The design is based on a dynamic field strategy which organizes the new city centre’s program along a gradient of circular and elliptical patterns. A fluid field emerges from the underlying matrix in a series of larger tower extrusions towards the site’s perimeter and intermediate scale pavilion-like structures surrounding the cultural plaza adjacent to an existing decommissioned power station.
The Basilica of the Sagrada Família was the inspiration of a Catalan bookseller, Josep Maria Bocabella, founder of Asociación Espiritual de Devotos de San José (Spiritual Association of Devotees of St. Joseph). After a visit to the Vatican in 1872, Bocabella returned from Italy with the intention of building a church inspired by that at Loreto. The crypt of the church, funded by donations, was begun 19 March 1882, on the festival of St. Joseph, to the design of the architect Francisco de Paula del Villar, whose plan was for a Gothic revival church of a standard form. Antoni Gaudí began work on the project in 1883. On 18 March 1883 Villar retired from the project, and Gaudí assumed responsibility for its design, which he changed radically.
Gaudí, Sagrada Família : Image Courtesy Antoni Gaudi
SieMatic, the German gold standard in high-end kitchens, is setting up shop in Quebec with the inauguration of new showroom icts in the Montreal region. “Visitors to our showroom will find out about the brand philosophy,” Explains Jean-Martin Lapointe, Sales Manager, Montreal Siematic, “in terms of quality finishes, technical innovation, ergonomics, and the modularity of parts and accessories on display.”
The prison is located in the Pacific Ocean close to the Canadian coastline. The main program is a sustainable prison which acts as a hydroelectric power station. Constructed of steel reinforced concrete, it’s vertical structure consists of a floating tension-leg platform tethered to the seabed eliminating most vertical movement, with depths up to 2,000m.
The arrangement of objects in a given space or a defined format in order to give meaning to the placement and arrangement of the items, The result of the relationship between the object and the framework of the artistic creation. A private, family residence in an urban environment. From without, the building does not reveal that it is a home. It resembles a mold or an artist’s canvas or an almost two dimensional frame within whose area various openings have been placed and which are enveloped with a dynamic system of wooden, linear strips.
The YUTE’S project is an extension of an existing textile warehouse. The two young clients had bought an old offices building with some storage at its side, and after a few years of use they started to miss storage area, so they though in enlarging it. The original building didn’t have much quality from the architectural point of view, but from the beginning we thought that was better to keep as much as possible of the existing and growing from that, instead of demolishing all and start a new building.
Location: 3 Trabajo Street, Sant Just Desvern, Barcelona, Spain
Photography: Hisao Suzuki
Project: 1999 – 2001
Construction: 2002 – 2005
Built area: 2000 m2
Promoter: YUTE’S Textiles
Structural adviser: Arch. Manuel Arguijo
Supply adviser: Eng. Bernat Alonso
Quantity surveyor: Alberto Rodríguez (Rodríguez-Tozzi)
Collaborators: Silvia Bianchini, Nina Leypoldt, Els van Meerbeek, Cristian Zanoni, Guido Fiszson, Ellen Halupczok, Inecita Florez, Paula Avila, Eugenia Troncoso, Israel Hernando, Jonny Pugh.
The glass stair tower at the new housing project on 10th and Mission is an architectural gesture that is visible to both pedestrians and motorists for several blocks along Mission St. Veil, which hangs behind the glass curtain wall of the tower, elevates this architectural feature to the status of beacon in the City through the use of color.
Two spaces with double height, clashing with each other, allow full connection between the 3 levels of the house. The goal is to promote a situation where its residents relatively know where the others are, so they can seek interaction or individuality.Each place has a single edge which mainly focused illumination. Similar sizes, the variation in time of day and orientation of the opening promotes a type and quantity of light for each specific place.
The Project of “Estoril 153” intends to solve the difference of levels between two streets. This is done with the creation of a services ground floor where two housing volumes settle. The volume A, with 5 levels, ensures the west urban front of the Mello e Sousa street. It´s turned to the sea and that explains the multiplous terraces it has as well as its grey color that is inspired on the foggy days sky common of this coast areas. This color is also the color of the predominant stone – “azulino de cascais”.
This project involved rebuilding a single plot with an existing wooden, one-storey detached house located in a quiet residential neighborhood. As many of the other buildings in the area had also been recently refurbished, we wanted to preserve the scale of the house and the midcentury vintage and slightly anachronistic character of the neighborhood in a new, updated form.
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