Article source: Neri&Hu Design and Research Office
When enlightened developer Aranya asked Neri&Hu to design an art center inside their seaside resort community, Neri&Hu seized the opportunity to question the notions of space for art versus communal space. Despite the straightforward brief of an art center, Aranya, as a community has a strong emphasis on the spiritual nature of their lifestyle ideology, an oneness with the environment. So the design scheme is as much about the internal courtyard, a communal space for the residents, as it is about the exhibition being displayed in the center.
The Alembic factory is located in the middle of the city and along the main railway line of the city of Baroda. In its 112th year of existence, the first ever Alembic industrial building in Vadodara has seen multiple surgical interventions. Similar to many old factory buildings, the building got altered over time due to change in the original purpose of the facility. Starting from manufacturing penicillin to alcohol.
Many institutes of learning now seek to educate through self-discovery, enabling students to consider what makes them who they are, so they may begin to take responsibility for their own development.
The design for Wellington College’s new Cultural Quarter, consists of a new 900 seated, 1,200 in total capacity Performing Arts Centre and a 'cultural living room’, a space where students are inspired, and their education can flourish, both through formal and spontaneous performances.
The main auditorium’s circular shape is inspired by historic Greek amphitheatres, creating a building with no edges and angles: a form perpetually recessing into its landscape setting. The site is on the edge of Bracknell forest, and adjacent to some important listed building. The circular shape also helped to integrate the building within this context, acting as a hinge connecting the modern and historic campuses.
Project Team: Christina Seilern, Henriette Helstrup, Benedikt Sequeira, Ingrida Revuckaite, Tom King Architectural, Alberto Favaro, Oliver Gillespie Sims
ARTCOR – Creative Industries Center is located in the historical center of Chisinau in the courtyard of the Art Academy (AMTAP). ARTCOR was possible only with the support of the Moldova Competitiveness Project, funded by USAID, Sweden and UK aid.The center is set to become a place for developing the environment of creative industries of Moldova.
The spatial solution of the building was determined by the configuration of the plot position, the presence of an architectural monument, dated by the late 19th century and neighbor buildings.
Artists: Vasile Sitari, Elena Frunze, Nadya Izosimova, Ana Costov, Vasiluța Vasilache, Alyona Ciobanu, Veronica Belous, Artiom Vizitiu, Maria Huțanu, Andreea Cioară, Mihai Stamati
The Linda Pace Foundation announced today the new naming of its contemporary art center, Ruby City, as well as the rollout of a new graphic identity and website. The new identity, keyed to Linda Pace’s vision and Sir David Adjaye’s design, emphasizes the San Antonio experience, while the website will function as a resource for Ruby City’s development and programming as well as Linda Pace Foundation’s collection. Previously associated solely with the Sir David Adjaye-designed building, Ruby City will now denote the overall institution, comprising of Chris Park and the auxiliary exhibition space, Studio, formerly known as CHRISpark and SPACE. The Linda Pace Foundation will continue to operate as the owner and steward of Pace’s collection.
The new Jordan Schnitzer Museum of Art at Washington State University brings art to the forefront of university life – and the entire Inland Northwest region. As the only dedicated fine art museum in a 230-mile radius, Design Principal Jim Olson sought to create a building with bold visual appeal that would engage and inspire. The resulting reflective façade, crafted to match WSU’s signature crimson red, establishes the museum as a beacon for the arts in the heart of the Pullman, Washington campus.
Located in Jiading District of Shanghai along Jinghu Highway, the project is a renovation and regeneration of a series of decommissioned industrial factories and annexes from the 1990's. The design adopts the idea of “unglazed fragments of porcelain” to generate the formal language of the façade intervention as well as the interior spaces. Preserving the structure and the relationship with the site, the design brings a creative atmosphere and new types of programs by adding steel structures within the original industrial spaces. The large volume of enclosed and deep factory spaces is opened up by a newly inserted landscape corridor with a glass canopy to connect the front and back sides of the site, maximizing the usage of interior spaces for people and businesses.
Client: Shanghai Shenyao Art and Culture Development Co., Ltd., Shanghai Xinao Industrial Co., Ltd.
Design Team: Wang Jue, Chen Zhuoran, Chen Han, Zhu Chenghao, Hu Qiming, Wen Tianqi, Sylvia Zhou, Xuan Jiali, Ma Teng, Wang Jun, Zhou Zhe, Yang Yimeng, Lin Can, He Yuqing
The new Opera House is an important part of a new urban c for Shanghai that aims to place the city at the forefront of the globe, economically, scientifically, and culturally. The Opera House is expected to become one of the major cultural landmarks of Shanghai – the country’s 13th Five-Year Plan names it as the most important initiative to strengthen Shanghai’s cultural and global influence.
“The Shanghai Grand Opera House is a natural progression of our previous work with designing performing arts centers,” says Snøhetta Founder Kjetil Trædal Thorsen. “It is a culmination of the competence and insight gained through projects such as the Norwegian National Opera and Ballet, the Busan Opera House in South Korea, the Isabel Bader Centre for the Performing Arts in Canada, and the Théâtre Nanterre-Amandiers renovation in Paris. The Shanghai Grand Opera House is a product of our contextual understanding and values, designed to promote public ownership of the building for the people of Shanghai and beyond”.
Jinan is known as the “Spring City” for its many springs since ancient times, with a landscape of lakes and water being a nutrient of life for the city and also a source of cultural enrichment. The copywriting takes springs as a starting point to conceive the spatial pattern and hopes to interpret the fluent posture that the flowing water emerges from the stone crevices, sparkling. Meanwhile, with abundant urban landscape culture as the venation, the design of aqueous phase starts from the concept of museums, with the hope that the space created can not only display objects but also bring viewers a pure enjoyment of architectural strength and aesthetic feeling. The unusual special scale and viewing method make the intuitive experience mix with the exhibits to be interwoven into a unique cultural memory and offer more in-depth field implications.
“In the gray space, a red gyro rotates at a high speed around the center fulcrum. The gravitational force at the edge continues to be generated and resists the center support. A gaze in the endless rotation causes people to fall into the abyss of dreams, mysterious, dark and overlapping…”, everyone has a dream, which is an illusory yet real experience. Dreams provide more space for people to think about infinity, transcending the boundaries of real space, chasing, exploring and conquering in dreams while looking backward at the self and superego in personality. Perhaps it is also an encouragement for people to contemplate in real life. And that’s why we call it Dreams-Chasing.
email
Facebook
Twitter
RSS Feed
