Structuri Speciale Proiect1 53A 2012

STRUCTURI EXPERIMENTALE GRUPA 53A

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SBA INTERNATIONAL + KNIPPERS HELBIG - SHANGHAI 2010 BOULEVARD

WILKINSON EYRE ARCHITECTS – DAVIES ALPINE HOUSE, RICHMOND, UK, 2006

VITO ACCONCI & PUPPUR ARCHITEKTUR – MUR INSEL, GRAZ, AUSTRIA, 2003

MONIKA GORA – THE GLASS BUBBLE, MALMO, SWEDEN, 2006

JUSTO GARCIA RUBIO – BUS STATION, CASAR DE CACERES, SPAIN, 2006

ZAHA HADID – VITRA FIRE STATION, WEIL AM RHEIN, GERMANY, 1993

ATELIER TEKUTO – LUCKY DROPS, TPKYO, JAPAN, 2005

ZAHA HADID & PATRIK SCHUMACHER – ZARAGOZA BRIDGE PAVILION, ZARAGOZA, SPAIN, 2008

STEVEN HOLL ARCHITECTS – TURBULENCE HOUSE, NEW MEXICO, USA, 2004

GEHRY PARTNERS – HOTEL MARQUES DE RISCAL, ELCIEGO, SPAIN, 2006

ONL – GOOSTERHUIS-LENARD – COCKPIT BUILDING, UTRECHT, THE NETHERLANDS, 2005

PETER COOK & COLIN FOURNIER – KUNSTHAUS GRAZ, GRAZ, AUSTRIA, 2003

EEA – ERICK VAN EGERAAT ASSOCIATED ARCHITECTS – POPSTAGE MEZZ BREDA, BREDA, THE NETHERLANDS, 2002

FASCH & FUCHS – KINDERMUSEUM, GRAZ, AUSTRIA, 2003

ZAHA HADID – SERPENTINE PAVILION, LONDON, 2007

REM KOOLHAAS - SERPENTINE PAVILION , LONDON, UK, 2006

TOYO ITO - SERPENTINE PAVILION , LONDON, UK, 2002

COOP HIMMELBLAU - BMW WELT, MUNCHEN, GERMANY, 2007

PACIFIC ENVIROMENT - YELLOW TREEHOUSE

ZAHA HADID – TONDONIA WINERY PAVILLIONPLAN B ARCHITECTS + JPRCR ARCHITECTS - ORQUIDEORAMA

DESIGN ENGINEERING STUDIO - SKYSONG AT ASU CAMPUSFTL



Architects: Pacific Environments / Peter Eising & Lucy GauntlettLocation: Auckland, New ZealandProject Managers: The Building Intelligence Group Engineers: Holmes Consulting – Holmes FireBuilding Contractors: NZ Strong – Citywide Construction Ltd Timber Fins: McIntosh Timber Laminates Lighting: ECC Lighting & Furniture – Renee KellyProject year: 2008-2009Photographs: Lucy Gauntlett



Architectural ConceptThe concept is driven by the ‘enchanted’ site which is raised above an open meadow and meandering stream on the edge of the woods.The tree-house concept is reminiscent of childhood dreams and playtime, fairy stories of enchantment and imagination .It’s inspired through many forms found in nature -the chrysalis/cocoon protecting the emerging butterfly/moth, perhaps an onion/garlic

clove form hung out to dry. It is also seen as a lantern, a beacon at night that simply glows yet during the day it might be a semi camouflaged growth, or a tree fort that provides an outlook and that offers refuge.The plan form also has loose similarities to a sea shell with the open ends spiralling to the centre



It’s the treehouse we all dreamed of as children but could only do as an adult fantasy.Access is via a 60m tree-top ‘accessible’ walkway -an adventure in itself.The selected site and tree had to meet a myriad of functional requirements -18 seated people and waiting staff in relative comfort complete with a bar; gaining correct camera angles with associated light qualities for filming the adverts, web cam and stills, have unobstructed views into the valley and entranceto the site and structural soundness . The final selected tree is one of the larger trees on the site and sits above a steep part of the site which accentuates the

tree’s height. Kitchen/catering facilities and toilets are at ground level.





Architect: Zaha HadidLocation: Haro, La Rioja, SpainProject Architect: Jim HeverinDesign Team: Jim Heverin, Tiago Correia, Raza HadidLocal Architect: I.O.A. ArquitecturalClient: Rafael López de Heredia Tondonia WineryStructural Engineers: Jane Wernick AssociatesArea: 800m2Year: 2001-2006



The adage that from small beginnings many things may grow applies well to this project. The client, famous family bodegas of Rioja came to us with the intention of designing a pavilion to contain an older pavilion. The old pavilion had been found in their outhouses and restored to its original condition. It had been originally commissioned by the great grandfather for the world fair exhibition in 1910. The proprietors of the bodegas had a long succession of adding their built presence to the tradition of the bodegas.



The new pavilion was to be exhibited at the Alimentaria Fair in Barcelona and afterwards relocated to the bodegas at Haro in Rioja. In time the pavilion would be superseded by a new extension of cultural buildings. As such it was a stepping-stone,a bridge between the past,present and future development of the bodegas. For us the starting point was to jump into the future to determine how the present would evolve. We began this project by a series of studies exploring howthe bodegas could evolve. Working backwards from these studies the pavilion began to emerge in tandem. The pavilion would house the past the old pavilion.

Made from timber and designed in a fin de scele style the old pavilion became a jewel within a new container. Like a series of Russian dolls the new pavilion itself was to be eventually housed within the new extension at the bodegas. The new pavilion would be just one layer in a larger composition.



Architects: Plan B – Felipe Mesa, Alejandro Bernal + JPRCR – Camilo Restrepo, J. Paul RestrepoCollaborators: Viviana Peña, Catalina Patiño, Carolina Gutiérrez, Lina Gil, Jorge BuitragoLocation: Botanical Garden, Medellín, ColombiaClient: Medellin Botanical GardenBuilder: Ménsula S.A.Project start: 2005Completion: 2006Budget: 523 US$ / m2Constructed Area: 4.200 sqmMaterials: Wood, SteelPhotographers: Sergio Gómez



Doing architecture as sowing flowersWe propose the Orchideorama to be built as sowing flowers: One flower – tree grows, and just beside it, another will appear, until the complete system of Flower – tree structures is defined. They can grow or be sow where is possible, adapting its system structureto the field where it is intended or needed.



Three species of Flower – Tree structures. Lively PatiosThe Flower – tree structure has three different contents according to is location and its definitions. Each Flower – tree is “hollow” in the center and each of them configure a small hexagonal patio.The patios have three different characters:1. Flower – tree – Light (Small temporary gardens)2. Flower – tree – plants (Orchids, exotic and tropical flowers)3. Flower – tree – animals (Feeding birds facilities – butterfly breeding place)



The “organic” as environmental phenomena The big scale of biomorphic structures, and in this case specifically: Flowers or/and tress allows usto define perception as a situation where visitors can feel the extension of a forest, a shadow garden.

In the other hand it allows us display a set of technical facilities such as collecting water and to structure the modules as hollow trunks.



The “organic” as material organizationThe microscale of the organic, such as its capacity to be organized in precise laws of geometry patterns (Direct example: Honeycomb structure), allows us to build a single module (we call it Flower – tree, which mean a flower form figure with the size and properties of a tree), that when it becomes systematically repeated, it allows us to define growing properties, its evolution and its adaptability. Its geometry.




http://www.architectureweek.com/2006/1025/design_1-2.html

Continuing a tradition of innovative structures at the Royal Botanic Gardens, Kew in West London is the new Davies Alpine House by Wilkinson Eyre Architects. It is the first glasshouse to be constructed at the World Heritage Site for over 20 years and is a showcase of design and engineering, specially conditioned to support an alpine ecology.


http://www.architectureweek.com/2006/1025/design_1-2.html






http://www.inselindermur.at/servlet/sls/Tornado/web/murinsel/content/DB93803A09B42D01C12570AE00360BE0

This much is clear: Graz 2003 was of great benefit to the city and its people. The Island in the river Mur, as a breathtaking example of innovate architecture, design, decorative arts and object design, is proof of this.

The internationally acclaimed designer Vito Acconci has created an organic, intertwining construction. It is composed of different areas in the shape of shells, each of them seeming to merge into one another.

Each part of the Island serves a different purpose according to its specific design. This has resulted in there being a small café, an amphitheatre and a children’s playground.


http://www.inselindermur.at/servlet/sls/Tornado/web/murinsel/content/DB93803A0









TECHNICAL DATA

COVERAGEleft river bank: lift / access rampright river bank: access staircase / ramp

DIMENSIONSLength= 46.60 mWidht= 16.60 mHeight= 6.00 mHeight of pontoon = 1.25 respectively. 2.57 m

40 m2Playground

40 m2Backstage

60 m2Stage

200240 m2Amphitheatre

100160 m2Café

Maximum number of peopleAREA

CAP

ACIT

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http://box.cashdata.com/2910


http://box.cashdata.com/2910



http://www.mimoa.eu/projects/Sweden/Malm%F6/Glass%20Bubble

The Glass Bubble is architecture, sculpture and paradise compounded. It meets the challenges of an extreme site 'on reclaimed land, in an emerging urban environment, exposed to salty winds, cold winters and hot summers' by becoming a membrane of intersecting biotopes, simultaneously opening and closing the u-shaped court yard of an existing building. It introduces a rounded shape amongst amultitude of angular ones. It serves as an architectural vehicle for multiple experiences and uses at all times of the year. The Glass Bubble is constructed with flat crystal clear low-iron glass that lets a maximum of light into the climate controlled interior garden with its exotic plants. The floors inside and outside, and the low walls of the flower beds, are made with a Norwegian shale rich in iron, OttaHögseter, that changes in colour between blackish green and rust. On dark nights the Glass Bubble becomes a protruding volume of light on the edge of Malmö's Västra Hamnen.


http://www.mimoa.eu/projects/Sweden/Malm%F6/Glass%20Bubble



http://www.archi-europe.com/archi1.php?cat=2&id=412

The Swedish architect and landscape designer Monika Gora prefersto work in urban spaces, linking the environment with artistic dialogue. Temporary exhibitions in Berlin, Vienna and Tokyo have shown herworks, large organic and luminous structures that often take on a challenge. The project realised in Malmö in 2005-2006 was definitely in this category. She had to create a landscape in the middle of the common area of a building near the Öresund Strait, a location particularly exposed to violent winds and the sea air. She designed a protective membrane against the rigours of the Nordic climate, an oblong transparent sculptural bubble, imprisoning the sunlight and reflecting it in the interior garden. The space created becomes a protective cocoon full of life and warmth, with temperature control so that exotic plants can be grown.

The engineers of the Dutch firm Octatube Space Structures, in charge of implementation, remark that this apparently simply project isexceptional not only for its form, but also for its technical aspects. The steel structural elements, cut using lasers and domed to obtain double curve geometry, support dual panels of 8 mm clear safety glass attached using spider fixings. The decision to use only flat glass was taken at the very beginning of the project for economic reasons, "the challenge was to develop the geometry for the glazed panels thatfollowed as closely as possible the original shape". The architect then developed a surface made up of quadrangular panels, starting with the highest point of the structure and working the surface in two divisions. To adjust the overall structure, the fixings (all different) were cut individually. The technical resources used (notably the 3D modelling) and new generation materials made this project possible.


http://www.archi-europe.com/archi1.php?cat=2&id=412






http://www.demaniore.com/opencms/opencms/eng_demanioRe/homePageSezione/magazine/progetti/home/1176457170471.html?breadCrumb=Detail

The Bus Station, designed by architect Justo García Rubío and located in Casar de Caceres, is a minimalist structure that looks like a single sheet of white concrete which has been bent back on itself in order to meet all the practical requirements of a bus station: places for the buses to stop, for passengers to await their arrival, and for getting on and off them. The main problem faced by the design was how to fulfil these needs within a physically restricted space. In bending back on itself, the sheet of white concrete gives the impression of being a whip slashing through the air, and makes the building easily recognisableas an arrival and departure point for the children at the nearby school and for the passengers who reach the station via narrow streets that pass under archways between the houses. Thanks to its low ceilings, which are created by the bending back of the concrete, the station itself produces a visual effect that recalls the form of those passageways Two colours were used for the concrete at the station: white for the building and grey for the floor. This creates a sense of detachment between the building as it rises up – appearing like an object suspended and moved by the wind – and the floor, which is at ground level and features markings for the paths taken by the buses through the station.


http://www.demaniore.com/opencms/opencms/eng_demanioRe/homePageSezione/magazine/progetti/home/1176457170471.html?breadCrumb=Detail








ZAHA HADID – VITRA FIRE STATION, WEIL AM RHEIN, GERMANY, 1993

http://www.archidose.org/Oct99/101899.html

Zaha Hadid's first major executed project, the Vitra Fire Station, brought her, and the chair manufacturer's campus, international attention. Containing structures by Frank Gehry, Alvaro Siza, Nicholas Grimshaw, and Tadao Ando, in addition to Hadid, Vitra became synonymous with cutting-edge design, even though most of the company's output is early Modernist design. The adjacent German town of Weil am Rhein took advantage of Vitra's attractions, choosing Hadid because of her formally bold fire station. Though the British architect has a recognizable style - evident in her sweeping, gestural paintings - the proposal for the Landesgartenschau (state flower exhibition) stands apart from her previous works.

Hadid's fire station at Vitra is an object, sitting in a concrete campus, making itself known. The strong curved and pointed walls and roof planes describe the building's origins: lines of force drawn from the surrounding landscape. It commands attention while referring to something outside of itself. The Landesgartenschau appears similar, with its sweeping concrete surfaces and linear, angled composition. But instead of acting as an object, the Landesgartenschau is an extension of the landscape. The building "arcs up from the ground, as if incised and folded back from the land" (Architecture, July99), presenting the visitor multiple opportunities above and around, never becoming purely a destination.

Both the Landesgartenschau and the fire station use site characteristics as a design strategy, though each to different effect. The differences can be attributed to adjacency relationships: the fire stations relation to landscape away from the immediate site, and the Landesgartenschau's relationship to, and transformation of, the immediate site. The uniqueness of each can also be attributed to a changing attitude to landscape, both by the architect and the general public. From the steady increase in population all over the globe to the nauseating hype of information technologies, people are looking to the landscape for meaning and utilizing nature to our and her advantage. The Landesgartenschau does not solely emulate and transform the terrain; it buries itself to stabilize interior temperatures, houses an air cooling system underneath the building's "tail", while shading the windows with louvers. The building does not scream "I'm green!", shielding itself under a grass mound. It sensitively and carefully molds the terrain to create an evolved "green" architecture: grounded


http://www.archidose.org/Oct99/101899.html


ZAHA HADID – VITRA FIRE STATION, WEIL AM RHEIN, GERMANY










http://www.designboom.com/eng/interview/tekuto.html

yasuhiro yamashita / atelier tekutohttp://www.tekuto.com yasuhiro yamashita was born in kagoshima in 1960. he graduated in architecture from the shibaura institute of technology and received a master degree in 1986 through yutaka saito architect & associates, PANOM and shunji kondo architects. atelier tekuto was established in 1991 in tokyo.yamashita creates his architecture based on the system of society, the environment and the function. he now also focuses on the relationship with other countries and regions. increasingly, yamashita is using natural resources such as wood, soil, and brick in an effort to care for the environment. the busan eco center in korea is now in the designing process and will be completed in 2006. this project has opened the way to concentrate not only on houses but on public and larger scale architecture as well. awards include:2005 good design award in japan, ‘lucky drops’.ar+d awards first prize winner in uk, ‘cell brick’.the 11th space design competition in japan, first prize, ‘crystal brick’.the 24th INAX design contest in japan, third prize, ‘ka-su-ri’.tokyo society of architects & building engineers, housing construction encouragement prize in japan, ‘penguin house’, 2003.


http://www.designboom.com/eng/interview/tekuto.html

http://www.tekuto.com



http://www.edo-tokyo.de/session_01_lucky_drop.html


http://www.edo-tokyo.de/session_01_lucky_drop.html



http://www.dezeen.com/2008/06/16/zaragoza-bridge-pavilion-by-zaha-hadid/

CLIENT: Expoagua Zaragoza 2008ARCHITECTS: Design Zaha Hadid with Patrik SchumacherProject Architect: Manuela GattoProject team: Fabian Hecker Matthias Baer, Federico Dunkelberg, Maria Jose Mendoza, Jose’ Monfa, Marta Rodriguez, Diego Rosales, Guillermo Ruiz, LucioSantos, Hala Sheikh, Marcela Spadaro, Anat Stern.

CONSULTANTS: Engineers ARUP AssociatesCost Consultants: ARUP Associates / IDOMArtists: Golan Levin and Zach Liebermann, Christian MoellerSIZE: Total Surface 6415 m2Exhibition Surface 3915 m2Pedestrian Bridge 2500 m2





The Zaragoza Bridge Pavilion is organized around 4 main objects, or “pods” that perform both as structural elements and as spatial enclosures. The Bridge Pavilion design stems from the detailed examination and research into the potential of a diamond shaped section - which offers both structural and programming properties. As in the case of space-frame structures, a diamond section represents a rational way if distributing forces along a surface.

Underneath the floor plate, a resulting triangular pocket space can be used to run utilities. Floors inside each pod are located at the Expo principal levels: +201.5m (the soffit of the bridge is at +200m, flood protection minimum level of the Ebro River at the location of the

Bridge Pavilion) +203m, +206m and +207.5m for the upper level.


















ZAHA HADID & PATRIK SCHUMACHER – ZARAGOZA BRIDGE PDF created with pdfFactory Pro trial version www.pdffactory.com






The pods are stacked according to precise criteria - aimed at reducing the section of the bridge as much as possible where the span is longer (approximately 185m from the island in the middle of the river to the right bank), and enlarging it where the span is shorter (85m from the island to the Expo riverbank). One long pod spans from the right riverbank to the island, where the other three are grafted into it, spanning from island to left bank.This interlocking of the pods has given the design many exciting possibilities. Interiors become complex spaces, where visitors move from pod to pod though small in-between spaces that act as filters - or buffer zones. These zones diffuse the sound and visual experience from one exhibition space to the next, allowing for a clearer understanding of the installation content within each pod. The identity of each pod remains thoroughly readable inside the pavilion, almost performing as a three-dimensional orientation device.Spatial concern is one of the main drivers of this project. Each zone within the building has its own spatial identity; their nature varies from complete interior spaces focused on the exhibition, to open spaces with strong visual connections to the Ebro river and the Expo.Natural surfaces have been investigated when designing the Pavilion’s exterior surfaces. Shark scales are fascinating paradigms both for their visual appearance and for their performance. Their pattern can easily wrap around complex curvatures with a simple system of rectilinear ridges. For the Bridge Pavilion, this proves to be functional, visually appealing and economically convenient.The building’s envelope plays an essential role in defining its relation to the surrounding environment and atmospheric variations. The project has been designed to allow its interior to be thoroughly enlivened by the effect of atmospheric agents, such as the Tramontana wind blowing along the Ebro and, the strength of Zaragoza’s sunshine.During the Expo, a single weathering layer will enclose the building to protect it from rain. This Shark scale skin will be generated by a complex pattern of simple overlappingshingles. Some shingles can rotate around a pivot, allowing for temporary opening or closing of part of the façade. The pattern of shingles overlapping each other gives the Bridge Pavilion the widest variety of natural light via several degrees of aperture sizes: from rays piercing through tiny apertures - to wide, full size openings. Large apertures are located on the lower level, in correspondence with either end of the bridge, allowing for the greatest degree of visual contact with the river and the Expo.









http://archrecord.construction.com/projects/residential/archives/0504RHf-1.asp

As its name implies, Turbulence House aims to shake things up. Instead of following the standard method of on-site, wood- or steel-frame construction, this little guesthouse on a windy mesa in New Mexico tests the future, exploring new technologies that harness computer and manufacturing processes. Though the structure measures just 900 square feet, it could impact the way houses are built, according to Steven Holl, the architect who designed it.

The clients, artist Richard Tuttle and poet Mei-mei Berssenbrugge, have lived in New Mexico for many years on a compound with a couple of adobe houses, but they wanted something different for their guesthouse. They told Holl, an old friend, they imagined something manufactured like an Airstream mobile home. Holl was intrigued and agreed to work in exchange for one of Tuttle’s mixed-media paintings on plywood

Although Holl started this project with a watercolor sketch, as he does with all his work, he quickly moved into the realm of the computer. His architectural team created 3D and virtual wire-frame models, developing the building’s form as an extension of the site’s geology. “I imagined the house as the tip of an iceberg, indicating a much larger form below,” says Holl. As a result, the house’s exterior walls slope into the earth, and its curving form appears shaped by the same forces that created the mesa. In fact, he took some cues from nature—carving out a tunnel-like breezeway within the building, for example, to allow the area’s turbulent westerly winds to pass through and cool it, and angling the roof to the south so photovoltaic panels could gather energy from the sun. He also equipped the house with its own cistern to collect water and recycle it, and used neither paints nor any toxin-emitting materials.


http://archrecord.construction.com/projects/residential/archives/0504RHf-1.asp



http://www.inhabitat.com/2005/09/14/turbulence-house/


http://www.inhabitat.com/2005/09/14/turbulence-house/



http://www.arcspace.com/architects/gehry/riscal_winery2/riscal2.html

A series of rectilinear elements, clad in sandstone, combined with sweeping panels of gold and pink titanium, and mirror finish stainless steel.

The winery of Vinos Herederos del Marques de Riscal is located in Elciego, in the Rioja region of Spain, and is one of the oldest wineries in the region. Traditionally the wineries in the region are not open to the public, but as a component of an overall plan to redefine and invigorate its public image, Marques de Riscal commissioned the design of a small building intended to provide a unique experience for visitors to the winery. The site for the building is approached along a road that leads through the vineyards and through existing wine production facilities that date primarily from the mid-nineteenth century.

The building is lifted above the site on columns, creating a small entry plaza beneath the building itself and providing breathtaking views of the vineyards, the San Andres Church, and the surrounding town and region from each of the areas located in the upper levels of the building.


http://www.arcspace.com/architects/gehry/riscal_winery2/riscal2.html



http://benjaminwey2000.wordpress.com/2008/02/20/frank-gehrys-marques-de-riscal/


http://benjaminwey2000.wordpress.com/2008/02/20/frank-gehrys-marques-de-riscal/











http://www.jpmoser.com/marquesderiscal.html



http://www.jpmoser.com/marquesderiscal.html





http://www.architecture-page.com/go/projects/the-cockpit__all

The design integrates a building volume within an acoustic barrier along the A2 highway in the center of Holland. The Acoustic Barrier and the Cockpit are designed to react to passing speeds of 120km/h and is positioned at no more than 15 meters from the highway. The building volume is stretched in the direction of the flow of cars with a length to height ratio of 10:1 and primarily houses a showroom and garage for luxury cars. Owing to its glass facade and proximity to the highway, the cars on display are highly visible to the passing traffic on the highway.

The design is an example of 'Non Standard Architecture' realized on a big scale with "one building, one detail" being the basic principle applied. 'Non Standard Architecture' is based on the application of the industrial method of mass customization to the conception and realization of consciously designed space. The Cockpit and Acoustic Barrier are produced according to a strict file to factory process. ONL had written scripts running on the point cloud of reference points which is extracted from the 3d surface model. The script produces the 3d visualizations of all constituting elements which in turn produces relevant data -- neatly

organized into a table -- for the production machines.



http://www.architecture-page.com/go/projects/the-cockpit__all






http://www.eikongraphia.com/?p=41


http://www.eikongraphia.com/?p=41






Project Details Project Name: The Cockpit in an Acoustic Barrier Client: Hessing Holding BV, Project bureau Leidsche Rijn Utrecht Project Type: Retail Design, Acoustic design Principal Designer: Kas Oosterhuis, Ilona Lenard Design Team: Sander Boer, Cas Aalbers, Gijs Joosen, Tom Hals, Ines Moreire, DimitarKaranikolov, Vladin Petrov, Tom Smith, Richard Lewis, Andrei Badesvu, MaciekSwiatkowsky, Barbara Janssen, Rafael SeemannYear of commencement of project: 2006 Year of completion of project:

Cockpit: September 2005 Acoustic Barrier: 2006

Location of site: Leidsche Rijn Utrecht, Netherlands Contractor: Meijers Staalbouw BV Construction: ONL, Meijers Staalbouw BV Installations: AndriessenCalculations: Faktor BV Cladding: Kalzip: Hafkon BV Cladding; Glass: Pilkington BV Interior Finishes: Bouwbedrijf Hoogh Seyst BV Tiles: Firma WIMO Concrete: GMB Tensile Cloth Ceiling: Poly Nederland Entrance Facde: WidamBuilt-Up Area: 6,400 square meters Length of Acoustic Barrier: 1.5 kilometresCost of Construction:

Cockpit: EUR 5,500,000 Acoustic Barrier: EUR 5,100,000
















http://www.kunsthausgraz.steiermark.at/cms/beitrag/10201227/4938704

Kunsthaus GrazThe BuildingOverview

On the banks of the river Mur, on the corner of the Südtirolerplatz and the Lendkai, Graz has a new architectural landmark: the Kunsthaus Graz.

The designers of this project, the London architects Peter Cook and Colin Fournier, created an impressive synthesis which unites their innovative design language with the historic setting of this urban district along the Mur.The aesthetic dialogue between the new biomorphic structure on the bank of the Mur and the old clock tower on Graz’s famous Schloßberg (Castle Hill) is the trade-mark of a city aiming to create a productive tension between tradition and avant-garde. In content as well as from an urbanistic point of view, the new Kunsthaus Graz acts as an interface between past and future. On the occasion of the European Cultural Capital 2003 activities, the City of Graz was giving itself the Kunsthaus, a gift for the future.

Exhibition FacilitiesFunctionally and technically, the Kunsthaus meets the most up-to-date requirements for museums on the international loan circuit. Its 11,100m2 of usable space provide everything its managers need to participate in the global exhibition business on the highest level. An innovative and cost-effective air-conditioning system meets all the demands of the most important art owners.

A generous delivery area, depots and workshops, and modern lighting and security systems are available to ensure the professional handling of exhibition projects. The underground car park offers space for 146 vehicles. As a multi-disciplinary venue for exhibitions, events and other means of presenting contemporary art, new media, and photography, the Kunsthaus Graz has a complex palette of features and functions. While the building’s interior is meant to inspire its curators as black box of hidden tricks (Colin Fournier), its outer skin is a media façade which can be changed electronically.


http://www.kunsthausgraz.steiermark.at/cms/beitrag/10201227/4938704



http://www.kunsthausgraz.steiermark.at/cms/ziel/4975814/EN/

Kunsthaus GrazBIX Façade

The Berlin based designer group realities:united creates a unique fusion between architecture and media technology with the light and media facade BIX designed for the Kunsthaus Graz.

realities:united conceives, designs and realises a 900m2 large media installation made of light rings for the facade of the Kunsthaus Graz. BIX – the title of the installation - will be mounted beneath the acrylic glass surface of the building facing the river and city centre. It can be seen as an urban screen: a new instrument and platform for artistic production. The Kunsthaus uses BIX to project its communicative aspect into public space.

BIX means to tune the Eastern facade of the biomorphic Kunsthausarchitecture with the help of 930 standard circular 40W fluorescent lights. Each lamp serves as a pixel, which can be controlled individually by a central computer. That way simple signs, images and films in low resolution can be generated over the whole Eastern front. realities:united’s main concern is not technology but the interaction between media, architecture and the activity of the Kunsthaus.

BIX functions as membrane between the museum and public space by which the Kunsthaus identifies and presents itself. However at the same time the communicating skin is also a potential working platform for art projects, which

address the interaction between media and space.Technology

Behind this skin realities:united has installed a field of neon lamps. The covered area is approximately 20 m high and 45 m broad. Each lamp is individually and infinitely adjustable. Luminosity can be varied between 0% and 100%. With the help of a digital control system schematic animations, graphics and alphabets can be displayed. A speed of 20 frames per second can be achieved. In this manner the unique blue “balloon” given by the architecture is transformed into a low resolution screen of an urban dimension.


http://www.kunsthausgraz.steiermark.at/cms/ziel/4975814/EN/



Aesthetics Aesthetics arise through the dimension of the installation. BIX is formed to meet the structure of the building and is thereforeitself an additional architectural element that replenishes the Kunsthaus: The light rings are integrated into the complex form of the architecture as flexible technical modules, while when looking at it as a whole the physical borders of the light fieldcan never really be seen. A soft transition of the installation from the outer facade into the area of the entry hall lets the modules fade away at the sides. The installation is kept hidden behind the acrylic glass facade of the Kunsthaus. Only the activated pixels can be seen during broadcasting so that even then the margins of the installation are not always visible. BIXgives the impression that not a screen but the Kunsthaus itself renders images and pictures. The complete fusion between architecture and media technology defines a new standard.










http://www.eea-architects.com/projects/popstagemezz.shtml

Popstage Mezz Breda (NL) competition 1996, first prize, design 1996-1997, realisation 2000-2002

client: Municipality of Breda, Dienst Ruimtelijke Ontwikkeling, Milieu en Economische Zaken (RME)

gross floor area: 720 m2 new building, 880 m2 refurbishment existing building

http://www.dezeen.com/2007/03/22/popstage-mezz-by-erick-van-egeraat/

With its windowless, asymmetrical form, clad in unpatinated copper, this concert hall by Erick van Egeraat Associated Architects is another example of turn of the twenty-first century “blob” architecture (also see pages 18 and 70).

Here, however, the form is dark and menacing rather than endearing, with the building resembling a giant slug or larvae attached like a parasite to the adjoining building.

Erick van Egeraat, born in 1956, co-founded pioneering Dutch architectural firm Mecanoo in 1983. He left in 1995 to form his own practice, which has offices in Rotterdam and Budapest.The project, completed in 2003, is part of the regeneration of a vast former military barracks at Breda in the Netherlands. It is joined to a former mess building that has been converted into a café and bar while the new structure contains an auditorium for 650 people and which is used for pop concerts.On first sight, the building gives no clues to its function: the only markings on the external carapace are a series of slashes that serve as ventilation ducts. The entrance to the centre is at the point where the old and new buildings meet and is revealed when a large section of the cladding swings upwards like the bow door of a ferry. A second sliding door beneath the building’s prow provides service access.The building actually consists of two shells, one inside the other. The outer chrysalis is fabricated in steel with a 100 mm (4 in) skin of poured concrete, on top of which are affixed the ribbed sheets of copper.The inner shell is suspended from the outer layer and is clad internally with timber and lined with acoustic insulation. The void running between the two shells provides access to dressing rooms and backstage areas.


http://www.eea-architects.com/projects/popstagemezz.shtml

http://www.dezeen.com/2007/03/22/popstage-mezz-by-erick-van-egeraat/





FASCH & FUCHS – KINDERMUSEUM, GRAZ, AUSTRIA, 2003

http://info.fridaundfred.at/cms/1734/


http://info.fridaundfred.at/cms/1734/



PROGRAM:Temporary tensile fabric Installation consisting of 3 parasols for the Serpentine Gallery’s Summer Party located in Kensington Gardens.CLIENT: Serpentine GalleryARCHITECT:Design: Zaha Hadid with Patrik SchumacherProject Architect: Kevin McClellanCONSULTANTS:Structural: ARUPSteel Fabrication: Sheetfabs LtdMembrane Fabrication: Base Structures LtdLighting design: ZumbotelFurniture provided by: Estabished & SonsKenny SchachterSawaya & MoroniSerralungaSIZE/AREA:Height 5.5 mWidth 22.5 mLength 22.5 mTotal Floor Area 310 m2

http://www.dezeen.com/2007/07/12/lilas-by-zaha-hadid-architects/


http://www.dezeen.com/2007/07/12/lilas-by-zaha-hadid-architects/









http://www.serpentinegallery.org/2006/11/past_serpentine_gallery_pavili.html


http://www.serpentinegallery.org/2006/11/past_serpentine_gallery_pavili.html









http://www.serpentinegallery.org/architecture/

Serpentine Gallery Pavilion 2006,by Rem Koolhaas and Cecil Balmond, with Arup13 July – 15 October 2006

The Serpentine Pavilion 2006 was co-designed by PritzkerPrize-winning architect Rem Koolhaas and innovative structural designer Cecil Balmond.The centrepiece of the design was a spectacular ovoid-shaped inflatable canopy that floated above the Gallery’s lawn. Made from translucent material, the canopy was raised into the air or lowered to cover the amphitheatre below according to the weather. A frieze designed by Thomas Demand marked the first collaboration between an artist and the designers of the Pavilion.The walled enclosure below the canopy functioned both as a café and forum for televised and recorded public programmesincluding live talks and film screenings in the Time Out Park Nights at the Serpentine Gallery programme.


http://www.serpentinegallery.org/architecture/


http://www.cityofsound.com/blog/2006/07/koolhaasbalmond.html

July 17, 2006Koolhaas/Balmond/Arup Serpentine Pavilion, 2006It's a near-obligatory post for a London-based architecture-orientated blog: photos of the collaboration between RemKoolhaas, Cecil Balmond and Arup for this year's Serpentine Pavilion. Generally very impressed. Conversations with Paul Schützeand Pete Besley both made me realise why I find Koolhaas'swork interesting: it's his pathological and ongoing inability totypecast himself in predictable forms and restrict himself to particular approaches. I think this is partly due to his refusalto take a building on unless OMA and Arup get to deal with the context of the structure; the function of the building; the entire programme, in architect-speak. Therefore the integration of a fascinating-looking 24-hour interview marathon, Thomas Demand's wallpaper'd installation, as well as the interior of black foam seats which can be shifted around the café at the user's whim. Good details."Rem Koolhaas said: "The 2006 Serpentine Pavilion will be defined by events and activities. We are proposing a space that facilitates the inclusion of individuals in communal dialogue and shared experience."And Balmond and Arup have done their now-expected miraculous engineering in creating a unique structure in which the 'roof', for want of a better word, floats freely from the base. Quite lovely.Cecil Balmond said: "These Pavilions have evolved with various structural typologies and materials, provoking a debate on architecture; this year the exploration continues not only with typology and material but with the very definition of Pavilion."REM KOOLHAAS - SERPENTINE PAVILION , LONDON, UK, 2006


http://www.cityofsound.com/blog/2006/07/koolhaasbalmond






http://www.bmw-welt.com/web/portal/en/index_highend.html


http://www.bmw-welt.com/web/portal/en/index_highend.html



http://www.automotoportal.com/article/The_BMW_Welt_-_A_masterpiece_of_architecture


http://www.automotoportal.com/article/The_BMW_Welt_-_A_masterpiece_of_architecture


















http://www.dezeen.com/2007/10/03/bmw-welt-by-coop-himmelblau-2/


http://www.dezeen.com/2007/10/03/bmw-welt-by-coop-himmelblau-2/


Architects: SBA international Stuttgart/ShanghaiLocation: Shanghai, ChinaStructural Engineers: Knippers Helbig Advanced EngineeringManaging Partners: Hong Li and Bianca NitschClient: Shanghai World EXPO Land Holding Co. Ltd., ShanghaiManaging Partners: Prof. Dr. Jan Knippers, Dipl.-Ing. Thorsten HelbigContributors: Florian Scheible, Florian Kamp, Dirk RichterCooperation: ECADI, Shanghai, ChinaGross Floor Area: 280,000 sqmMembrane Roof Area: 65,000 sqmProject Year: 2006-2010Photographs: Thomas Ott



After the Olympic Games in Bejing, the Expo in Shanghai is the biggest international event. At the time of the opening in May, the organisers expect over 70 million visitors. The slogan ’Better City Better Life’ puts life in the cities of the 21st century at the heart of the exposition. Besides the China-Pavilion, the Expo Boulevard is the largest and most significant building on the site. It forms the central entrance area and provides 350,000 m2 effective area for numerous facilities for the exposition. Via the round 1 km long and 100 m wide axis, which stretches across the entire site to the Huangpu river, the visitors are guided to the various national and theme-based pavilions. The Expo Boulevard is one of five buildings, which will remain after the world exposition to form the centre of a new urban district of Shanghai in the long run. The winning competition design for the central boulevard originates by the architectural and urban design practice SBA from Stuttgart.



ConceptThe Expo site is located at the Huangpu River west of the town centre Pudong. The Expo Boulevard and the main part of the Expo – national and theme-based pavilions, as well as innovative urban concepts – Better City, Better Life – are based on the south side of the river. In 2007, the concept of an open entrance and boulevard building, embedded in the landscape, took the architecture firm SBA, Stuttgart / Shanghai into the final round of the international competition for the entrance-building of the Expo 2010 in Shanghai.



The design concept comprises a compact structure to accommodate all required public facilities, such as box office, security gate, restaurants, shops and central allocation points. The 1,000 m long and 100 m wide axis is lowered by two- thirds into the ground. Spacious lateral slopes flood the floor levels with light and air. This creates a large-scale terrace on the building, which was originally planned to be covered with a wide-span roof comprising a glazed grid shell with triangle meshing. Knippers Helbig Advanced Engineering supported SBA since August 2007 by developing the structural system. Nine mega columns comprising a glass-steel framework bear the main load while rows of slim pillars support the edge of the roof. In a preliminary scheme, the glass roof structure has been optimised in design studies. The main emphasis was on the reduction of the pillars and on adapting the mega columns to the modified space allocation plans.



The membrane roof obtained its current shape in three fun- damental steps of development: The structuring of the large scale triangles is not only taking static demands into consi- deration, but also numerous constraints by streets, bridges and tram stations, which had already been allocated in the layout. This overall planning also had a restrictive impact on the height of the exterior columns and the steep back stays. With their wind suction cables and hangers, the centre masts minimize the distortion of the membrane under wind load and bear the major part of the vertical loads,as well as uplifting loads. The inner connection rings and double layered membrane serve

for load distribution and reinforce- ment of the membrane at the load concentration of the inner low points.



Architects: FTL Design Engineering StudioLocation: Scottsdale, AZ, USAProject Area: 4,645 sqmPhotographs: FTL



Located at the intersection of Scottsdale and McDowell Road, SkySong is a mixed-use project consisting of 1.2 million square feet of office, research and retail space, and a hotel /conference center at full build-out. In addition to the commercial space, SkySong will include multi-family residential units. Anchored by the iconic SkySong shade structure, it is built around a densely landscaped grand boulevard lined by ground-floor shops and restaurants with offices above. SkySong will serve the needs of businesses, research and technology industry and academia while building vital networks between university innovations, regional progress and the global technology industry.



FTL in collaboration with Pei Cobb Freed & Partners (Architect for the Campus Buildings) designed the sculptural tensile structure as a center piece for the overall development, providing a shaded center courtyard with 4 plazas for cafes, restaurants and social interaction. The PTFE glass fabric structure is approximately 50,000 sq ft of area and opened in May 2009.





workshop 53A _ uauim2008-2012



Stud.arh.Dan Cioclu



Stud.arh.Rares Dragoiu



Stud.arh. Teodora Albu



Stud.arh. Razvan Enescu



Stud.arh. Aurelian Cristea



Stud.arh. Bogdan Tanase Marinescu



Stud.arh. Bogdan Tanase Marinescu



Stud.arh. Sorina Simion



Stud.arh. Irina Ilie



Stud.arh. Mihaela Ciolache



Stud.arh. Oana Dumitrache



Stud.arh. Noemi Cristescu



Stud.arh. Raluca Pestisanu



Stud.arh. Andrada Butnaru



Stud.arh. Dan Ababei



workshop _ uauim2008-2012_











Structuri Speciale Proiect1 53A 2012

Documents

pdffactory pro trial

new pavilion

old pavilion

zaha hadid serpentine

older pavilion

zaha hadid location

toyo ito serpentine

zaha hadid vitra