located across the longitudinal axis of the houses. A wide vent runs along this axis, allowing the eaves to meet the ground cleanly and ”tightly”. Wooden panels are the facade’s material, which will darken and turn greyish as they age. The wooden windows and doors have a painted steel exterior framing and the roof is built in painted, folded metal sheets. The floors are in massive oak, whilst walls and ceilings are finished in white plasterboard.

Åre Solbringen, Sweden

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Fuente: Åre Solbringen, Sweden

Storage House, Tokyo, Japan

Anabel — Fri, 04 May 2012 20:10:14 +0000

La casa es como un dispositivo de almacenamiento situado en una zona residencial en las afueras de Tokyo. Con su espacio subterráneo, el volumen de tres plantas encierra el espacio en dos niveles. El estacionamiento es un gran pabellón como un muelle de carga que se puede utilizar como un espacio público de reunión.

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

Storage House, Tokyo, Japan

Photo: Takumi Ota

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The house like a storage located in a residential area on the suburbs of Tokyo.
By proveding the underground space, the volume of three floors encloses the space of two layers.
The parking has a large canopy, such as loading dock. It can be used as a space people gather and is intended to successive to the streets.

Storage House, Tokyo, Japan

Plan 1

Storage House, Tokyo, Japan

Plan 2

Storage House, Tokyo, Japan

Plan 3

Storage House, Tokyo, Japan

Plan 4

Storage House, Tokyo, Japan

Plan 5

Storage House, Tokyo, Japan

Section

Storage House, Tokyo, Japan

Section

Storage House, Tokyo, Japan

Process

Storage House, Tokyo, Japan

Process

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Fuente: Storage House, Tokyo, Japan

Atelier Bardill, Scharans, Switzerland

Anabel — Fri, 04 May 2012 18:51:20 +0000

El edificio del Estudio Bardill ha remplazado a un antiguo y protegido granero ubicado en el centro de la aldea de Scharans en Suiza. El permiso de construcción fue concedido por las autoridades locales con la condición de que el nuevo edificio tuviera exactamente el mismo volumen que el viejo granero. El cliente, que vive en una casa a muy corta distancia del sitio, solo requería de un espacio para trabajar, por lo que solo ocupamos un tercio del volumen estipulado. El resto está ocupado por un atrio que le otorga al espacio un carácter monumental con una gran abertura al cielo. Este elemento le da grandiosidad y claridad al edificio en contraste con su geometría externa y con las pequeñas dimensiones del entorno del pueblo.

Atelier Bardill, Scharans, Switzerland

Archive Olgiati

Atelier Bardill, Scharans, Switzerland

Archive Olgiati

Atelier Bardill, Scharans, Switzerland

Archive Olgiati

Atelier Bardill, Scharans, Switzerland

Archive Olgiati

Atelier Bardill, Scharans, Switzerland

Archive Olgiati

Atelier Bardill, Scharans, Switzerland

Archive Olgiati

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The Bardill Studio building has replaced an old barn in the protected centre of the village of Scharans. Building permission was granted by the local authorities on the condition that the new building would have exactly the same volume as the old barn.

The client, Linard Bardill, who lives in a house a very short walking distance away from the site, required only a single space to work in. This working space occupies less than a third of the stipulated volume. The rest of it is taken up by an atrium that is lent a monumental character by a large, round opening to the sky. It is this element that invests the building with its grandeur and clarity in contrast to the arbitrary geometry of its external appearance and the small dimensions of its village surroundings.

Atelier Bardill, Scharans, Switzerland

Site plan

Atelier Bardill, Scharans, Switzerland

Ground floor

Atelier Bardill, Scharans, Switzerland

Section

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Fuente: Atelier Bardill, Scharans, Switzerland

Plantahof Auditorium in Landquart, Switzerland

Anabel — Thu, 03 May 2012 14:04:10 +0000

La instalación del nuevo auditorio en Landquart, Suiza, crea con su alta fachada una nueva plaza central dentro de la estructura general de la escuela de agricultura de Plantahof.
El espacio interior del auditorio se encuentra en penumbra. Dos ventanas enfrentadas definen el espacio interior y permiten una visión de la plaza hacia el eje del valle de Prättigau. Una delgada pared de hormigón de color oscuro se extiende como una tienda de campaña a lo largo de los pilares y las vigas. Estos elementos están soportados por pilares colocados fuera del edificio. La estructura combina de igual manera un marco y una construcción sólida. El resultado es un híbrido de pilares y muros que expresan el concepto arquitectónico y le dan carácter al edificio.
El nuevo auditorio es multifuncional y tiene una capacidad de 130 a 180 asientos. Además de su uso convencional, la nueva sala tiene capacidad para acoger diferentes tipos de eventos tales como seminarios, congresos y mesas redondas.

Plantahof Auditorium in Landquart, Switzerland

Photo © Javier Miguel Verme | archive Olgiati

Plantahof Auditorium in Landquart, Switzerland

Photo © Javier Miguel Verme | archive Olgiati

Plantahof Auditorium in Landquart, Switzerland

Photo © Javier Miguel Verme | archive Olgiati

Plantahof Auditorium in Landquart, Switzerland

Photo © Javier Miguel Verme | archive Olgiati

Plantahof Auditorium in Landquart, Switzerland

Photo © Javier Miguel Verme | archive Olgiati

Plantahof Auditorium in Landquart, Switzerland

Photo © Javier Miguel Verme | archive Olgiati

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The placement of the new auditorium creates a new central square within the overall structure of the Plantahof agriculture school. The high façade holds together the new piazza.

The inner space of the auditorium lies in half-light. Two windows facing each other define the inner space and allow for a view from the new piazza towards the axis of the Prättigau valley. A thin, dark coloured, concrete wall stretches over the pillars and beams like a tent. These elements are supported outside the building by the abutments. The structure combines in equal measure a frame and a solid construction. The result is a hybrid of pillars and walls, expressing an architectural concept and lending the building character.

The new auditorium is multifunctional and has a capacity of 130 to 180 seats. In addition to its conventional use, the new hall has the capacity to host different kinds of events such as seminars, congresses and panel discussions.

Plantahof Auditorium in Landquart, Switzerland

Situation plan | archive Olgiati

Plantahof Auditorium in Landquart, Switzerland

Cross section | archive Olgiati

Plantahof Auditorium in Landquart, Switzerland

Floorplan | archive Olgiati

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Fuente: Plantahof Auditorium in Landquart, Switzerland

Tetris: Ecole Secondaire de Genolier, Switzerland

Anabel — Wed, 02 May 2012 14:10:55 +0000

La escuela, situada cerca de un bosque en Genolier, Suiza, a través de sus grandes ventanas, se abre totalmente a sus alrededores arbolados.
Imagínese a nuestros hijos, encaramados en la belleza salvaje del follaje… un lugar fuera de todo, entre el cielo y la tierra, donde sólo reina la belleza implacable de una luz diáfana de color verde, el dulce sonido del canto de las hojas agitadas por el viento, una atmósfera fascinante por su tranquilidad en armonía con la idea de estar en un lugar de aprendizaje. Imagine una escuela que basa su estética plástica en la selva. Una belleza que interpreta una sinfonía musical al ritmo de la casualidad y la repetición, para capturar, jugar, vivir las emociones que nos regala la naturaleza.
El edificio se desarrolla en silencio… al dialogar con la naturaleza, su presencia es mínima.
El patrón de repetición utilizado para el proyecto de las aberturas de fachada tiene sus raíces en el entorno que caracteriza el lugar. Un zoom macroscópico sobre el follaje nos ofrece una pixelización que constituye el patrón con el que se diseñan las aberturas. El famoso juego del Tetris anima las fachadas y hace que la luz le otorgue a la escuela un aire lúdico.
La fachada norte nos da la bienvenida… esta entrada a la nueva escuela a su vez se conecta con el complejo existente a través de un gran paso, un puente de cristal de geometría rota que puede servir de tribuna al aire libre para actividades deportivas.
Los espacios de circulación son generosos, crean lugares de encuentro y proporcionan ámbitos aptos para aplicar nuevos métodos de enseñanza. Los colores también tienen su fuente en el bosque cercano mediante la restauración de un concreto de color marrón que evoca los troncos de los árboles. En el interior se expresan las variaciones cromáticas de la luz en las cuatro estaciones: otoño, naranja para el nivel más bajo, el invierno de color marrón en la entrada, verde primavera en el primer piso y color verde-azulado en el segundo piso. En los cuartos de baño el color es azul… penetra en las paredes de madera y en el techo de los gimnasios donde el suelo refleja un cielo azul.
El edificio utiliza el principio de grandes luces, dos paredes de hormigón de 40 centímetros de espesor que abarcan los dos niveles de aulas soportan un arco de 32 metros de longitud. De esta manera el gimnasio, libre de cualquier soporte intermedio, se puede subdividir para el desarrollo de distintas actividades.
En términos de sustentabilidad y mantenimiento, los materiales utilizados en el exterior proporcionan una durabilidad que resiste a las inclemencias del tiempo: un material inerte como el hormigón y un techo compacto completamente resistentes a la humedad del ambiente que genera el bosque cercano.

Tetris: Ecole Secondaire de Genolier, Switzerland

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The building is located near the forest and its large windows fully open the school on its wooded surroundings.

Imagine our children, perched in the wild beauty of foliage, about to sprout from vertigo that comes from the rise of knowledge… A place outside any, between heaven and earth, where reigns only the relentless beauty of a diaphanous light colored green, the sweet sound of singing of leaves blowing in the wind, a spellbinding atmosphere by its serenity in harmony with all the idea that there is a place of learning.

Imagine a school which draws its plastic aesthetics of the forest. A beauty who plays a musical symphony to the rhythm of chance and repetition, to capture, play, live emotions that nature gives us.

The building unfolds quietly because dialogue with nature, respect for the latter, out of modesty, its footprint is minimal: as a result of deforestation is reduced, the search also.

The repeating pattern used for the definition of the openings of facade has its roots in the plant environment that characterizes the place. Zoom on the macroscopic foliage delivers us a pixelization constituting the frame in which the openings take place. The famous arcade game Tetris animates the facades and makes light of the serious idea of a school to give it a more playful.

A door-to-north false facade welcomes the entry of the new school which is in turn connected to the existing complex through a large entry step outside that can serve as bleachers for outdoor sporting activities. A glass bridge, geometry broken, connects the two schools.

The program follows a hierarchical organization clear down the access and sport, the top areas of learning, this spatial arrangement is enhanced by the multiple external environments and their lights.

The circulation spaces are generous because we must accommodate students, create meeting places and provide surfaces for new teaching methods.

The colors also draws its source in the nearby forest by restoring a concrete-colored brown, evoking the tree trunks. Inside, the chromatic variations borrow light of the four seasons, autumn orange for the lower level, the winter-brown at the entrance, spring green on the first floor and was green-blue in the second floor. The bathrooms are blue, penetrates to the wood walls and ceiling of the gyms where the soil reflects the blue sky.

The building uses the principle of large spans, two concrete walls 40 inches thick and encompassing two levels of classes materialize an arc of 32 meters in length through which the gym is divisible released any intermediate support.

In terms of sustainability, maintenance, materials which constitute the outer shell provide durability that resists the vicissitudes of time: an inert material such as concrete, and a compact roof completely resistant to ambient humidity generated by the near the forest.

Fuente: Tetris: Ecole Secondaire de Genolier, Switzerland

Ferson House, Haacht, Belgium

Anabel — Wed, 25 Apr 2012 15:56:10 +0000

Ferson House es una vivienda unifamiliar ubicada en una zona rural de Haacht, Bélgica, dieñada por el estudio belga Collectiv4 Arquitectos. La percepción es de un volumen monolítico, con una planta irregular y un techo en ángulo que proporciona diferentes experiencias y perspectivas en cada habitación. Las aberturas cuadradas colocadas estratégicamente en la fachada dirigen las miradas hacia el paisaje natural circundante.

Ferson House, Haacht, Belgium

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Ferson House is a single family residence within a rural area of Haacht, Belgium by belgian practice Collectiv4 Architects. The inhabitant’s perception from the interior viewing outwards dictated a monolithic volume with an irregular footprint and angled roofline. To provide different experiences and prospects from each room. Placement of square openings within the facade strategically directs focus towards an adjacent field and encompassing natural landscape. The varied thicknesses of the exterior’s vertical lumber paneling. Further conceals the home’s simple and low-energy interior. The internal circulation generates a pleasing flow for dwellers.

Ferson House, Haacht, Belgium

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Fuente: Ferson House, Haacht, Belgium

Level Apartment, Ljubljana, Slovenia

Anabel — Tue, 24 Apr 2012 16:21:44 +0000

El proyecto es para la renovación de un apartamento en un edificio art nouveau, diseñado y construido en 1902 por el arquitecto C.M. Koch. El edificio es un bloque de 5 plantas residenciales ubicado en el centro de Liubliana, con vistas a una plaza rodeada de edificios de uso residencial y mixto.
El diseño original con varias habitaciones creaba una sensación de encierro. La estrategia de diseño fue crear ambientes más abiertos con espacios definidos según los diferentes usos. Muchas de las particiones existentes fueron removidas para lograr un espacio continuo, dejando sólo los principales muros estructurales.

Level Apartment, Ljubljana, Slovenia

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The project is the renovation of an apartment contained within an art nouveau building originally designed and built in 1902 (architect C.M. Koch). The building is a 5 floor residential block in the centre of Ljubljana overlooking a square surrounded by residential and mixed use buildings.

The original layout consisted of multiple rooms which creating an enclosed feeling within the apartment, the brief required a more open plan layout however with the different uses within the space clearly defined. Many of the existing partitions were removed to create a more continuous space, leaving only the main structural walls to break the space up creating a constant circulation around the apartment and giving the feeling of a single entity broken by only a few elements.

Instead of using walls to define the uses, levels within the floor were created so that the open plan could be kept however a change in use inside the space was signified by a change in elevation.

Furthermore, storage and furniture were combined with the floors and walls to further add to the delineation of space, giving a more evident use to each space. By designing the furniture to be contained within the walls and floor, using similar materials enforces the idea of creating separate purposeful spaces whilst generating a feeling that they are all connected and can be viewed as a single entity. Storage throughout the apartment is achieved using a repeated element, creating hidden storage whenever the floor level is elevated, meaning the steps leading up to the sleeping level or shower level for example are not used solely as circulation but as storage also. Hiding the majority of the storage means that a continuity of space and materials is kept which adds to the feeling of an un-interrupted space.

- Repetition of furniture elements throughout the apartment, hidden in floor which has been extruded, most storage hidden to create the continuity in materials and so as not to interrupt spaces,
- Use of floors as definition of rooms instead of walls,
- Creating furniture from floor elements,
- Refurbishing of historic elements, doors, windows, etc.,
- Breaking down multiple spaces into larger simpler ones, inserting furniture elements as room separators,
- Change in levels for definition of rooms, furniture merged with floors to define use of room.

Level Apartment, Ljubljana, Slovenia

Existing plan

Level Apartment, Ljubljana, Slovenia

New plan

Level Apartment, Ljubljana, Slovenia

Construction intervention

Level Apartment, Ljubljana, Slovenia

Progress concept

Level Apartment, Ljubljana, Slovenia

Level programs

Level Apartment, Ljubljana, Slovenia

Levels program

Level Apartment, Ljubljana, Slovenia

Sections

Level Apartment, Ljubljana, Slovenia

Sections

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Fuente: Level Apartment, Ljubljana, Slovenia

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Anabel — Mon, 23 Apr 2012 13:35:31 +0000

El objetivo de la intervención es mantener intacta la herencia cultural del sitio. Las acciones proponen redefinir con materiales contemporáneos el valor histórico sin distorsionar la percepción del palacio-jardín. Como el perímetro va variando de intensidad, para ello se ubicaron placas de acero en forma de “L” de 150x300mm y 6mm de espesor, cada una ubicadas en diferentes posiciones para generar la sensación de intimidad. Esto redibuja el espesor de la pared de piedra haciéndola más liviana. La secuencia de placas de acero crea una nueva “pared”, transformando la relación entre el jardín y la calle.

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Photo: Aitor Ortiz

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Old wall

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Originally located outside city walls, later within the following quartiers of the growth of the town of Bergara, the Palace appears as Yrizar property in 1659. At this time it was still a large house with some orchards around, and the owners renovated it completely. It was in 1692 when we find the first description that refers to the existence of a Renaissance garden.

Between the decade of 60´s and 90´s, orchard/garden space undergoes various changes and transformations. The space that we perceived at the end of 2010 was basically defined by an enclosure that includes the landscaped areas, the garden of Renaissance origin and “closing”, protected by a decree of the culture department of the Basque Government, in which it’s only mentioned the garden.

The original masonry wall has disappeared and in its place we can find a kind of lattice closing, which is not due to any previous model. Unfortunately, the enclosure lets the garden be viewed by pedestrians and therefore it´s distorted its perception as an isolated garden from its environment, distorting the original hortus conclusus spatiality.

On the one hand, the aim of the intervention guarantees to remain intact the cultural heritage site. The actions propose to redefine with contemporary finishing materials the historical value without distorting the perception of the palace-garden set, the original spatial location.

The operation tries to regain somehow the Classic Garden privacy, needed to restore the meaning of this space, that originally was directly related to the palace and protected from the outside world. The same vocation of the masonry wall that past interventions had significantly distorted, becomes into twenty-first century´s metal sealing, similar thick but subtly “suggests” the garden that hides and protects.

The perimeter closing varies in intensity according to the garden area that encloses. From the required opacity in the perimeter of the Classic Garden , to a certain permeability in the far side of the palace (westside) until it finally disappears in the north, marking where should be continued the closing of the gardens of the palace.

A corten steel plate in an “L” of 150x300mm and 6mm thick, placed in different positions is the generating element of the closing, which redraws the original stone wall thickness, but lighter. Clamped between two plates, the sequence of steel plates builds the ”new” wall, which transforms the relationship between the garden and the street. Furthermore, this wall is engraved with some information, text and maps that provide data on the whole, that somehow, puts it in value and returns it to the collective memory of the citizens of Bergara.

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Planta

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Alzado

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Alzado

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Detalle

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Detalle

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Detalle

Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

Detalle

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Fuente: Redefinition of the closing of Yrizar Palace Garden, Bergara, Basque Country

House Dress, Klagenfurt, Austria

Anabel — Mon, 23 Apr 2012 12:47:14 +0000

El estudio de Arquitectura heri&salli de Viena creó, para una casa existente en Klagenfurt, Austria, una fachada de placas de aluminio diseñadas para darle una apariencia dinámica. El objetivo fue crear una apariencia homogénea para reforzar y subrayar la presencia del cubo existente y, al mismo tiempo, conservar funciones tales como la vista al exterior a través de la fachada.

House Dress, Klagenfurt, Austria

Photo © Rainer Wührer

House Dress, Klagenfurt, Austria

Photo © Rainer Wührer

House Dress, Klagenfurt, Austria

Photo © Rainer Wührer

House Dress, Klagenfurt, Austria

Photo © Rainer Wührer

House Dress, Klagenfurt, Austria

Photo © Rainer Wührer

House Dress, Klagenfurt, Austria

Photo © Rainer Wührer

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The architecture studio heri&salli from Vienna conceived for one part of an already existing house in Austria/Klagenfurt a façade design made of perforated sheets of aluminium. Already existing views were picked up and subjected to a dynamic appearance.

The object was to create a homogenous appearance, to reinforce and underline the presence of the existing cube and at the same time conserve functions like the view to the outside through the façade.

To create a dynamic interaction between different views to the outside and movements in the inside of the building they employed aluminium sheets with different perforations, that remind of a clouded sky. (Perforations and light)

Thoughts and functions are the essence of a created image- of a reduced surface.

Construction
Already existing corrugated sheet metal walls were provided with an aluminium support structure and perforated sheets of aluminium.

House Dress, Klagenfurt, Austria

Sketch

House Dress, Klagenfurt, Austria

Concept

House Dress, Klagenfurt, Austria

Concept

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Fuente: House Dress, Klagenfurt, Austria

Recreational Island House, Loosdrecht, The Netherlands

Anabel — Thu, 19 Apr 2012 13:44:25 +0000

En una isla de 5 por 100 metros, en un área del lago Loosdrechtse Plas de Holanda, los arquitectos 2by4 diseñaron una especial casa de recreo. La casa es un marco sutil que capta totalmente las vistas desde el interior hacia el exterior y viceversa interactuando con la naturaleza circundante. Una de las fachadas de cristal se puede abrir totalmente para que la terraza de madera al aire libre se convierta en parte del interior. La fachada plegada se convierte así en un elemento perpendicular abstracto que flota sobre el agua. Al abrir esa parte de la fachada, el piso de madera de la zona de estar se conecta directamente con el agua permitiendo a los habitantes acceder al lago directamente desde la sala de estar.
Aunque el tamaño de la casa es reducido, de todas maneras contiene todas las funciones necesarias: ducha, aseo, cocina, armarios, almacenamiento y otras funciones están integradas en la pared doble. De acuerdo con la necesidad de una función específica la pared puede ser modificada de modo que los cambios en la configuración espacial resulten en diferentes ambientes. La chimenea, que cuelga del techo, también contribuye al cambio de ambientes, ya que se puede girar hacia la terraza al aire libre en las acogedores noches de verano.
La orientación de la casa está determinada por la salida y la puesta del sol. A la luz fría de la mañana el sol brilla en la fachada este, iluminando el interior blanco. Por la noche, la cálida luz fluye hacia la fachada oeste, anunciando el final del día.

Recreational Island House, Loosdrecht, The Netherlands

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On an island of 5 by 100 meters in the Dutch lake area ‘Loosdrechtse Plas’ 2by4-architects designed a unique recreational house. The house is a subtle frame that captures the view from the inside out and outside in. Completely anticipating on the client’s needs 2by4 has designed the house in such a way that it can customize the interaction with the surrounding nature. One of the glass facades can be completely opened so that the wooden outdoor terrace becomes part of the interior. To even more lift the inside-outside barrier the dark wooden facade can be folded open, creating a panoramic view to nature. The folded facade becomes an abstract perpendicular element that floats above the water. By opening this part of the facade the wooden floor of the living area is now directly connected to the water enabling the inhabitants to access the lake from the living room.

Although the size of the house is limited it still contains all the functions that are needed for comfort. Shower, toilet, kitchen, closets, storage and other functions are all integrated into a double wall. According to the need of a specific function the wall can be modified so that the spatial configuration changes, resulting into different atmospheres. The fire place, that hangs from the ceiling, also contributes to the changing of atmospheres because it can be rotated towards the outdoor terrace for those cozy summer evenings.

The orientation of the house is based on sunrise and sunset. In the morning cold light shines on the east facade, illuminating the white interior. In the evening the warm light flows into the west facade, announcing the end of the day.

Visitors that arrive at the house enter it in a series of sequences. Seen from the main land the house floats above the island. Arriving on the island itself the visitors are guided towards an elevated jetty that brings them to the terrace on the other side. The terrace continues towards the inside of the house where it stops halfway. Here the floor changes material and becomes a raised platform from where the visitors can look back at the nature they just came from.

Recreational Island House, Loosdrecht, The Netherlands

Sketch

Recreational Island House, Loosdrecht, The Netherlands

Floor plan

Recreational Island House, Loosdrecht, The Netherlands

Detail

Recreational Island House, Loosdrecht, The Netherlands

Section

Recreational Island House, Loosdrecht, The Netherlands

Section and context

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Fuente: Recreational Island House, Loosdrecht, The Netherlands

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Anabel — Thu, 19 Apr 2012 13:18:50 +0000

Las Piedras Fasano es un complejo hotelero ubicado en Punta del Este, Uruguay. Combina viviendas particulares, bungalows de hoteles y otros servicios - spa, centro de equitación, el golf y canchas de polo y un tramo de playa de 3 km en la ribera del Arroyo Maldonado, en 480 hectáreas dominadas por un paisaje espectacular y deslumbrante de zonas áridas y rocoso con escasa vegetación baja.
El paisaje inspiró al anterior propietario para erigir, con las rocas que se encuentran en la zona, su hogar y estudio. En nuestro primer reconocimiento del lugar, no teníamos ninguna duda que debíamos preservar los edificios rústicos y su única mano de obra.
El estudio detallado del programa del cliente nos llevó a dispersar las unidades que componen el complejo, concebido y distribuido en forma de módulos aislados que ”caen de forma natural” en el terreno, como las mismas rocas, una solución destinada a impedir la erección de grandes edificios o volúmenes que en exceso podrían haber interferido con el paisaje. Esto también determinó la ubicación de la recepción del hotel y del restaurante Las Piedras en la casa antigua y, en el estudio, el restaurante Fasano.
Todas las otras estructuras, los 20 bungalows, el spa, el bar de la piscina y el salón para eventos, fueron construidas siguiendo el mismo concepto, dispersos alrededor de la propiedad como las mismas piedras.

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Bungalows

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Bungalows

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Bungalows

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Bungalows

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Bungalows

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Bungalows

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Bungalows

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Bungalows

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Fasano Restaurant

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Fasano Restaurant

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Fasano Restaurant

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Fasano Restaurant

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Fasano Restaurant

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Fasano Restaurant

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Las Piedras Restaurant

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Las Piedras Restaurant

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Las Piedras Restaurant

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Lounge for parties

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Lounge for parties

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Reception and lobby

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Reception and lobby

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Reception and lobby

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Reception and lobby

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Reception and lobby

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Reception and lobby

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Reception and lobby

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Spa

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Spa

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Spa

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Spa

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Swimming pool bar

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Swimming pool bar

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Swimming pool bar

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Swimming pool bar

Fasano Las Piedras Hotel, Punta del Este, Uruguay

Swimming pool bar

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Las Piedras Fasano is a hospitality complex in Punta del Este, Uruguay. It combines private homes, hotel bungalows and other amenities – spa, equestrian center, golf and polo fields and a 3-km beach stretch on the riverside of Arroyo Maldonado -, spreading across vast 480 hectares dominated by a dramatic and dazzling landscape: arid, rocky, with sparse low vegetation.

The scenery inspired the previous owner to erect, with the rocks found in the area, his home and studio. Upon our arrival to the first land reconnaissance visit, we had no doubt those buildings – rustic and of unique workmanship – should be preserved.

The detailed study of the program/client brief led us to resort to scattering the units making up the complex, conceived and distributed as isolated modules that “landed naturally” on the terrain, such as the rocks themselves – a solution intended at preventing the erection of massive buildings or volumes that might excessively interfere with the landscape. It also led to the decision of setting the hotel reception and the Las Piedras Restaurant at the ancient home and, at the studio, the Fasano Restaurant.

All other structures – 20 bungalows (860sqft or 1290sqft), the spa, the swimming pool bar and the lounge for events – were built following the same concept, scattered around the property and laid just as the piedras themselves.

The Las Piedras Restaurant (2360sqft)
The ancient home to the previous owner was completely remodeled and expanded so to house the reception to the hotel and the Las Piedras Restaurant – where breakfast and lunches to the guests are served. The restaurant occupies an entire wing in the U-shaped building, and features tables both in a salon and in a veranda – the latter, opening onto a small patio.

The Fasano Restaurant (4220sqft)
Very few interventions were made to the studio, built on the highest point of the property and offering prime views of the surroundings: internally, the wooden walls, floors, doors, windows and ceilings were kept; externally, a new wooden deck, at a lower level, was added to the existing one.

Interconnected to the studio, a completely new volume was built, to house the kitchen and supporting facilities: made of raw concrete and slightly lower than the stone house, it establishes a respectful relationship with it and does not stick out in the rocky landscape in any way.

The Swimming Pool and Bar (1180sqft)
We decided to set the swimming pool in a hight part of the land, with privileged viwes to the surrounding landscape, taking yet advantage of a natural depression in the rocks. Just beside it, we placed a corten steel container to house the changing rooms, bar and lounge serving the guests in the swimming pool.

The Spa
The spa built in Fasano Las Piedras hospitality complex is a single-story concrete rectangular volume, where rooms are placed in the perimeter leaving an open indoor garden in the centre of the building, around which all circulations evolve. Serenity is to feel all around, through the choice of materials and filtered light that comes in through the windows open in the external concrete walls and skylights in the halls and rooms. The spa features treatments rooms, dry and wet sauna, a swimming pool and relaxation room, besides a private suite.

Fasano Las Piedras Hotel, Punta del Este, Uruguay

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Fuente: Fasano Las Piedras Hotel, Punta del Este, Uruguay

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

Anabel — Tue, 17 Apr 2012 16:28:08 +0000

El conjunto de edificios que hoy conforma el museo municipal de Rapperswil-Jona en Suiza, en octubre de 2011 fue objeto de una ampliar renovación y restructuración.
El “Janus” fue el proyecto ganador del concurso realizado en 2007 para darle al este Museo Municipal de más de 700 años un nuevo perfil, acorde con su significado público. El nuevo edificio se ha integrado completamente con el casco histórico y se adapta discretamente a la imagen que presentan las estrechas calles del centro de la ciudad.

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

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The ensemble of buildings that today makes up the Rapperswil-Jona municipal museum looks back on a history of more than 700 years. In 2010/11, it underwent extensive renewal and restructuring.

Starting at the end of the 13th century, a small fortified complex was built inside the town walls of Rapperswil on Lake Zurich. It was comprised of a fortified tower and a residential building, which were linked to one another by a utility building constructed along the town wall. A number of the extravagant interiors from halfway through the 16th century have been preserved until the present and they formed the origin of the museum, which was established in three buildings from 1943 onwards. The new use as a museum called for a number of adaptations, and they included, in particular, the conversion work performed in 1960, during which the connecting building was given a ‘medieval’ mock-historical timber-truss façade including open galleries.

By 2002, it was obvious that the property, which was known as “Breny” after its last owners, would have to undergo thorough renovation, and considerable structural shortcomings had been detected, especially affecting the connecting building from 1960. Another factor was that the layout of the buildings, which had evolved gradually over time, was such that the ways of getting through them were convoluted, which rendered it impossible to satisfy the requirements of safety and security as well as those of present-day museology. At the same time, the idea was progressively taking shape on the political front of merging the towns of Rapperswil and Jona, which became reality in 2007. Renovation of the museum was thus the first joint project as a step into the cultural policy of the future.

The “janus” project, which won a competition held in 2007, is giving the Rapperswil-Jona municipal museum a new profile commensurate with its public significance. It is designed to attract the attention of members of the public interested in culture without stopping at the municipal boundaries and presents the museum and the town as an appealing destination for excursions. The project to put up the new building has been sensitively integrated in the historic town. The view from the north, which is important for the overall visual impression of the town, is to remain unchanged. The building fits discreetly into the background of the historic picture presented by the narrow town-centre streets. With the new terrain situation and the tasteful bronze façade, the building imposes a new emphasis on its immediate surroundings and can easily be read as the main entrance to a modern museum complex.

In addition to a new main entrance, the Breny House and Breny Tower parts of the museum now benefit from disabled access thanks to the new building. As a new part of the whole complex, “janus” satisfies the all building-services and operational requirements of a modern, round-the-year museum operation and thus makes it possible for the legacy buildings too to justify their existence as authentic witnesses of their day and age. It is with this same respectful attitude that the shape of the new building has been developed out of the lateral façades of the old buildings. Its façade and roof have been designed in such a way that the existing windows and doors of the old buildings are not intersected anywhere.

The newly created rooms are extending the museum’s spectrum in terms of space, operations and the possibilities available to the curator. The ground floor, for example, fulfils several functions. After entering the complex, visitors immediately move into the main room, which is two floors high. Given its central position and the model of the town on display there, this room is a suitable starting point for conducted tours of the museum or the town. For prestigious events, it can be combined with the forecourt or the gallery floor.

Many different rooms are also available in addition to the main one and are appropriate for a variety of exhibition purposes. One example is the second floor, where the rooms have had plenty of windows incorporated in their walls, affording marvellous views. Another is the third floor, which is drenched in bright light, making it possible, on the one hand, to admire the impressive roof timbering of Breny House, which had previously not been visible, and, on the other hand, to provide a setting for a modern presentation of contemporary contents. The way that different types of natural light are brought into play adds another interesting dimension to the building in the course of the day and the succession of the seasons.

Illumination of the building through its roof and the transmission of light from floor to floor deliberately create a stark internal contrast with the legacy buildings. Firstly, that makes it easier for people to find their way around the whole complex and, secondly, the new is clearly offset against the old, heightening awareness for the threshold to the latter. Stepping into the legacy buildings thus becomes an eventful journey in time, back into the past. Thanks to spatial references of this nature, the new building kindles visitors’ curiosity and stimulates them to set out on this journey of discovery. Various direct lines of vision show up the town and museum in unexpected perspectives and vistas. They create the desire to move around in the museum and to get to know the buildings and the exhibitions on display in them.

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

Ground floor plan

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

1st floor plan

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

2nd floor plan

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

3rd floor plan

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

4th floor plan

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

Longitudinal section

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

Site plan

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

North view

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

Cross section

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

South view

Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

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Fuente: Janus: extension and renewal of the Rapperswil-Jona municipal museum, Switzerland

Block 64 IJburg Amsterdam

Anabel — Mon, 16 Apr 2012 14:11:13 +0000

Block 64 es el último edicifio ubicado en el extremo sureste de la Haveneiland East, en IJburg. Se compone de 45 viviendas y de un garaje de estacionamiento. El bloque de apartamentos multifamiliares, colocado en la esquina de la isla, actúa como un acento arquitectónico. Las casas unifamiliares se conectan a este volumen y se envuelven alrededor de un patio íntimo. El punto de partida del diseño fue la especial forma de la parcela. En el extremo sureste, el bloque se ve como si alguien hubiera tomado un cuchillo y lo cortó en diagonal. La trama base de 5,40 metros, expuesta por el corte, se suma a la mirada expresiva de la fachada que da al agua. Este juego plástico se enfatiza aún más con los balcones en voladizo.

Block 64 IJburg Amsterdam

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Block 64 is the last building block at the southeastern end of Haveneiland East in IJburg. It comprises 45 one- and multifamily houses plus a parking garage. The multifamily apartment block is placed on the corner of the island, serving as an architectural accent. The one- family town houses are connected to this volume and wrap themselves around the intimate courtyard.

The starting point of the design was the special shape of the plot. At the southeastern end, the block looks as if somebody took a big knife and cut it off diagonally. The standard grid of 5,40 metre, exposed by the cut, adds to the expressive look of the façade that faces the water. This play with plasticity is further emphasized by the cantilevering balconies.

All groundfloor apartments have direct, internal access to the half- sunken parking garage. The apartments are accessed via a short gallery, which is connected to a central lift. Thanks to this layout, all houses are orientated in two or three directions and make the best of their location within the block.

Block 64 IJburg Amsterdam

Siteplan

Block 64 IJburg Amsterdam

Siteplan

Block 64 IJburg Amsterdam

Elevations

Block 64 IJburg Amsterdam

Elevations

Block 64 IJburg Amsterdam

Level -1

Block 64 IJburg Amsterdam

Level 0

Block 64 IJburg Amsterdam

Level 1

Block 64 IJburg Amsterdam

Level 2

Block 64 IJburg Amsterdam

Level 3

Block 64 IJburg Amsterdam

Level 4

Block 64 IJburg Amsterdam

Sections

Block 64 IJburg Amsterdam

Sections

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Fuente: Block 64 IJburg Amsterdam

Western Concourse at King’s Cross, London

Anabel — Fri, 13 Apr 2012 17:11:55 +0000

Finalizado luego de un desarrollo de varias fases, la reconstrucción de la estación de King Cross revela tres diferentes estilos de arquitectura: la reutilización, la restauración y una nueva construcción. El cobertizo de la estación del tren y los edificios del área de distribución han sido adaptados y reutilizados. La fachada restaurada y la nueva explanada occidental altamente expresiva, han sido diseñadas como la pieza central y el “corazón palpitante” del proyecto. Cuando la estación se abra al público, el lunes 19 de marzo, su arquitectura icónica se convertirá en una nueva puerta de entrada para la ciudad, lista para los Juegos Olímpicos de Londres 2012.

Western Concourse at King’s Cross, London

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With this multi-phased development now complete, the significance of the King’s Cross Station redevelopment is finally revealed. The transformation of King’s Cross Station for Network Rail involves three very different styles of architecture: re-use, restoration and new build. The train shed and range buildings have been adapted and re-used, the station’s previously obscured Grade I listed façade is being precisely restored, and a new, highly expressive Western Concourse has been designed as a centrepiece and the ‘beating heart’ of the project. When the station opens to the public next Monday, 19 March, King’s Cross will become a new, iconic architectural gateway to the city, ready for the 2012 London Olympics.

John McAslan + Partners began work on the project in 1998 and established the overall master-plan for the development in 2005. As a result the practice has played a key role in the wider transformation of the King’s Cross area – infrastructural, social and commercial changes that now connect the station with the massive King’s Cross Central scheme north of the station as well as to St Pancras, the London Underground, and the surrounding urban context. The architectural ambition of JMP’s scheme has been to create a new iconic landmark that will function as a key catalyst for the ongoing regeneration of this new London quarter as well as providing striking new facilities that will accommodate the 50 million passengers now passing through the station each year.

Western Concourse
The centrepiece of the £547m redevelopment is the new vaulted, semi-circular concourse to the west of the existing station. The concourse rises some 20m and spans the full 150m-length of the existing Grade I Listed Western Range, creating a new entrance to the station through the south end of the structure and at mezzanine level to the northern end of the Western Concourse.

The 7,500sqm concourse has become Europe’s largest single-span station structure, comprising of 16 steel tree form columns that radiate from an expressive, tapered central funnel. The graceful circularity of the concourse echoes the form of the neighbouring Great Northern Hotel, with the ground floor of the hotel providing access to the concourse.
The Western Concourse sits adjacent to the façade of the Western Range, clearly revealing the restored brickwork and masonry of the original station. From this dramatic interior space, passengers access the platforms either through the ground level gate-lines in the Ticket Hall via the Western Range building, or by using the mezzanine level gate-line, which leads onto the new cross–platform footbridge.

Located above the new London Underground northern ticketing hall, and with retail elements at mezzanine level, the concourse will transform passenger facilities, whilst also enhancing links to the London Underground, and bus, taxi and train connections at St Pancras. The concourse is set to become an architectural gateway to the King’s Cross Central mixed-use developments, a key approach to the eastern entrance of St Pancras International. It will also act as an extension to King’s Cross Square, a new plaza that will be formed between the station’s southern façade and Euston Road.

Western Range
The Western Range at King’s Cross is the historic station’s biggest component, accommodating a wide range of uses. Complex in plan, and articulated in five buildings, the practice’s considered architectural intervention has delivered greatly improved working conditions for the station staff, train-operating companies and Network Rail management teams. The Northern Wing, destroyed by bombing in World War II, has been rebuilt to its original design. The reinstatement of the Western Range also delivers key gated connections, including a new gate-line at the southern end, now the main point of connection between the Western Concourse and the platforms of the Main Train Shed.

Main Train Shed
The station’s Main Train Shed is 250m long, 22m high and 65m wide, spanning eight platforms. The restoration includes revealing the bold architecture of the original south façade, re-glazing the north and south gables and refurbishing platforms The two barrel-vaulted roofs are currently being refurbished and lined with energy-saving photovoltaic arrays along the linear roof lanterns, while a new glass footbridge designed by JMP extends across the Main Train Shed, replacing the old mid-shed Handyside bridge and giving access to every platform as well as the mezzanine level of the concourse.
JMP’s design integrates the main and suburban train sheds for the first time, creating a completely coherent groundplan for passenger movements into and through the station. Improvements to the Suburban Train Shed located to the north of the Western Concourse and Western Range buildings have enhanced the operation of its three platforms (the busiest in the station during peak-hours).

The ambitious transformation of the station creates a remarkable dialogue between Cubitt’s original station and 21stcentury architecture – a quantum shift in strategic infrastructure design in the UK. This relationship between old and new creates a modern transport super-hub at King’s Cross, whilst revitalising and unveiling one of the great railway monuments of Britain.

Western Concourse at King’s Cross, London

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Fuente: Western Concourse at King’s Cross, London

House-dT in Osaka, Japan

Anabel — Wed, 11 Apr 2012 14:46:51 +0000

El sitio de la “Casa-DT” es una nueva zona residencial en el sur de Osaka.
Los comitentes pidieron básicamente cuatro cosas para el diseño de la casa: vivir tranquilamente mirando todos los días la bahía de Osaka, un estudio donde el marido pudiera tocar la batería, un taller para que en un futuro la esposa diera clases de dibujo y un gran patio para fiestas y asados.

House-dT in Osaka, Japan

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The site of “House-dT” is in the new residential area of the Osaka southern part, and can overlook Osaka Bay.
I designed this house in this site for husband whose hobby is playing a drum, and wife who is a painter.
They requested four things to the design of the house.
The one was that they would live calmly every day looking Osaka Bay, and the two was that husband would have a studio for playing a drum completely, the three was that wife would have a atelier which could open a drawing class in the future, and the four was that they would have a large yard for a barbecue party.
In order to realize their requests in this narrow site, I piled up the atelier on the studio, and arranged a well space between these spaces and the living space for that the noise from the studio and the atelier would not be get across to the living space.
And I filled these all spaces in the simple box form, and arranged the box aslant in this site in order to take the large yard.
Since the well space will be passed on the way to every rooms, I considered that the well space would be the most important space, and decided to make this well space into attractive space.
I prepared the big window in one side of this well space from which Osaka Bay could be overlooked, and decided to use the other side of this well space as a canvas on which wife would draw the picture.
The theme of the picture was taken as a big tree , since I expected that the picture would protect this family, and husband’s first name “Daiki” means a big tree in japanese.
Since I considered that the view of Osaka Bay which would be overlooked from the interior, and the picture of a big tree were the most important for this house, I decided to design the house as simply as possible.

House-dT in Osaka, Japan

1st floor plan

House-dT in Osaka, Japan

2nd floor plan

House-dT in Osaka, Japan

Section

House-dT in Osaka, Japan

North elevation

House-dT in Osaka, Japan

South elevation

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Fuente: House-dT in Osaka, Japan

Temporary Wooden Housing for Refugees in Rikuzentakata, Japan

Anabel — Tue, 10 Apr 2012 20:06:24 +0000

La restauración después de la catástrofe encarada por los arquitectos y las industrias locales.
Este complejo de viviendas contemporáneas, construido en una zona devastada por los terremotos en el Este de Japón, se une al paisaje natural que lo rodea. El complejo, resultado de los trabajos de colaboración entre los carpinteros locales y la planificación de arquitectos urbanistas, muestra cómo la ayuda humanitaria puede funcionar.
Sumita es una ciudad cercana a Rikuzentakata en la región de Kesen. El complejo de viviendas se constituye con “unidades de vivienda temporales de madera”. Antes del terremoto, la ciudad había obtenido una certificación del Forest Stewardship Council, y actualmente ha desarrollado un sistema constructivo de viviendas de madera de cedro desarrollado por los carpinteros locales conocido como “Kesen Daiku”. Este sistema, que se caracteriza por un flujo de trabajo rápido de electricidad y maquinaria, tiene una cuidada actitud hacia el medio ambiente: sierras de madera con generadores de energía de baja tensión, maquinarias sin estructuras de madera, sistema de paneles de la pared, facilidad de construcción de unidades que considera la posibilidad de reubicación y el futuro proceso de remoción.
Los arquitectos evaluaron las infraestructuras existentes en el lugar y la organización de vivienda planificada. Esta “organización” fue el concepto clave para el diseño propuesto. El sitio es un terreno de camping con fuertes pendientes, como los campos de arroz en terrazas, el cual se dividió en parcelas. Mediante la utilización de la infraestructura existente, el proyecto fue planificado para preservar su entorno natural, reducir el período de construcción y restaurar el medio ambiente original. Las unidades de vivienda se organizaron para maximizar las posibilidades espaciales. Cada eje visual de la casa se orienta específicamente para permitir puntos de vista desde el interior y para crear espacios exteriores. Como resultado de ello, los residentes pueden interactuar con otros a través de los jardines y, a su vez, proteger adecuadamente los espacios privados.
El complejo de viviendas, de reciente construcción, recrea la atmósfera de pueblo. El sistema constructivo es el fruto de la pasión de las tecnologías locales en la materia.

Temporary Wooden Housing for Refugees in Rikuzentakata, Japan

Photo: Takumi Ota

Temporary Wooden Housing for Refugees in Rikuzentakata, Japan

Photo: Takumi Ota

Temporary Wooden Housing for Refugees in Rikuzentakata, Japan

Photo: Takumi Ota

Temporary Wooden Housing for Refugees in Rikuzentakata, Japan

Photo: Takumi Ota

Temporary Wooden Housing for Refugees in Rikuzentakata, Japan

Photo: Takumi Ota

Temporary Wooden Housing for Refugees in Rikuzentakata, Japan

Photo: Takumi Ota

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Restoration after the disaster by local industries & architects
Village-like contemporary housing unit complex, constructed in a devastated area of East Japan Earthquakes, merges into its surrounding natural landscape. This housing complex is the result of collaborative works between local carpenters and architects’ urban master planning. It shows how humanitarian aid could possibly work.

Wooden temporary housing units by Sumita town
Sumita, a part of Kesen region, is a neighboring town nearby Rikuzentakata. This housing complex is constituted of this town’s “temporary wooden housing unit.” Before the earthquake, Sumita town had obtained a certification from Forest Stewardship Council, and is now utilizing before the earthquake’s already developed Kesen cedar based housing system with local carpenters (known as “Kesen Daiku”). This system, characterized by a rapid workflow in electricity and machinery lacking situations, has a delicate attitude toward environment. Low voltage power generators’ lumber saws, machinery-free wooden structure system, paneling wall system, ease unit construction including relocation and removal process. After several years, these houses will be recycled to pellet stove fuel. This housing system is a fruit of passion regarding local technologies.

Light master planning and infrastructure
Architects evaluated existing infrastructures on site and planned housing organization. This “organization” was the key concept for the design we proposed. The site is a camping field with steep slopes like terraced rice fields. It was then divided into pieces of land. By utilizing existing infrastructure, the project was planned to preserve its surrounding natural landscape, to reduce construction period, and to enable the future restoration of original environment. Housing units were arranged to maximize space possibilities. Each house visual axis is specifically oriented to enable views from interior while creating exterior spaces. As a result, this strategy established possibilities for resident to interact with others through gardens, while appropriately protecting private spaces. Even this housing complex is recently built, it has an ever-lasting “village-like” atmosphere.

“Linking design” utilizing local resources
In the local communities exist rich human, material, and social structure resources. From an external perspective, architects evaluate, relocate, and organize space. Instead of inserting “fullpackage supports” from outside, our attitude was to “link” local resources. That is , we believe, a way to understand design needed in the restoration process.

Architects’ role
Some architects, by their refugees or reconstruction projects, are creating an image where architect role is to be expected to design “eccentric” buildings. In this context, our project lacks magnificence. The aggregation of delicate design would enhance long-term restoration of lost context. Architects interpret the given conditions and should be expected not only to focus on superficial design but also to enhance their professional vision. We believe the role of architects is to be searched within this attitude.

Temporary Wooden Housing for Refugees in Rikuzentakata, Japan

Site

Temporary Wooden Housing for Refugees in Rikuzentakata, Japan

Diagram

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Fuente: Temporary Wooden Housing for Refugees in Rikuzentakata, Japan

Heatherland Poolhouse in southwestern England

Anabel — Mon, 09 Apr 2012 04:11:50 +0000

Heatherlands es una sustancial ampliación de una casa existente, construida en un área de excepcional belleza natural de Dorset, en la frontera de Devon. El nuevo volumen responde con cuidado al pliegue de las parcelas del lugar y al techo de la casa existente. Los pliegues crean divisiones que destacan ciertos puntos de vista, provocando ocultamientos y aperturas. Una nueva sala de estar es el punto de transición entre lo viejo y lo nuevo. Situada al oeste de la casa existente, la nueva estructura adopta la postura de una dependencia tradicional que actúa como límite y protección de los jardines. La adopción de una serie de estrategias sostenibles del edificio incluyen la ventilación pasiva, materiales sostenibles y la construcción de un gran aislamiento.

Heatherland Poolhouse in southwestern England

Photo: Oliver Perrott

Heatherland Poolhouse in southwestern England

Photo: Oliver Perrott

Heatherland Poolhouse in southwestern England

Photo: Oliver Perrott

Heatherland Poolhouse in southwestern England

Photo: Satellite Architects

Heatherland Poolhouse in southwestern England

Photo: Satellite Architects

Heatherland Poolhouse in southwestern England

Photo: Oliver Perrott

Heatherland Poolhouse in southwestern England

Photo: Satellite Architects

Heatherland Poolhouse in southwestern England

Photo: Oliver Perrott

Heatherland Poolhouse in southwestern England

Photo: Satellite Architects

Heatherland Poolhouse in southwestern England

Photo: Satellite Architects

Heatherland Poolhouse in southwestern England

Photo: Satellite Architects

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Heatherlands is a substantial addition to an existing house, built in an area of outstanding natural beauty on the Dorset Devon border. It responds carefully to the folding of the landscape and roof pitches of the existing house. The folds create splits which highlight views, both concealing and opening to them. A new living room forms a transition point between the old and the new, collecting reflected views and light. Situated to the West of the existing house, the structure takes the stance of a traditional outbuilding, acting as a paddock boundary whilst protecting the gardens. The addition defines a new approach to the building, entrance court and outdoor terrace to the South. Adopting a number of sustainable strategies the building includes passive ventilation, sustainable materials and highly insulated construction. The existing building is wrapped in shingle, which will weather together with the new larch rainscreens, covering the addition.

The brief focused on the ability for the clients to obtain essential health facilities for avid swimmer.s They wanted a major upgrade that included a gym, sauna and pool as well as a new master bedroom suite, living room, garages and storage. The pool facilities, including changing, washing and exercise spaces, are housed in a sunken level. Meanwhile household program is woven in, tying the new functions tightly into everyday life. The new living room is positioned to the West end of the existing house, suspended above the pool, collecting reflected light and views as the sun tracks the from South-East split openings to the low Western picture window. This also provides a visual connection to a restored Airstream trailer that functions as an additional guest room.

To reach the pool, the route turns from the living room and descends into progressively heavier and more enclosing areas including vertical, top lit spaces within the core, before being released into the space of the pool room. This approach provides a series of buffer zones between the main house and the humidity of the pool. Above, the master suite pushes out Westwards, opening to spectacular views and providing it with a sense of privacy from the main house.

Sustainability
Back to the wind
The building’s orientation puts it’s back to the wind sealing the interior space against climatic extremes. The West face is very simple, composed of two solid, timber-clad overlapping planes with minimal window openings, except where views allow openings at the junction of the two planes. The solid facade also provides controllable ventilation openings, utilizing the prevailing wind as an active support to help drive the passive ventilation system. To the far side of the building, a core rises up forming a eight metre space adjacent to the warm service core drawing air through.

Passive ventilation
From the outset the design principles were for a passivley ventilated building. The aim was to future proof the building against summertime overheating risk resulting from climate change. Delivering a cool internal environment was a major priority. The natural ventilation flow rates were determined to achieve five air changes per hour at one degree temperature difference. This purge ventilation was coupled with thermal mass to provide suitable operative temperatures via manually controlled grilles.

Core and skin
A monolithic service core and base provide the thermal mass for the building. The core houses a sauna and wood burning fire, which maintains a higher temperature in the core. Above the sauna a buffering space helps promote stack ventilation during the summer months and re-circulates warm air in the winter, further stabilizing the overall temperature of the structure. These structures are then wrapped by a continuous, highly insulated timber frame stressed skin to maintain stable core temperature.

FSC timber
The entire skin of the building is wrapped in FSC Larch with varying widths and chamfered profiles, breaking up the large expanses of cladding. The larch will weather naturally without the need for finishing, is low in embodied energy and is UK sourced.

Passive solar gain
The large windows to the end of the pool are South facing for passive solar gain in this high volume space. At the height of summer the trees will come into leaf protecting the façade from intense sunlight and avoiding overheating. The two large windows to the East and West have solar low-emissivity coatings to avoid excessive heat gain throughout the year.

Site
The intention was to respond carefully to the folding of the landscape and pitches of the existing house, blending the new building into its surroundings. The impact of the mass of the building was reduced by pushing it into the slope of the land and following the existing contours of the site so that the addition is read as part of the landscape.

The existing Arts and Crafts house built in 1912 sits on a large sloping site over looking an Area of Outstanding Natural Beauty. There are strong features from the style such as the large chimneys, fireplaces and dark internal Elm finishes but the most distinctive trait is its extensive, sweeping pitched roof. To the West it runs down for eight and a half metres, and its pitch is repeated for the porch, the bays and the gables. The upper storey is clad with cedar shingles, with pantile roofing, while the lower storey is rendered. Behind this the lower storey is a metal frame while the upper storey and roof is timber frame, an advanced system for the period.

Large mature gardens of approximately one hectare sit high above the Holcombe Valley, with a glimpse of the sea at the Dorset town of Lyme Regis. This privileged position also held inherent difficulties. The site is restricted and steeply sloping, in an area renowned for extremely unstable soils. Mature trees concealing the house and gardens, leave only select views of the countryside, while a third of the site is agricultural land.

Fuente: Heatherland Poolhouse in southwestern England