خانواده سبز

خانواده سبز

خانواده سبز
خانواده سبز

Seed Archive by Brittany Bell

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Designer Brittany Bell, a student at Victoria University School of Design in Wellington, New Zealand, has designed a conceptual seed archive.

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“Seeds will be stored in the event of a future apocalypse,” explains Bell, who goes on to say that “Structure is a plant that has grown from the city.”

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The following text is from Brittany Bell:

Every year more and more species of plants are becoming endangered or extinct.  The New Zealand government has proposed the notion to create a seed archive for the Pacific Region to house its native plants and preserve them for future generations.

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The major problem to overcome will be constructing architecture that will adapt to the changing and unpredictable future environment.  Therefore the architecture will mimic the architecture of a plant, as plants have the innate ability to adapt to their changing environment.  The architecture of the seed archive is in the form of a growing cytoskeleton of a plant.

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It continues to grow and adapt to prevailing wind, rainfall and sun exposure.  For example the wings on the sides of the structure are heat sensitive and move to accommodate the protected plants within.

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The funnel forms in the interior act as the main structural columns, but also house the large trees that need to grow upwards towards the sun.  The architecture will be able to grow and expand overtime and rely on element-sensitive technology to exist without human presence.


برچسب‌ها: Seed Archive by Brittany Bell

تاريخ : 89/08/22 | | نویسنده : خانواده سبز |

House of Astronomy by Bernhardt + Partners

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Architects Bernhardt + Partners have designed an astronomy centre in Heidelberg, Germany.

Called House of Astronomy, the building will be used to give workshops and presentations about astronomy to school pupils, teachers and the public.

According to the architects, the structure is based on the shape of a spiral galaxy; offices and seminar rooms wrap around a central auditorium, which seats approximately 100 people.

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Construction is due for completion in 2011

The following is from Bernhardt + Partners:

House of astronomy, Heidelberg (Germany)

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The building will be used to teach pupils, teachers and the public the fascination of astronomical themes. Children and teenagers will be able to improve their basic knowledge on physics and mathematics through enthusiasm on astronomy. Workshops provide teachers with new ideas for presenting scientific subjects in the classrooms. The M51 spiral galaxy was used as the primary design key. The building geometry is derived from the galaxy core and their spiralling arms. The tracks, in which the stars, gas, dust and dark matter rotate around the centre of the galaxy, are used as snapshots and transferred into 3D curves. These 3-dimensional staggered curves form the peculiar cladding of the building.

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Three curves define a strip of facade that accumulates towards the centre of the building and is separated by a band of glass. Although on first sight it seems a point- symmetrical building, both the storey levels and the façade rotate around the centre of the building. As a result of that, the galaxy will not be transferred into a 2-dimensional picture but into a full 3-dimensional structure made of orbits. The sinuous spiral arms are shifted by a half storey and thus give extra support to the buildings rotational movement around the core.

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By the mean of this entresol shift, new cross-links between the levels will be created. The auditorium in the centre of the galaxy is a multifunctional room for scientific lectures and astronomical displays with an All-dome projection system existing of a 12m diameter cupola and additional inclinable chairs.

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The overall 2700sqm net useable area of the building are provided through concrete slabs supported by one central cantilever that projects towards the column-free facades. This cantilever which is a mixture between a massive beam and a box girder rests on only a few central columns. Ramps will be designed to embrace the auditorium in the centre and will lead to different levels of the building. The cores of the main staircases will be designed to transfer vertical loads and work as horizontal reinforcements for the building structure.

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The surrounding facade of the building, working as a support and climate shield and therefore fulfilling the main physical tasks of the building, will be elevated onto the massive concrete slabs with recognizable distance. The secondary support system of the façade takes over the load transfer of dead loads, wind and snow-forces and transfers those forces into the ceiling slabs and the massive parapets.

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The construction work for the project of the Klaus-Tschira-Foundation and the Max-Planck-Society is intended to start next year. Until 2011 the building should be finished. Only the building costs are still written in the stars…


برچسب‌ها: House of Astronomy by Bernhardt , Partners

تاريخ : 89/08/22 | | نویسنده : خانواده سبز |

Museum of Middle Eastern Modern Art

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The 25,000 square metre project will house a number of museums, including the Museum of Middle Eastern Art, as well as performance areas, a hotel, and a shopping centre.

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The complex will form part of Dubai’s ‘Culture Village’ with construction expected to be completed in 2011.

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The following is from UNStudio:

Museum of Middle East Modern Art, Khor Dubai, UAE, 2008

MOMEMA: first part of a new cultural hub in Dubai

Plans are in progress for a Museum of Middle East Modern Art (MOMEMA). At the basis of the Museum is the strategic vision of making the UAE a hub for multicultural understanding.

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The museum will be a celebration of the importance of Khor Dubai (Dubai Creek) as a new cultural hub within Dubai as a global city. This new cultural hub, the so-called Culture Village, will be located on 40 million square feet of land in the historic district of Jadaf.

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In addition to the Museum of Middle East Modern Art, this landmark project will include an amphitheatre for live performances and international cultural festivals, an exhibition hall and smaller museums displaying local and international art, as well as a shipyard for traditional dhow builders. It will also include residential, commercial and retail zones.

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It is envisaged that MOMEMA will hold a variety of spaces to exhibit Arts and Culture such as exhibitions, art galleries, leasable workshop spaces, auditorium, and amphitheatre for live performances and international festivals.

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In addition, MOMEMA offers a boutique hotel with 60 keys and a boutique retail promenade on the active Culture Village waterfront, as well as a high end signature restaurant on the top level, with 360 degree views of Dubai Creek.

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The Museum of Middle East Modern Art was launched in June by His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai. UNStudio, based in The Netherlands, has been selected to design the Museum.

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Ben van Berkel, the co-founder and Principal Architect of UNStudio is an experienced designer of museums and a variety of public projects.

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Ben van Berkel about the Museum of Middle Eastern Modern Art

‘In MOMEMA Dubai we recognize the opportunity to create an entirely new type of museum, which consists of a vibrant urban centre, where professionals, collectors and public meet each other. In this way, MOMEMA will be a community-building institution within the city, and offer to both visitors and residents a continuously changing palette of experiences and events.’

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‘The building is positioned to take full advantage of the prominent location in the Culture Village. With its Dhow-like prow rising up, the building offers panoramic views to the surroundings, and vice versa.’

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‘Inside, the design of this new museum stimulates contemplation, but by other means than enforcing a restricted optical field. There are no abrupt transitions. The space (the time) you have left behind is undividedly part of the space you are in now, is part of your ecological field, is still perceptible, still surrounding you; the art contained in those spaces follows this principle. Formats, mediums, and times can be effortlessly arranged together and rearranged. There are never too many people; this museum thrives on audiences, vernissages, and spectacle. In the MOMEMA, public, event, art and business meet each other and feed on each other.’

The museum will cover an area of 25,000 square meters and is expected to be completed in January 2011.



تاريخ : 89/08/22 | | نویسنده : خانواده سبز |

موزه هنری میلواکی

مشخصات ساختمان MAM
معمار : سانتیاگو کالاتراوا
مکان : میلواکی ، ویسکانسن ، ایالات متحده
تاریخ ساخت : سال ۱۹۹۴ تا ۲۰۰۱ میلادی
مساحت کل ساختمان : ۱۳هزار متر مربع
طول بنا : ۱۴۹ متر
بیشترین عرض بنا : ۴۳ متر
حداکثر ارتفاع بنا : ۳/۱۱ متر
هزینه اجرای پروژه : بیش از ۱۰۰ میلیون دلار

بدون شک ، موزه هنر میلواکی از برجسته ترین آثار معماری سانتیاگو کالاتراوا محسوب می شود که ترکیبی متنوع و پیچیده از معماری و سازه است. در این بنا هم سقفهای مواج و متحرک موجود است ، هم پلی معلق و زیبا و هم نورپردازیهای خلاقانه. در مجموع ، این شاهکار در زمره برترین آثار معماری جهان قرار می گیرد ، هرچند این عنوان را نیز در سال ۲۰۰۱ از دیدگاه مجله TIME کسب نمود و همچنین در همان سال در نظرخواهی عمومی وب سایت جایزه معماری پرایتزکر ، بیشترین آرا را به خود اختصاص داد ، اما در پایان ، گلن مورکات استرالیایی در پایان جایزه مذکور را از آن خود نمود.

هنگامی که ساخت ضمیمه موزه هنر میلواکی (MAM) به پایان رسید ، در مراسم افتتاحیه آن که در ۱۴ اکتبر سال ۲۰۰۱ انجام پذیرفت ، سی و دو هزار نفر به بازدید آن شتافتند ، به گونه ای که تمامی محوطه به اشغال جمعیت مشتاق درآمده بود. تا پایان سال ۲۰۰۱ (یعنی مدت زمانی کمتر از هشت ماه) ، ۳۷۵ هزار نفر از موزه بازدید کردند. این آمار در سال ۲۰۰۳ به حدود ۴۳۴ هزار نفر رسید ، درصورتیکه در سال ۲۰۰۰ میلادی ، تنها ۱۶۵ هزار نفر از آن دیدن کرده بودند. پس از گشایش ضمیمه موزه ، روزانه افزون بر ۵۰۰۰ نفر از آن بازدید می کنند درحالیکه پیش از این ، به طور متوسط هزار نفر از موزه دیدن می کردند.

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طرح کالاتراوا ، نمایانگر قدرت معماری است ، به گونه ای که این بنا امروزه تبدیل به نماد شاخص شهر میلواکی شده . به زودی ، جهانیان این شهر را به لحاظ دارا بودن چنین اثر زیبا ، خلاقانه و اثر گذار تحسین می کنند و همواره آن را به یاد دارند.

رابرت گرین استریت ، رئیس دانشکده معماری و برنامه ریزی شهری دانشگاه ویسکانسن ، استاد کمیسیون برنامه ریزی شهری و یکی از اعضای کمیته بیست و یک نفری معماران برگزیده انتخاب کننده طراح ضمیمه موزه در سال ۱۹۹۴ ، ضمن برگزیدن کالاتراوا از میان معماران مطرح جهان همچون «آراتا ایسوزاکی» و «فومیهیکو ماکی» اظهار داشت: من کاملاً مطمئنم که شهروندان از خلق این اثر فوق العاده ، هیجان زده شده اند و این مهر تأییدی بر گزینش صحیح ما در انتخاب معمار بزرگ ، سانتیاگو کالاتراوا است.

لازم به ذکر است که ضمیمه موزه هنر میلواکی که نخستین اثر معماری کالاتراوا در ایالات متحده است به ساختمانی که پیش از این توسط «ارو سارینن» ، معمار خلاق فنلاندی – آمریکایی ، در سال ۱۹۵۷ تکمیل شده بود ، الحاق گشت.

نوآوری معمارانه موزه هنر میلواکی در ابتدای قرن بیست و یکم با نوآوری قصر بلورین اثر جوزف پاکستن در قرن نوزدهم قابل مقایسه است. این بنا نیز همچون تندیسی زیبا و هنرمندانه در محیط اطراف خود می درخشد. بدون شک ، موزه هنر میلواکی از برجسته ترین آثار معماری سانتیاگو کالاتراوا محسوب می شود که ترکیبی متنوع و پیچیده از معماری و سازه است.

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در این بنا هم سقفهای مواج و متحرک موجود است ، هم پلی معلق و زیبا و هم نورپردازیهای خلاقانه. در مجموع ، این شاهکار در زمره برترین آثار معماری جهان قرار می گیرد ، هرچند این عنوان را نیز در سال ۲۰۰۱ از دیدگاه مجله TIME کسب نمود و همچنین در همان سال در نظرخواهی عمومی وب سایت جایزه معماری پرایتزکر ، بیشترین آرا را به خود اختصاص داد ، اما در پایان ، گلن مورکات استرالیایی در پایان جایزه مذکور را از آن خود نمود.

هنگامی که ساخت ضمیمه موزه هنر میلواکیبه پایان رسید ، در مراسم افتتاحیه آن که در ۱۴ اکتبر سال ۲۰۰۱ انجام پذیرفت ، سی و دو هزار نفر به بازدید آن شتافتند ، به گونه ای که تمامی محوطه به اشغال جمعیت مشتاق درآمده بود. تا پایان سال ۲۰۰۱ (یعنی مدت زمانی کمتر از هشت ماه) ، ۳۷۵ هزار نفر از موزه بازدید کردند. این آمار در سال ۲۰۰۳ به حدود ۴۳۴ هزار نفر رسید ، درصورتیکه در سال ۲۰۰۰ میلادی ، تنها ۱۶۵ هزار نفر از آن دیدن کرده بودند. پس از گشایش ضمیمه موزه ، روزانه افزون بر ۵۰۰۰ نفر از آن بازدید می کنند درحالیکه پیش از این ، به طور متوسط هزار نفر از موزه دیدن می کردند.

طرح کالاتراوا ، نمایانگر قدرت معماری است ، به گونه ای که این بنا امروزه تبدیل به نماد شاخص شهر میلواکی شده . به زودی ، جهانیان این شهر را به لحاظ دارا بودن چنین اثر زیبا ، خلاقانه و اثر گذار تحسین می کنند و همواره آن را به یاد دارند.

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رابرت گرین استریت ، رئیس دانشکده معماری و برنامه ریزی شهری دانشگاه ویسکانسن ، استاد کمیسیون برنامه ریزی شهری و یکی از اعضای کمیته بیست و یک نفری معماران برگزیده انتخاب کننده طراح ضمیمه موزه در سال ۱۹۹۴ ، ضمن برگزیدن کالاتراوا از میان معماران مطرح جهان همچون «آراتا ایسوزاکی» و «فومیهیکو ماکی» اظهار داشت: من کاملاً مطمئنم که شهروندان از خلق این اثر فوق العاده ، هیجان زده شده اند و این مهر تأییدی بر گزینش صحیح ما در انتخاب معمار بزرگ ، سانتیاگو کالاتراوا است.

لازم به ذکر است که ضمیمه موزه هنر میلواکی که نخستین اثر معماری کالاتراوا در ایالات متحده است به ساختمانی که پیش از این توسط «ارو سارینن» ، معمار خلاق فنلاندی – آمریکایی ، در سال ۱۹۵۷ تکمیل شده بود ، الحاق گشت.


برچسب‌ها: موزه هنری میلواکی

تاريخ : 89/08/22 | | نویسنده : خانواده سبز |

برج شانگهای در چین

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معمار آمریکایی ، مارشال استرابلا (Marshal Strabala) بلندترین آسمان خراش چین را طراحی کرد.

عملیات ساختمانی بلندترین آسمان خراش چین، برج شانگهای در ۲۹ نوامبر آغاز شد. برج شانگهای  با ارتفاع ۶۲۳ متر توسط مارشال استرابلا طراحی شده است و یک نمونه ی شاخص دیگر در دنیای حرفه ای این معمار آمریکایی است. این پروژه آخرین مورد از سه گانه ی بلندمرتبه سازی استرابلا در دوران اخیر است تا وی اسم خود را به عنوان سازنده و طراح سه سختمان بلند حال حاضر جهان به ثبت برساند که شامل ساخت برج دبی ۱۶۰ طبقه ای دبی در امارات متحده ی عربی (که در حال ساخت است)و مرکز مالی گرینلند نانجینگ با ارتفاع ۴۲۰ متر در نانجینگ چین ( که تا سال ۲۰۰۹ به بهره برداری خواهد رسید) و اکنون برج شانگهای ،است.

خود او معتقد است که این برج با سایر آسمان خراش هایش متفاوت است و می گوید “برج شانگهای نمادی از پویایی آینده ی چین است” و در همین باره اضافه می کند ” این برج نه تنها چین را به عنوان یک پیشرو در آینده و تغییر دهنده ی شکل شهرها معرفی میکند ، بلکه روح پویای چین را در خود خواهد داشت ؛ در دنیا هیچ همتایی برای این برج نخواهد بود”.

این آسمان خراش سه پر با گوشه هایی نرم به آسمان یورش می برد و با یک دهانه ی باز به پایان می رسد. این ساختمان در قد کشیدن منحنی وار خود به سمت آسمان در بالا و کناره ها برای کنترل باد هایی که از بالا و اطراف به آن می وزند در  جاهایی باز شده است.

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آسمان خراش ۱۲۰ طبقه ی شانگهای عملکردهایی چون دفاتر اداری، واحدهای مسکونی لوکس، هتل ، رستوران،مراکز خرید و رصدخانه ی عمومی را در خود جای خواهد داد. همچنین در این ساختمان نه منطقه ی مختلف با شرایط آب و هوایی متفاوت ، فضاهای سبز در نظر گرفته شده اند که هرکدام شرایط آب و هوایی و فضای باز و دید پانورمیک (۳۶۰ درجه) خاص خود را به بزرگترین و پر جمعیت ترین شهر جهان دارند.

برج شانگهای یک آسمان خراش سبز است. این برج دارای دو پوسته ی شیشه ای است که برای کنترل انرژی،حرارت و آب در آن به کار گرفته خواهند شد. در واقع با این کاربرای نشان دادن دوستی آسمان خراش و تکنولوژی با طبیعت است.

خود استرابلا دراین باره می گوید ” دو پوسته بودن این برج آن را به یک بطری دو جداره ( فلاسک) تبدیل می کند که باعث می شود تا نور طبیعی به ساختمان نفوذ کند و در مصرف برق صرفه جویی شود ، همچنین بر کیفیت روانی ساکنین بیافزاید، فضاهای داخلی را ایزوله(ضدعفونی) کند و در مجموع در کاهش مصرف انرژی و هزینه ها بسیار موثر باشد”

در همین راستا در بخش بالایی برج توربین های بادی برای دریافت انرژی بادی در نظر گرفته شده اند و فضای سبز ورودی برج  ۱۰۰۰۰ متر مربع وسعت خواهد داشت. با این تدابیر استرابلا برای این آسمان خراش اعتبار موسسه ی لیید (LEED ) امریکا را دریافت کرده است.

استرابلا معتقد است که ساخت این آسمان خراش تا سال ۲۰۱۴ به پایان خواهد رسید. برج شانگهای در همسایگی دو ساختمان بلند دیگر چنی در منطقه ی Lujiazui شهر Pundog  به نام های جین مائو(Jin Mao) با ارتفاع ۴۲۱ متر و  مرکز مالی جهانی (World Financial Center) با ارتفاع ۴۹۲ متر است. این ” سه برادر” در کنار رودخانه ی هوانگپو در مقابل دیده ی جهانیان خودنمایی می کنند.


برچسب‌ها: برج شانگهای در چین

تاريخ : 89/08/22 | | نویسنده : خانواده سبز |

Dance Palace by UNStudio

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Dutch architects UNStudio have won a competition to design a dance theatre in  St. Petersburg, Russia.

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Clad in triangular panels of varying opacity, the building will be situated on a new square in the historic centre of the city.

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The two horseshoe-shaped auditoriums will have a combined capacity of 1,300.

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“An essential requirement when we were designing the auditorium was to make it possible to see the dancer’s feet from every seat in the hall at all times, no matter where the performer was positioned on the stage,” explains Ben van Berkel of UNStudio.

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Here’s some more information from UNStudio:

Dance Palace, St. Petersburg, Russia, 2009 – UNStudio/ Ben van Berkel’s design selected for Dance Palace in the historic centre of St. Peterburg

UNStudio’s design has been selected in the competition for a 21,000 square meter dance theatre in the historic centre of St. Petersburg. The new complex houses The Eifman Ballet of St. Petersburg, headed by the prolific choreographer Boris Eifman. From the four projects presented (Jean Nouvel (FR), UNStudio (NL), Snøhetta (NO), ZAO (RU)), UNStudio’s design was yesterday unanimously chosen by the jury for realisation.

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The Dance Palace forms an integrated part of the European Embankment city quarter masterplan for a new urban square in the historic centre of St. Petersburg.

According to Ben van Berkel, “The urban context of the building is essential to the design. The Dance Palace is positioned on the square in such a way as to allow for unrestricted visibility towards the nearby Prince Vladimir and Peter and Paul cathedrals, thereby framing some of the most exceptional buildings in St. Petersburg. The sculptural qualities of the Dance Palace reflect those of the surrounding buildings in the masterplan, providing a connection to its surroundings yet still retaining saliency. A central main entrance is incorporated into the façade design in order to fully integrate the building into this lively public square.”

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UNStudio’s design for the Dance Palace presents an open and inviting theatre building with provision for 1300 guests (large auditorium 1000, small auditorium 300). Programmatic considerations focus on the spacious circulation of the public foyer and the transparent relationship to the surrounding public square and the city. Integration with the existing neighbouring buildings is achieved by both the scale of the building – which in elevation follows and respects St. Petersburg’s typical 28m roofline – and the transformative transparency which is introduced by a facade system of triangular cladding panels. The variation between opaque and perforated panels creates a controlled openness, depending on programme, views and orientation.

Ben van Berkel says of the foyer design, “The vertical foyer provides a high level of transparency from inside to outside, whilst also presenting a kind of stage for visitors to the theatre; a place to see and be seen. The open arrangement and balcony structure in the foyer provides plateaus for its own choreography of both intimacy and exposure.”

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The stage

Essential to UNStudio’s design for the main auditorium in the new dance theatre are both the acoustic considerations and the proximity of the audience to the stage. For this reason the horseshoe form was chosen. This form is considered to be one of the most successful forms acoustically in ballet and musical theatre for both performer and audience, whilst the proximity it affords to the stage ensures an intimate and collective experience for the spectator.

Engineering: ARUP
Theatre consultant: theateradvies bv, Amsterdam

Client: OOO “Peterburg City”
Location: St. Petersburg, Russia
Building surface: 21,000 m2
Building height: 28 m
Status: 1st prize competition entry

Credits:

UNStudio
Ben van Berkel, Gerard Loozekoot with Christian Veddeler, Wouter de Jonge and Jan Schellhoff and Kyle Miller, Maud van Hees, Hans-Peter Nuenning, Arnd Willert, Nanang Santoso, Imola Berczi, Tade Godbersen, Patrik Noome

Advisors:

Theatre consultant: theateradvies bv, Amsterdam Louis Janssen, Caroline Noteboom

Engineering:
ARUP
Jaap Wiedenhoff (Arup director), Soren Svare (Arup Russia), Arjan Habraken (Structures), Gerard Nouwens (MEP), Pascal Steenbakkers (Fire & coordinator), Helen Butcher (Acoustics), Rudi Scheuerman (Facades), Sergei Nikigorov (Arup Russia), Sam Wise (Acoustics and Costing), Oleg Romashkin (Arup Russia), Stanislav Korulin (Arup Russia), Lyudmilla Jones (Fire), George Faller (Fire), Daan van Konijnenburg (MEP), Christa de Vaan (MEP)


برچسب‌ها: Dance Palace by UNStudio

تاريخ : 89/08/22 | | نویسنده : خانواده سبز |

Burnham Pavilion by Zaha Hadid Architects

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Here are photos of Zaha Hadid Architects‘ Burnham Pavilion, which opened recently in Millennium Park in Chicago.

Hadid’s pavilion is one of two commissioned to celebrate the centenary of the Burnham Plan, which set out a blueprint for urban design in the city.

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Images courtesy of Zaha Hadid Architects © Michelle Litvin. Here’s some info from the architects:

The pavilion is composed of an intricate bent-aluminum structure, with each element shaped and welded in order to create its unique curvilinear form.

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Outer and inner fabric skins are wrapped tightly around the metal frame to create the fluid shape. The skins also serve as the screen for video installations to take place within the pavilion.

Zaha Hadid Architects’ pavilion also works within the larger framework of the Centennial celebrations’ commitment to deliberate the future of cities.

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The presence of the new structure triggers the visitor’s intellectual curiosity whilst an intensifi cation of public life around and within the pavilion supports the idea of public discourse.

The pavilion was designed and built to maximize the recycling and re-use of the materials after its role in Millennium Park. It can be re-installed for future use at another site.

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Zaha Hadid Architects’ pavilion design for Chicago’s Burnham Plan Centennial celebrates the city’s ongoing tradition of bold plans and big dreams.

The project encourages reinvention and improvement on an urban scale and welcomes the future with innovative ideas and technologies whilst referencing the original organizational systems of Burnham’s plan.

Our design continues Chicago’s renowned tradition of cutting edge architecture and engineering, at the scale of a temporary pavilion.

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The design merges new formal concepts with the memory of bold historic urban planning.

Superimpositions of spatial structures with hidden traces of Burnham’s organizational systems and architectural representations create unexpected results.

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By using methods of overlaying, complexity is build up and inscribed in the structure.

BURNHAM PAVILION [CHICAGO, USA]

2009

PROGRAM: Temporary pavilion to house multimedia installation
CLIENT: Burnham Plan Centennial
ARCHITECT: Zaha Hadid Architects
Design Zaha Hadid and Patrik Schumacher
Project Architect Jens Borstelmann, Thomas Vietzke
Project Team Teoman Ayas, Evan Erlebacher

LOCAL ARCHITECT: Thomas Roszak
STRUCTURAL ENGINEERS: Rockey Structures
FABRICATOR: Fabric Images
LIGHTING & ELECTRICAL: Tracey Dear
MULTIMEDIA CONTENT: The Gray Circl

برچسب‌ها: Burnham Pavilion by Zaha Hadid Architects

تاريخ : 89/08/22 | | نویسنده : خانواده سبز |

The Interlace by OMA

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Architects Office for Metropolitan Architecture have unveiled new images of a residential project for Singapore, comprising long low apartment blocks stacked in hexagonal configurations.

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Called Interlace, the project will consist of 31 interconnected six-storey blocks stacked around communal gardens, containing 1,040 apartments.

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The arrangement allows for communal spaces, roof gardens, terraces and balconies.

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Here’s some more information from OMA:

OMA unveils design for The Interlace residential complex in Singapore

Ole Scheeren of OMA introduces a new residential typology to Singapore with The Interlace, a large-scale complex of interconnected apartment buildings stacked in an innovative hexagonal arrangement, developed by CapitaLand and Hotel Properties Limited.

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The Interlace is located on an elevated eight-hectare site, bounded by Alexandra Road and the Ayer Rajah Expressway, amidst the verdant Southern Ridges of Singapore. With about 170,000m2 of gross floor area, the development will provide 1,040 apartment units of varying sizes with extensive outdoor spaces and landscaping. The site completes a green belt that stretches between Kent Ridge, Telok Blangah Hill and Mount Faber Parks.

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Designed by Ole Scheeren, partner of the Office for Metropolitan Architecture (OMA), The Interlace breaks away from Singapore’s standard typology of isolated, vertical apartment towers and instead explores a dramatically different approach to tropical living: an expansive interconnected network of living and communal spaces integrated with the natural environment. Thirty-one apartment blocks, each six-stories tall and identical in length, are stacked in a hexagonal arrangement to form eight large-scale open and permeable courtyards. The interlocking blocks form a vertical village with cascading sky gardens and both private and public roof terraces.

The design capitalizes on the generous size of the site and further maximizes the presence of nature by introducing extensive roof gardens, landscaped sky terraces and cascading balconies. Above-ground vehicular circulation is minimized, liberating large green areas within the development. The Interlace incorporates sustainability features through careful environmental analysis of sun, wind, and micro-climate conditions on site and the integration of low-impact passive energy strategies.

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While maintaining the privacy of individual apartment units through the generous spacing of the building blocks and far-ranging views, the design also features communal spaces for shared activity. Extensive residential amenities and facilities are interwoven into the lush vegetation and offer opportunities for social interaction, leisure, and recreation.

Ole Scheeren said: “The design addresses concerns of shared space and social needs in a contemporary society and simultaneously responds to issues of shared living and individuality by offering a multiplicity of indoor/outdoor spaces specific to the tropical context.”

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Patricia Chia, CEO of CapitaLand Residential Singapore, said: “This is a great opportunity to create and build a residential destination at the Gillman Heights site that will challenge the present architectural definition of living spaces. While developing the dramatic external form, we have also given much attention to creating comfortable internal spaces. The name, The Interlace, reinforces the interconnectivity of the community with the surrounding natural environment. Ole Scheeren has created a new landmark for Singapore.”

The design is led by Ole Scheeren together with Eric Chang, Associate of OMA. Scheeren is responsible for the office’s work across Asia, including the China Central Television Station (CCTV) headquarters and the Television Cultural Center (TVCC) in Beijing, and the MahaNakhon Tower in Bangkok. His previous work includes the Prada Epicenters in New York City and Los Angeles.


برچسب‌ها: The Interlace by OMA

تاريخ : 89/08/22 | | نویسنده : خانواده سبز |

Dalian Football Stadium by UNStudio

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Dutch architects UNStudio have won a competition to design a football stadium in Dalian, China.

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The building will have a double-layered, lattice-like roof inspired by traditional Chinese footballs, which are made from layers of coloured bamboo.

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The stadium includes seating for 40,000 spectators, a TV broadcasting centre, players’ facilities and a VIP lounge.

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Here’s some more information from UNStudio:

UNStudio/ Ben van Berkel’s design selected for new football stadium in China

Unstudio has won the limited competition for a 40,000 spectator football stadium for the most successful club in the Chinese Super League: Dalian Shide FC. The stadium will be built in the club’s hometown of the city of Dalian, on the southern tip of Liaodong peninsula in Northeast China.

The design for the 38,500 m2 stadium has been inspired by the colourful layering and overlapping of the ancient Chinese cuju football. The design weaves together the collective spirit of the spectators with the public realm and the urban context of the building. The main stadium houses spectator seating, TV broadcasting centre, administration areas, VIP lounge, players facilities and public concourse in a layered envelope which extends on ground level to provide outdoor public areas above decked parking facilities. In addition, the design incorporates two training fields on the 144,000 m2 site.

According to Ben van Berkel, “The design of the Dalian Football Stadium is inspired by the classic Chinese football, which was made by layering coloured bamboo. For the stadium design we appropriated this effect to generate a double-layered roof structure. This structure operates as a double concourse enclosure, encircling the tribunes. Splits and openings in between broad bands of the lattice structure enable views from the outside in and from the inside out.”

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Stadium design

Essential to the stadium typology is the experience of the spectator. Aside from the basic function of a stadium as an arena for spectator sport with one central focal point, stadium design requires the consideration of many essential structural, programmatic, contextual, infrastructural and stylistic elements and the incorporation of these into a strong, integral gesture. Infrastructural considerations include ease of access and evacuation, visitor routing and parking facilities, while contextual considerations form an important element in both the relationship of the stadium to the city, its surroundings and its orientation with regard to nearby transport modes.

UNStudio’s design for the Dalian stadium presents an inclusive approach to stadium design where the articulation of the structure and the openings and overlapping moments of its double-layered envelope serve as the starting point for visitor experience and programmatic and infrastructural requirements, in addition to heightening spectator experience in terms of proximity to the playing field.

Ben van Berkel says, “A key feature of the Dalian Stadium is the proximity of the spectators to the pitch, thereby ensuring the best views from the tribunes and creating a true sense of engagement. As in theatre design specific views and focal points are required. In the Dalian stadium, we envisioned the playing field as the stage. A two tier seating system and curved outlines optimise the corners of the tribunes and allow the spectators to be as close as possible to the playing field.”

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Dalian

With a population of 5.7 million Dalian is the largest port in Northeast China and forms an important centre of trade, industry and tourism. In 1984, the State Council approved Dalian as a coastal open city during China’s opening up to the West. In the mid-90s Dalian began an ambitious undertaking to become a world-class port city on the level of Rotterdam, and a host to international events. Radical city planning policies were implemented, improving the aesthetic appearance of the city and eventually transforming the centre of Dalian with architectural styles reminiscent of the Mediterranean and Sweden, thereby making it a unique city in China.

UNStudio’s design for the Dalian Football Stadium reacts to this setting by orientating the building in order to maximise both the use of existing transport modes and the views of the surrounding sea and mountains, whilst providing a unique sporting venue for the population of the Dalian.

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Dalian Football Stadium, Dalian, China, 2009
Client: Dalian City Bureau of Urban Planning,
Location: Dalian, China
Building surface: 38,500 m2
Building site: 144,000 m2
Capacity: 40,000 spectators
Programme: Football stadium with two additional training grounds
Status: Competition 1st prize

Credits
UNStudio: Ben van Berkel, Caroline Bos, Astrid Piber with Nuno Almeida, Ger Gijzen and
Cynthia Markhoff, Luis Etchegorry, Shu Yan Chan, Ramon van der Heijden, Marcin Koltunski,
Fernie Lai, Patrik Noome

Advisors
Engineering consultants: ARUP Shanghai, China
Arup International Consultants (Shanghai) Co., Ltd

Sports consultant: ASS Planungs GMBH Freie Architekten, Germany

Traffic consultant: MVA Hong Kong LTD.

Visualisations: UNStudio / and SZ Silkroad Digi Tech Co. LTD., China
Animation: IDF Global Pty Ltd.


برچسب‌ها: Dalian Football Stadium by UNStudio

تاريخ : 89/08/22 | | نویسنده : خانواده سبز |

Urban Forest by MAD

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Beijing architects MAD have designed a skyscraper for Chongqing, China, with gardens at each level.

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Rather than consider the project vertically, the architects envisage a stack of floors, each slice shifted horizontally to create spaces for gardens and patios.

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The 385 metre-high building will be called Urban Forest.

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Here’s some text from MAD:

Urban Forest

By the end of 2009, MAD has completed the concept design of a 385 meter high metropolitan cultural complex in the city center of Chongqing – The Urban Forest.

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This is the third skyscraper designed by MAD following the Absolute Towers in Toronto and the Sinosteel International Plaza in Tianjin, China.

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MAD proposes a new architectural concept for the course of Chinese urban development – to actualize a sustainable multidimensional high-rise within China’s youngest municipality, where nature reincorporates into the high-density urban environment in the near future, to evoke the affection for nature once lost in the oriental ancient world and bring to the modern city dwellers.

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In the year of 1997, Chongqing became the fourth direct municipality in China.

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As an important pole of the growing economy in western China, the city area of Chongqing is more than twice of those of Beijing, Shanghai and Tianjin combined.

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Such macro-scale urbanization should not only pushes economic growth and material prosperity, but also foster the evolution of the city’s cultural essence. Chinese cities have gone through the process of once starting from nothing, to following contemporary Western civilization urban pattern. Now, the overall economic infrastructure has oriented the direction of future development towards inland China.

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What lies in the future of cities? How should one grasp the concept of emerging high-density cities of China in the context of a scenic town such as Chongqing? How does one discuss the future of architecture in Chinese cities on the base of Eastern Naturalist perspective and in the new context of China’s unique economic, social environment and globalization background? How to engage the city dwellers with an experience of nature when its presence of steadily diminishes in the face of the ever intensifying concrete jungle.

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Throughout the process of contemporary Western urbanization, skyscrapers were the symbol of technological competitions, prime capitals and the formal enslavement of the powerful and the rich. Sustainable ecology became more of a demand for comfort; while the yearning of a return to nature was left ignored. The Urban Forest draws inspiration from the perspective of nature and the man-made in Eastern Philosophy, and ties the urban city life with the natural outdoor experiences.

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The shape of the architecture mimics mountain range, shifting in a dynamic and yet holistic rhythm, and becomes a continuation of nature. Unlike its preceding counterparts, The Urban Forest no longer emphasizes on vertical force, instead it concentrates on the multidimensional relationships within complex anthropomorphic spaces: multilayer sky gardens, floating patios and minimal and yet well lit nesting spaces, the architectural form dissolves into the fluid spatial movements between air, wind, and light. In this environment, people encounter nature filled with unexpected surprises.

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The fusion between Eastern humanism spirit and urban public spaces pioneers in the making of a sustainable multidimensional city – The Urban Forest will not be a piece of mediocre urban machinery, but an artificial organ that lives and breathes new life in the steel-and-concrete-filled city center.

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Chongqing, the youngest municipality in China, holds great potential in its urban planning and construction and has the capability to be built into a most livable city, a city of pleasant environments, a traffic-jam-free city, even into a city that runs into a complete urban forest. A city with aspiration and vitality shall be courageous in envisioning and designing its great future. – Bo Xilai (Mayor of Chongqing)

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n October 2009, The Urban Forest from MAD debuted in the Heart-Made, Europalia exhibition at the 2009 Europalia China. It represents the most challenging dream of the contemporary Chinese architecture — a type of urban landmark that rises from the affection for nature. It is no longer a static icon but an organic form that changes all the time with people’s perception.

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Director in Charge: Ma Yansong, Dang Qun
Design Team: Yu Kui, Diego Perez, Zhao Wei, Chie Fuyuki, Fu Changrui, Jtravis B Russett, Dai Pu, Irmgard Reiter, Rasmus Palmqvist, Qin Lichao, Xie Xinyu

Location: Chongqing, China
Typology: Commercial, Office, Hotel
Site Area: 7,700 sqm
Building Area: 216,000 sqm
Building Height: 385 m
Architectural Design: MAD Ltd
Structural Design: ARUP Group Ltd


برچسب‌ها: Urban Forest by MAD

تاريخ : 89/08/22 | | نویسنده : خانواده سبز |
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