After a search for the best possible result to ensure the equal view of the courts from different directions, the project has been generated by a geometric combination of badminton courts. Around ten badminton courts a circulation belt of 3m was formed, this is how spectators or athletes can freely move all around. This circular space was surrounded by a large triangle which forms three triangular areas around the circle. Thanks to this organization of space three spectator stands were generated all of which has different view directions to the courts. In order to assure the proper angle for the triangular stands to view the courts, they were elevated upwards and were connected with triangular trusses so each triangular space carries each other’s load. Thus a dynamic interior setting was formed.
The Harvard Art Museums’ Straus Center for Conservation and Technical Studies is the premier training ground for fine arts conservation and research. It plays a leading role both in the preservation of art and in the advancement of conservation science. The Straus Center supports the Harvard Art Museums by providing analysis of and treatments to the approximately 250,000 objects in all media in the museums’ collections, dating from ancient times to the present.
The P house is a puzzle game. Rotating three volumes around one nucleus generated not only a particular spatial dynamic, but also different visual relations between empty and full, between the private and semiprivate areas and the view of the city.
Underground line M4 in Budapest, Hungary has been the largest infrastructure project of the city for the last decades. Kálvin tér is one of the largest stations on the new line, due to its position as an interchange station with line M3 under a busy inner city square. The complex functional requirements of the station have resulted in a rather complex spatial arrangement. Since the initial decision was to use cut-and-cover construction technologies to create station structures, the basic architectural idea was to use the advantages of this system, and create large open spaces over the platforms. In our case, the main spatial attractions are the structural elements with their characteristic curved forms. Approaching passengers can feel the drama of movement in space as the escalators are placed freely in the void of the huge open concrete box. Arriving by the elevators through the strata of space holds a similar surprise. The roughness of the surfaces of the large structural elements and the perimeter walls is balanced by the fine finishes of elements closer to the passengers. The interconnection tunnel between the two underground lines has a vivid colour scheme which creates a link between two epochs of urban infrastructure.
The owners, who have been living in Barcelona for quite some time, were looking for a home where they could start a new professional and family adventure. They contacted us with two different apartments, from which it was very hard to choose from, but had a very clear idea of their needs.
The beginning was a contention about what germanity housing should be. I should consider germanity factors, not to say considerate about pressure and sophistry from someone in district office.
The new landscape in front of The National Gallery of Denmark is designed as a melting pot – where art can mix with urban life. The urban space is created by Danish POLYFORM Architects and Dutch landscape architects Karres en Brands and has received a warm welcome from the Copenhageners. At the opening event the museum set a new visitor record as almost 8.000 people celebrated the city’s new artsy urban space.
Project: The museum garden at the National Gallery of Art
Location: Copenhagen, Denmark
Photography: Wichmann+Bendtsen, Helle Kristiansen
Software used: Autocad and for renderings Photoshop, Rhino and Illustrator.
Client: The National Gallery of Denmark/ City of Copenhagen/ Annie og Otto Johs. Detlefs Foundation
Area: 10.000 square meters
Budget: 2,7 million euros
Team: Thomas Kock, Jonas Sangberg, Sylvia Karres, Bart Brands, Signe Hertzum, Nikolaj Frølund Thomsen, Henrik Thomas Faurskov, Sofie Mandrup, Sofia Bergman, Tomas Degenaar, Elke Krausmann, Sander Vedder, Marianne Weeke Borup og Julie Thorsø Hansen
The particularity of this project is the very small (116sqm), plot and the desire of two friends to build together their urban apartments, each of them with its own appendix functioning as a professional space – a wine bar and a recording studio respectively. These special additions, along with the reduced imprint of the house, dictated a vertical spatial layout: the wine bar and duplex belonging to one of the clients were placed on the underground, ground floor and first floor, thus also enjoying the presence of a small courtyard, whereas the recording studio and the other duplex were placed on the terraced attic, the second and the third floors. The result was a five-level building with four functional units. The height – unusual for a house – as well as the owners’ lifestyle and requests led to the design of four different access ways and a semi-open exterior staircase, integrated in the building’s envelope. The wine bar, located on the underground level and open to the public, communicates directly with the street through a buffer space on the ground floor.
Our shelter was designed to be interactive with its visitors in a playful way, with a front facade shingled with bum sliders and a backside that consists of a big pile of snow.
Article source: Giuseppe Gurrieri & Valentina Giampiccolo
The closely-knit urban fabric of the upper section of the oldest part of Ragusa has a clear 19th-century feel, with longitudinal streets running parallel at different levels, following the natural slope of the land and tied together by a criss-cross of steps.
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