Renzo PIANO - The Aquarium

Renzo PIANO - (1992) - The Aquarium (Genova - Italy)

The Aquarius in Genoa [http://www.acquariodigenova.it], spectacular structure, is in Europe, the aquarium that represents the most greater variety of ecosystems, second for dimensions only to that of Valencia in Spain, the dimensions of the basins, that contain around four million liters of water, reproduce, in the maximum respect of the biological equilibrium, the Mediterranean's and the Ocean's habitat. The form of the aquarium alludes to something of maritime: it seems, in fact, a ship in a dock's basin. The aquarium is suspended on concrete's circular columns, and it fluctuates above the old dock. This is a characteristic some curious, because the columns seem to undertake themselves in the attempt to hold the fishes out of the water. The principal tubs are collocated in the way that the visitors can see it from two different levels: according to the point of observation, the effect is an underwater immersion or a superficial view, illuminated by the natural light through the transparent roof. The structure has been inaugurated October 15th 1992 on the occasion of the Colombus celebrations , the commemorative exposure of the five hundredth's Anniversary of the America's discovery. The Aquarius of Genoa is project from the Genoese architect Renzo Piano [http://www.rpbw.com/], that has used, for the technical part and curatorial, of the consultation of the American architect Peter Chermayeff [http://www.peterchermayeff.com/] with the Cambrige Seven Associates, specialized in the aquariums planning. The path, around 2 hours and half of duration, it unties him on a total surface of 9.700 square meters. The original core, constituted from 39 basins, it reconstructs the natural environments of the single species with evident didactic finalities. Of particular esteem they are the three great basins that entertain dolphins, sharks, seals and turtle besides innumerable other kinds of fishes. In a lot of them the visitor can dip the hands and to directly touch the fishes. The water of the aquarium is withdrawn offshore the coast and it is housed in four cisterns situated to side of the two floors. Water is purified and disinfected, therefore introduced in the basins, all of them provide of mechanics and biological's filtering installations, the plant has been taken care by Italimpianti.

Renzo PIANO - Il VULCANO Buono

Renzo PIANO - (2007) - Il VULCANO Buono (NOLA - Italy)

Renzo Piano, ispirandosi al Vesuvio ha progettato il nuovo e colossale centro commerciale che sorge a Nola, a pochi km da Napoli. Qui Renzo Piano non poteva non trarre spunto dal simbolo napoletano per antonomasia: il Vesuvio. Il Vulcano Buono, così si chiama il centro commerciale concepito e progettato dal Renzo Piano Building Workshop, è una collina artificiale che segue le uniche e sinuose forme del vulcano partenopeo in un insieme di solidi circolari, ognuno dei quali ha una pendenza differente, che si fondono a formare una struttura troncoconica a pianta ovoidale, aperta al centro, che ricalca l'aspetto, appunto, del Vesuvio. Il margine superiore della collina artificiale ha un'altezza che varia dai 25 ai 41 metri, con un diametro totale di 320 metri. Ospita una piazza centrale di 160 metri di diametro a cielo scoperto, divisa in tre zone concentriche, la più interna con palco dedicata allo spettacolo, quella intermedia al commercio e la più esterna, che fa da corona alla costruzione che vi si affaccia riservata a verde e piantumata di pini. Inoltre il progetto di Piano riserva grande attenzione anche alla sostenibilità ambientale, infatti attorno alla struttura è nato un enorme parco verde, con oltre 2000 alberi. Dall'esterno, fatta eccezione per i diversi ingressi (chiamati Capri, Sorrento, Amalfi, Positano e Ischia, più le uscite di sicurezza), il complesso è praticamente invisibile come opera architettonica perché le coperture in calcestruzzo armato sono ricoperte da terriccio dove trovano posto prato e vegetazione bassa che si armonizzano con il paesaggio circostante, mimetizzando di fatto la struttura. In questo senso si può parlare di edificio eco-orientato. Il complesso è un grosso centro multifunzionale costituito da un albergo, un ipermercato, un cinema multisala e da una galleria, a doppia altezza, di 155 negozi e diversi ristoranti e bar. Al centro è presente una grande piazza circolare che viene utilizzata per concerti e manifestazioni. L'interno del centro commerciale, a doppia altezza, è suddiviso in colori: (Capri - giallo), (Sorrento - arancione), (Amalfi - blu), (Positano - rosso), (Ischia - verde). Le hall degli ingressi sono delle grosse piazze dedicate alle omonime cittadine corrispondenti, le piazze sono raccordate dai viali dedicati a famosi attori napoletani come Antonio de Curtis (detto ToTò), Massimo Troisi, Tina Pica e Pupella Maggio; il piano sovrastante è collegato con quello di terra tramite scale mobili e ascensori, mentre al piano superiore i solai di entrambe le parti sono collegati da ponti di acciaio. Come si può vedere il progetto di Renzo Piano non vuole essere il solito contenitore di negozi, ma proprio come egli stesso dice un'interpretazione della cooperazione dell'antico mercato greco in chiave moderna. Non vogliamo costruire un triste shopping center ma una piazza dove il vuoto è l'elemento d'incontro tra le persone Un centro per l'offerta di servizi, ma anche punto di aggregazione e cultura. L'edificio è stato inaugurato il 7 dicembre 2007.

Renzo PIANO - Chiesa di Padre PIO

Renzo PIANO - (2004) - Chiesa di Padre PIO (S.Giovanni Rotondo - Italy)

The newly inaugurated church, will serve the large number of pilgrims visiting the place where Saint Padre Pio used to live. Visitors are guided up the slope, along a long straight pedestrian path with garden terrace zones extending along its sides. The path is aligned with the entryway arch to the church and to the great cross that emerges, almost 40 meters tall, as a focal point on arrival. The first nine columns of the parvis, reaching a height of 25 meters, support the eight bells that form the original belltower of the church. In the design by Renzo Piano, the worshippers are enveloped by a gigantic snail shape, the outline of which is formed by a three-quarter circle of steadily decreasing radius.

 The materials, selected to express simplicity and solidity, are local stone, wood and glass. The immense roof skin is finished in pre-patinated copper with a supporting structure of wood and limestone. The supporting structure consists of two intermeshing rows of Apricena stone arches arranged in a circle, a total of 21, that form an inner and an outer ring with the arches of the outer ring representing scaled-down copies of the inner ones.

The arches of the inner ring originate in the centre of the three-quarter circle, where the altar is located. Since the spans of the arches steadily decrease, with the decreasing radius of the circle, a spiral shape is created that is reminiscent of a snail's shell. The radial structure, divided into sectors seating 300-400, brings the assembly as close as possible to the altar. The arch construction, together with a secondary structural system made of wood, supports the wood ceiling. To allow for a certain amount of play in the event of an earthquake steel cables have been stretched between the arches.

The area, enclosed by the three-quarter circle of the outline, forms the apex of a triangular square that slopes down towards the entrance. The huge stained glass window, set in the stone arch, filters the light entering the church that, otherwise, remains in semi-darkness with only a light well above the altar.

The pavement, covered with slabs of the same stone as the arches, connects the church and the forecourt, and continues into the hall, blurring the transition between the forecourt and the interior. The forecourt holds up to 30,000 people who, because of the open, connection between church interior and forecourt, can take part in the celebrations. The crypt, chapels, confessionals and several modern administrative and event rooms are located in the 11,000 square meter basement.

Santiago Calatrava - City of Arts and Sciences

The City of Arts and Sciences is an entertainment-based cultural and architectural complex in the city of Valencia, Spain. It is the most important modern tourist destination in the city of Valencia. The City of Arts and Sciences is situated at the end of the former riverbed of the river Turia, which was drained and rerouted after a catastrophic flood in 1957. The old riverbed was turned into a picturesque sunken park. Designed by Santiago Calatrava and Félix Candela, the project underwent the first stages of construction in July 1996 and the finished "city" was inaugurated April 16, 1998 with the opening of L'Hemisfèric. The last great component of the City of Arts and Sciences, El Palau de les Arts Reina Sofia, was presented on October 9, 2005, Valencian Community Day. .

Carlo SCARPA - Castelvecchio Museum

Between 1958 and 1974, Castelvecchio, underwent an important renovation and reinstallation of the museum spaces, designed and supervised for the city of Verona by the architect Carlo Scarpa ( Venice 1906 - Sensai, Japan 1978) during the directinship of the art historian Licisco Magagnato. The antique arms court, reduced at the beginning of the twentieth century to an Italianate garden, was trasformed by Scarpa into an extraordinary modern courtyard that evokes both Venice and tradition of gardens, and at the same time complements the architecture with geometrical logic and the use of both traditional Veronese materials, such as Prun stone, and contemporary ones, such as concrete. This space is both the prologue to the museum visit and a resting point along the route. Several important works in stone are also sited within the garden: two 19th-century fountains, an early 13th-century sarcophagus, the central rose from the mediaval floor of the church of Sant'Anastasia, installed here like an emblem next to the entrance. In addition, the site contains a medieval sundial and the celebrated equestrian statue of Cangrande I della Scala.

Sketches of Frank Gehry

Zaha HADID - MAXXI Museum Art XXI - Part.1+2

 

Zaha HADID - (2009) - MAXXI Museum Art XXI (Roma - Italy) - Part.1 Zaha Hadid http://www.zaha-hadid.com/ has drawn walls that plough the space delineating fields of strength with fluid trajectories that cross the space, and there are the same intersection to define the circle among inside and outside. The structure has a complex and irregular form that corresponds to an inside articulation without clean division of plans and spaces: a composite environment characteristic from a high-level of functional flexibility in which the light plays a remarkable role in fact a coverage in glass floods of natural light all the spaces. We don't find us of forehead to a journey to effect, but to an experience of trip in a complex net of connections and runs that through bridges and staircases they bring us "long" the three levels of the structure without ever returning on our footsteps and always discovering new roads. An architecture that opens a tear in the circuit of the time and they forces every of us to change our point of view, that is something that belongs much more to the cinema that to the architecture and the multiplicity of the visions, when everything is confuses and then everything returns clear, as in a film. It's the MAXXI http://www.maxxi.beniculturali.it/ind... the Modern Art Museum of XXI Century in Rome - Italy (41°55'41.67"N - 12°28'1.77"E). Public open was in 20 May 2010. Info in Via Guido Reni,4 - Rome - Tel.+0039.06.3210181

Oscar NIEMEYER - Auditorium

Oscar NIEMEYER - (2010) - Auditorium (Ravello - Italy) [...] It's not the right angle that attracts me, and not even the straight line, hard and inflexible, created by man. What attracts me is the sensual free curve, the curve that I meet in the mountains of my country, in the preferred woman, in the clouds of the sky and in the waves of the sea; of the curves which make the whole universe, the curved universe of Einstein. [...] Oscar Niemeyers masterpiece for Ravello: http://www.niemeyer.org.br/. The culture in which his architecture is based is sunny, daring and balanced, all at the same time, something which unites all Latin countries on both sides of the Atlantic; therefore, an intimate harmony between his style and ours is key. From the creator of the only city of the world built in the twentieth century and recognized by the UNESCO Patrimony of the humanity, Brasilia the federal capital of Brazil, that April 21st 2010 will celebrate the fiftieth anniversary from its foundation happened in 1960. Niemeyer is universally recognized as architectural genius of our day and he has succeeded in the mission to create a architectonic complex that was both simple an bold, able to stand out from but non contrast with its surroundings. The Auditorium http://www.auditoriumoscarniemeyer.it/ is reached by means of an oblong square from which it's possible to admire both the breathtaking panorama and the remarkable building. (40°39'2.56"N - 14°36'50.55"E)The concert hall, which includes the parterre, the orchestra stage and the foyer, boldly juts forth into empty space. The technical characteristics give perfect acoustics and the landscape can still be enjoyed thanks to the large glass front and the window behind the orchestra.

Massimiliano Fuksas - NARDINI Distillery

Massimiliano Fuksas - Events & Research Space NARDINI Distillery in Bassano del Grappa, Vicenza, Italy (2004) For the historic 225th corporate anniversary, the Nardini Family set out to create an architectural icon; from the vision of Massimiliano Fuksas [http://www.fuksas.it/], a landmark was unveiled in 2004, "Le Bolle" (the Glass Bubbles) that dares to compete with the Andrea Palladio Bridge, an inseparable symbol of the city of Bassano and Nardini [http://www.nardini.it/]. The aim of this project was to meet the need for an auditorium where those interested in the world of Grappa could be welcomed all year; an expanded laboratory facility, and a space to host internal meetings and events of high cultural value. The Analysis laboratory in the lower bubble is a vitally important workplace it is where the exacting quality and continuity of NARDINI Products is guaranteed, with daily quality control for every lot Trasparent and double-glazed, providing exellent solar protection and a very low level of light refelction combined with energy saving efficienty. 11.500 sq.m. of galss used. 572 couples of glass panes. 204 panes of clear glass on the upper part. produced. 82 opaque panes in the lower part of each bubble. 691 sq.m. of surface area of the upper bubble. 514 sq.m. of surface area in the lower bubble.

Norman FOSTER - REICHSTAG Dome

Norman FOSTER - (1999) - Reichstag Dome (Berlin, Germany) The current Reichstag dome is a glass dome constructed on top of the rebuilt Reichstag building in Berlin. It was designed by architect Norman Foster and built to symbolize the reunification of Germany. The distinctive appearance of the dome has made it a prominent landmark in Berlin. The Reichstag dome is a large glass dome with a 360 degree view of the surrounding Berlin cityscape. The debating chamber of the Bundestag, the German parliament, can be seen down below. A mirrored cone in the center of the dome directs sunlight into the building, and so that visitors can see the working of the chamber. The dome is open to the public and can be reached by climbing two steel, spiraling ramps that are reminiscent of a double-helix. The Dome symbolizes that the people are above the government, as was not the case during National Socialism. The glass dome was also designed by Foster to be environmentally friendly. Energy efficient features involving the use of the daylight shining through the mirrored cone were applied, effectively decreasing the carbon emissions of the building. The futuristic and transparent design of the Reichstag dome makes it a unique landmark, and symbolizes Berlin's attempt to move away from a past of Nazism and instead towards a future with a heavier emphasis on a united, democratic Germany.

Présentation des Bains des docks - Le Havre

Emblème du renouveau des quartiers sud, « Les Bains des Docks » est le nouveau et spectaculaire centre aquatique de la Ville du Havre, dédié au sport, à la détente et aux loisirs. Une réalisation architecturale hors normes, des installations de haut niveau pour tous les amoureux de la natation ou des loisirs aquatiques en famille ou entre amis, des adeptes du bien-être et de la remise en forme.

Architectural Awakening - New Synagogues in Germany | Arts.21

Whether it's Dresden, Munich or Chemnitz, the synagogues built in Germany in recent years all have something a little spectacular about them. One has elements reminiscent of the Wailing Wall in Jerusalem, another glows at night.Now a new synagogue and Jewish community center has opened in Mainz. ARTS.21 went along to take a look.

La arquitectura del Museo del Prado

Comentada por Pedro Moleón, profesor de Historia en la Arquitectura de la Universidad Politécnica de Madrid y destacado especialista en la obra de Juan de Villanueva (1739-1811), autor del edificio en el que se fundó el Museo en 1819. Duración del vídeo: 15min.

THE ARCHITECTURE OF THE MUSEUM Commented by Pedro Moleón, professor of Architecture History in the Universidad Politécnica in Madrid and a distinguished specialist in the work of Juan de Villanueva (1739-1811) author of the building in which the museum was founded in 1819. Duration: 15min.

SIEEB, Beijing - lighting by iGuzzini

Year 2005 has seen a strengthening of the relationship between the Ministry for the Environment and for the Protection of Italian Territory and the Chinese Ministry of Science and Technology within the Kyoto Agreement for the reduction of CO2 emissions and a wider program on environmental issues. The cooperation resulted in the creation of the Sino Italian Ecological and Energy Efficient Building (SIEEB).

The building located in the university campus of the Tsinghua University in Beijing is 40 metres high with 20,000 square metres of useful surface and houses an Italian-Chinese research centre for the protection of the environment and energy conservation.

The designer is Mario Cucinella together with a team of the Milan Polytechnic. The building is conceived like a leaf using and transforming the daylight in energy: a series of garden terraces, facing south are filled with a thick vegetation and over 1,000 square metres of photovoltaic panels, which supply the majority of the internal energy requirements.

The project, thanks to its horseshoe shape, optimises the requirement of daylight during the winter and the protection from sun rays during the summer. Moreover it will produce a constant natural illumination therefore reducing the requirement of energy, which in China is still produced mainly with coal and is therefore the main cause of CO2 emissions.

An automated system controls the presence of the personnel in the rooms and according to real needs manages the opening and closing of the semi-reflective light shelves, which make up the façade and the skylights. Also the artificial life is modulated according to the requirements of the moment. The centralised control system is able to automatically switch off the lights in the empty rooms.

El Museo Guggenheim de Bilbao - Parte 3

El Museo Guggenheim de Bilbao - Parte 2

El Museo Guggenheim de Bilbao - Parte 1

I. M. Pei - Grand LOUVRE

I. M. Pei - (1989) - Grand LOUVRE - Paris, France 

Phase 1 - completed 1989 
For eight centuries the Louvre has stood as a unique national monument, central to the people and spirit of France. In 1983, President François Mitterrand requested that it be modernized, expanded and better integrated with the city — all without compromising the integrity of the historic building. The challenge was magnified by the fact that the Louvre was originally constructed, and used for most of its life, as a royal palace; it was fundamentally ill-suited to serve as a museum. The two-phase solution involved the reorganization of the long linear building into a compact U-shaped museum around a focal courtyard. A centrally located glass pyramid forms the new main entrance and provides direct access to galleries in each of the museum's three wings. Critically, the pyramid also serves as a skylight for a very large expansion building constructed under the courtyard to provide all the public amenities and technical support required in a modern museum. Corollary objectives for improved urban integration led to the transformation of surface parking into a three-hectare fountain plaza. Closed passages through the building were opened as public rights of way, underground services and parking relieved congestion, and a 55,000m2 mixed-use complex, supplementary but independent of the museum, was designed to help finance the project and reinvigorate the heart of Paris. The half-mile-long Louvre, previously an obstacle to circulation, thus became a vital gathering place and bridge to the surrounding city.

Phase 2 - Completed 1993 
Conversion of the Richelieu Wing from offices of the Ministry of Finance into exhibition space constitutes the critical second stage of the Grand Louvre. Only by incorporating this nineteenth-century wing could the project goals be fully realized. Unlike Phase I, which involved the construction of a new underground building, Phase II required the creation of new space within an historic shell. Work included the cleaning and restoration of façades and exterior sculpture, conversion of three interior courtyards (previously staff parking lots) into skylit sculpture courts, and demolition of 12 acres of dingy government offices compressed into 6+ floors. With the exception of several historic rooms, the interior was totally rebuilt to accord with the three-level palace exterior. Sculpture was installed on the bottom level for maximum support, Decorative Arts in the middle, and at the top, painting galleries with innovative skylights designed for optimal viewing of the collection. A grand escalator court facilitates access to all levels, merging old and new and better equipping the Louvre for its preeminent role as a modern museum. Beyond conversion of the Richelieu Wing, Phase II included the underground mixed-use complex known as the Carrousel du Louvre, the Pyramide Inversée that brings light into its center, the connected underground parking garage, and a series of related surface projects designed to actively reclaim the Louvre as a vital pedestrian precinct in the heart of Paris.

Le CORBUSIER - SWISS Pavilion

Le CORBUSIER - (1933) - SWISS Pavilion (Paris, France) In 1924, Switzerland decided to built its student housing on the University Campus of Paris (Cité Universitaire http://www.ciup.fr/)[48°49'4.82"N - 2°20'31.59"E]. The inauguration took place in July 1933. Considered to be one of "the most free and imaginative structures" of Le Corbusier [http://www.fondationlecorbusier.fr/], the building represents a synthesis of three approaches. The first one advocates the autonomous slab free from any reference to the form of the land site. The second advocates an articulation of the slab by the means of specific functional elements, or a dialogue between industrial and "natural" materials. The third approach applies two of the five points of modern architecture: pilotis in exposed concrete and a roof terrace combining privacy and openness to the sky and sun. In many respects this buildings is a landmark, not only in the terms of Le Corbusier's own future development, but also for other architects who during the second half of the twentieth century developed their approach to architecture based to a considerable extent on Le Corbusier's pioneering experiments. Since 1945, the building has undergone several additional changes by Le Corbusier. In 1948, a wall painting was commissioned to replace the previous photo mural of 1933. In 1953, Le Corbusier transformed the southern curtain-wall in order to reduce the excessive solar impact and in 1957 he added a series of enamelled benches and a new polychromy to the rooms. On September 8th, 1965 the Swiss Pavillion was included in the register, and in 1986 confirmed and classified as a historical monument.

Sketch Architect's Forest Retreat

Architectural freehand sketch of design concept for a forest hideaway retreat. (Actual Drawing Time: 27min)

Gremio Filme Construtivo HD.mp4

Renzo PIANO - Rue de Meaux HOUSING

Renzo PIANO - (1991) - Rue de Meaux HOUSING (Paris, France) This residential complex in the 19th district of Paris is Composed of 220 low cost apartaments. The homes all face a central internal garden planted with birch trees. Research into the grani and color of materials led to the creation of a "double-skinned" facade system and the use of terracotta. Applying GRC technology, Renzo Piano [http://www.rpbw.com/] has taken the prefabricated panel to a new level of architectonic sophistication and excellence. "The Rue de Meaux Housing (1991) in Paris exemplifies Piano's ability to bring together innovation and exacting craftsmanship with knowledge of the technical aspects of the production of buildings to achieve new and successful results. The appeal of the building's terra cotta cladding brought a durable surface material back into popularity, while revealing its potential for frank elegance, in contrast to neoclassical applications that often disguised the material." Renzo Piano

Le CORBUSIER - Maison du Brésil

Le CORBUSIER - (1959) - Maison du Brésil (Paris, France) This housing block at the Cité Universitaire complex in Paris (coordinates 48°49'04 N - 02°20'37 E) was designed by Le Corbusier for Brazilian students and researchers, was opened June 24, 1959. Initially, the design had been assigned to the great Brazilian architect Lucio Costa. The latter appealed to his friend Le Corbusier, already author of the Swiss Foundation, to help develop the project. But the project was so profoundly changed from the initial sketch that Lucio Costa abandoned his paternity of the house!

The Stone Towers by Zaha Hadid Architects

Opus Office Tower © Zaha Hadid Architects

Visit the Porsche Museum in Stuttgart

About 80 vehicles and many small exhibits are on display at the Porsche Museum in a unique ambience. In addition to world-famous, iconic vehicles such as the 356, 550, 911, and 917, the exhibits include some of the outstanding technical achievements of Professor Ferdinand Porsche. More information on http://www.porsche.com/museum

ROCA London Gallery © Zaha Hadid Architects

2010 Aga Khan Award for Architecture, Recipient - Ipekyol Textile Factor...

Location: Edirne, Turkey (Asia) 
Architect: Emre Arolat Architects 
Client: Deyko, Twist Giyim 
Completed: 2006 
Design: 2004-2005 
Site size: 20'000 m²

 The Ipekyol factory, a recipient of the 2010 Award for Architecture, is a custom-designed facility for a manufacturer of high-quality textiles, . It represents a successful collaboration between a client and an architect in developing a spatial strategy that integrates production goals with the well-being of employees. Key design objectives focused on a single U-shaped volume that makes full use of the site as well as the use of local materials, reduced energy use, and enhanced thermal performance. The architect responded with a single, large structure where administration and production spaces were integrated under one roof, breaking down hierarchies between front- and backof-house functions. The form of the building conveys its function, its U-shape responding to the demands of the production line, from inception to the packaging and dispatch of the garments. The glazed southern facade, five internal courtyards, as well as gardens and light wells give each user access to natural light and views of nature, and the spaces also provide recreational areas for the workers.

Office 25 Architects | Taiwan Union Tower

In the master plan for the former Taichung Airport and its vicinities, various functions including trade and economics, R&D, university campus, ecology, cultural and living are all integrated as the "Taichung Gateway—Active Gateway Park". The theme of "four large centers and one feature" is adopted as a turning point for future urban development and encompasses a large park, large campus, large exhibition center, large arena and the Taiwan Tower.

Massimiliano FUKSAS - EUROPARK

Massimiliano FUKSAS - (2005) - EuroPark 2 (Salzburg, Österreich) The Europark in Salzburg is a large building situated on an area of 120,000 square meters, used as retail space and for 3000 cars parking, close to highway and airport. Its horizontal arrangement is bounded by the gently curved roof, formed by a corrugated metal fence. The radiant facades consist of a "double skin" transparent and translucent coating that is reflected in the small gap of water that surrounds the entire perimeter. They behave like modern billboards and are characterized by the name of the mall "Europark" printed in white on blue glass. The double screen printing is done on the outside than on the inner plates of glass, gives depth and dimensionality to the logo, highlighted in the evening by artificial lighting system placed in the cavity of the two skins. The exterior of the building changes every hour of the day depending on changes in natural light which makes it more or less transparent surfaces. The center is organized on four levels: the ground floor and first floor are for sale, while the basement and the roof are both used for parking. The space distribution and internal linking are optimized so as to give order and clarity to the interior and to create spaces for relaxation and aggregation. The "Squares" and "Gallerie" inside are lit by natural light from large skylights, comprised of panels and glass panels angled vertical side walls that can be opened automatically to allow for the possible evacuation of the smoke. La a great wave of light and transparent network, 140 m long 320 m wide, running along the whole facade; made of metal grating, the wave is the major architectural motif of the project. Suggestive allusion to an ocean that has no counterpart in Austria, coverage, strongly characterized, gives shelter to the parking spaces and is a strong sign of large-scale recall. The continuity of the element is in contrast to the available dynamic and tense of the underlying volume, determined by the strength of "empty" interior, which has been reserved for commercial activities. In the southern area, enriched by vegetation, a refined game of reflexes, including the big screen-printed glass wall of the mall and the tub of water crossed by paths, demonstrates once again the architect's attention to the treatment of "light" and the use of "transparency".

Le CORBUSIER - Villa SAVOYE

Le CORBUSIER - (1931) - Villa SAVOYE (Poissy, France) Suspended on top of a hill and surrounded by tall trees, Villa Savoye by Le Corbusier [http://www.fondationlecorbusier.fr/] is realized between 1928 and 1931 as a summer residence for Savoye Family. Although this is a suburban patrician villa here the architect tackles the issue, developed in previous projects of low-cost housing, housing as a "machine à habiter" , perfect working order. The Villa looks like a huge white box supported by slender concrete stilts that allow you to have the ground floor occupied by the volume of service and partly open to car traffic, while the two upper levels are broken down according to internal movement people. The result is an architectural promenade through simple and austere forms, in line with the principles of Purism, that Le Corbusier had deepened over the last ten years. Centrally located within the building has a ramp that leads from the entrance vestibule on the first floor, where you can go into different rooms, all defined by primary volumes, and finally leads to the upper terrace, where some elements are present as free space forms, placing them among the factors of Cartesian meditation order of the building and the natural order of the context. Le Corbusier, always ready to reconcile opposites, establishing a close dialogue between these two entities through the opening of large windows that frame the surrounding landscape as well, allowing the light, abundant in this glade, to break inside the home in an almost violent, to reaffirm and enhance the pure white of all surfaces. The villa, which has many similarities with Villa Stein in Garches realized a few years earlier, is taken as an example demonstration of the "5 points de l'architecture nouvelle": the stilts, the roof-garden, the plant and the free facade, the window tape, or the five terms at the base of contemporary architectural language. The building recently underwent renovations, was declared by the French national interest.

Le CORBUSIER - Villa La ROCHE

Le CORBUSIER - (1923) - Villa La ROCHE (Paris, France) La Maison La Roche-Jeanneret is a double house built by Le Corbusier in 1924. They are in the Rue Doctor Blanche to the numbers 8-10. They are the seat of the Le Corbusier Foundation http://www.fondationlecorbusier.fr/. The project dates back to 1923, when Raoul La Roche commissioned to the Helvetic architect a house where he could also be exposed his art gallery. Was used the new technique of reinforced concrete and, in line with the experiences of the modern movement, ran out all the decorations in favor of an absolute set of volumes of pure geometrical features. Villa Jeanneret was instead built in collaboration with the architect Pierre Jeanneret in 1925. The two buildings are joined in today. [...] Open the door, go under a bridge, and the tight space explodes upwards and through punched-out voids that are mysteriously backlit. Go across the triple-height space, look at the Purist paintings, one of which you now seem to be moving through, turn left up a stair, and survey the pure prisms from a balcony....Catch your breath, turn around, and proceed to the culmination, La Roche's curved gallery... [M]ount the brown ramp to the left, to Le Roche's aerie, his top-lit library. The spatial sequence is remarkable and remained a constant preoccupation of Le Corbusier. It also became the stock in trade of subsequent Modern architects.[...] (Charles Jencks)

Zaha HADID - Exhibition Pavillion

Zaha HADID - (2007) - Exhibition Pavillion (Paris, France) This Exhibition Pavillion was born to Traveling, his nature is to be disassembled and reassembled in different places. After travelling in Hong Kong, Tokyo and New York since 2007, this great "white shell" in reflective material, donated by Chanel [http://www.chanel-mobileart.com] at the Institut du Monde Arabe [http://www.imarabe.org/] in the April 28 2011, in his permanent home will be used like a Design Museum to further develop cultural programs of the Centre, through exhibitions and events featuring the work of new contemporary artists from the Arab countries. Until the end of autumn 2011 is hosting an exhibition dedicated to the projects of Zaha Hadid [http://www.zaha-hadid.com/], the first woman architect to win the Pritzker Prize in the 2004. The Mobile Art Pavilion symbolizes a new conception of building. [...] It is an architectural language of fluidity and nature - Zaha Hadid explains - got done with digital tools that have allowed us to build a pavilion with organic forms, instead of merely repeating order that characterizes the industrial architecture of the twentieth century [...].The fluidity of the Mobile Art Pavilion extends from the outer shell to inside detail, where a subdivision creates a spiral that in architecture is called " Torus

Part 3. Architectural Model Making: Gluing and Connecting

Part 2. Architectural Model Making: Scaling & Cutting

Part 1. Architectural Model Making: Tools & Materials

Thom Mayne - Morphosis - Hypo Alpe Adria Bank - by g-flights Multikopter...

Jeanne GANG - AQUA Tower

The Aqua Tower is an 86-story mixed-use residential skyscraper located on the 200 block of North Columbus Drive, and is surrounded by high-rises. Designed by a team led by Jeanne Gang of Studio Gang Architects, the building is the tallest in the world to have a woman as lead architect, at 859 ft (262 m). To capture views of nearby landmarks for Aqua's residents, Gang stretched its balconies outward by as much as 12 feet (3.7 meters). The result is a building composed of irregularly shaped concrete floor slabs which lend the facade an undulating, sculptural quality. Gang cites the striated limestone outcroppings that are a common topographic feature of the Great Lakes region as inspiration for these slabs. The building will contain 55,000 square feet (5,100 square meters) of retail and office space, in addition to 215 hotel rooms (floors 1-18), 476 rental residential units (floors 19-52), and 263 condominium units & Penthouses (floors 53-81). Aqua will also be the first downtown building to combine condos, apartments and a hotel. Strategic Hotels & Resorts had agreed to acquire the first 15 floors of hotel space upon completion of the building, but terminated its $84 million contract for the space in August 2008, citing significant changes in the economic environment. On May 12, 2010, it was announced that Carlson Hotels Worldwide agreed to spend $125 million to open the first Radisson Blu hotel in the United States on 18 vacant floors of the highrise. The name 'Aqua' was assigned to the building by Magellan Development Group LLC. It fits the nautical theme of the other buildings in the Lakeshore East development, and is derived from the wave-like forms of the balconies; the tower's proximity to nearby Lake Michigan also influenced the name. Sustainability was an important factor in Aqua's design. Gang and her team refined the terrace extensions to maximize solar shading, and other sustainable features will include rainwater collection systems and energy-efficient lighting. The green roof on top of the tower base will be the largest in Chicago. The tower will seek LEED certification. The Aqua was named the Emporis Skyscraper Award 2009 skyscraper of the year and was shortlisted in 2010 for the biannual International Highrise Award.

I am an Architect

  " Choose a job you love, 

and you will never have to work a day in your life. "

 

by Confucius.