At the beginning, the idea was to create a space for exhibiting contemporary art in Znojmo and thus make it accessible to the general public. At the same time we designed a space that will serve as a base for the local association, space for community workshops, chamber theater or lectures. There is also a small café that ensures the economical sustainability of the project. These different functions blend together and influence each other, the borders are marked only by the shade of the material – dark part for the cafe, light for the gallery. While the café space is heavily filled with a shelf system for displaying quality Czech design, the gallery space is empty and versatile.
The West Bund Museum is a new art gallery on the Shanghai Corniche, an 8.5 kilometre frontage on the northern bank of the Huangpu River. The promenade connects the Xuhui district to the historic Bund and forms a key part of the West Bund Masterplan, which envisages a new cultural district over nine square kilometres of former industrial land.
The museum occupies a triangular plot at the northernmost tip of a new public park, at the point where Longteng Avenue and the river converge. A raised public esplanade above the flood plain surrounds the building, offering views to the river. The edge of the esplanade on the east side is delineated by a continuous series of steps with landing stages leading to the riverbank. The site offered the opportunity to create a completely freestanding structure and its location allowed for improved access to both the river and the park.
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.
This facility is programmed for ultimate flexibility, and has already housed multiple faculty lectures, theatrical performances, talks by politicians, and many other activities. An art gallery welcomes visitors just off the entrance, and adjacent to offices. A flexible classroom allows for computer training, interactive classrooms, and video gaming events to happen. The theater can house full production, and allow news agencies to tie into their broadcast systems for live streaming of events, and HarvardX recordings and transmission. An Art Studio, a Science Lab, and six mentoring rooms provide opportunities for young Boston students to be part of the growing STEAM programs set up by Harvard students focused on education. In all, the place is a mecca for learning, studying, and culture.
STANCE, an American sports fashion brand, is featured for its brand declaration of The Uncommon Thread, aiming to make socks, the most common items in people’s daily life, excelsior. STANCE’s Punk & Poets culture attracts a large number of sports stars and leaders in the fashion industry, and its major partners include NBA, MLB (American Major League Baseball), NCAA (National Collegiate Athletic Association) and Disney.
Zhi Art Museum is situated in Building 2 of Quanzhi Technology Innovation Park, Baoan District, Shenzhen. Interlinking different public spaces within the park, Zhi Art Museum connects people in the aspects of work and life and contributes to a working place with a cultural community. In addition to the function of exhibition hall, it also has a multi-function hall and workshops. By means of exhibitions, trainings, lectures and forums, it brings tight connection between art culture and people’s life, acting as a communication platform for multi-arts and multi-cultures.
When I visited the triangular site in Cheongpyeong Lake, I felt as if I was floating on the lake. It was like standing on a prow. The whole site was composed of gneiss, giving it an image of hard and solid earth. Inspired by the land, we started the master plan for a unique leisure experience. The site is about 2,500 pyeong (approx 8,264.5m2), largely divided into exterior space, art gallery, restaurant, welcome center, and glamping area. Access circulation is divided into public areas, open to everyone; the art gallery, which is semi-public; and glamping zones, used as private accommodation for guests. Boulders, which consist of rocks that settled down there, were reinterpreted as a platform that overlooks the lake, i.e. an open square. The spaces required were realized as places embedded in the rock. It is designed so that the architecture is not exposed, but made in the earth, where the roof of the space is the platform, or the square. Stairs, floors and ramps were made using rocks from the site, so that actions such as walking barefoot and lying on the ground would take place in the outdoor space.
In recent years the city of Haifa is undergoing a process of accelerated urban renewal. Opposite forces operate in an area that has been neglected and desolate for years, and seeking to instill in it seemingly contradictory values: Western influences vis-à-vis Oriental ones, local vis-à-vis foreign, Jewish vis-à-vis Arab, residential vis-à-vis commercial, innovation vis-à-vis traditionalism, and daily life vis-à-vis nightlife.
In the heart of this developing region, the Fattoush Bar & Gallery – a huge 650 square meter space dedicated entirely to culinary arts, arts and crafts – has recently been opened and is wisely using recycled design, furniture and décor that have been carefully collected from flea markets around the world. Thus the project puts itself at the forefront of the re-use trend, which now sets the tone for international architecture.
“When we started working on the project, we quickly realized that the real story here is the struggle itself, and the constant tension between the new and old elements that seek to determine the face of Haifa,” says Kfir Galatia-Azulay, an artist, architect and multidisciplinary designer and owner of the Tel Aviv office K.O.T Architects, who led the process along with entrepreneur Wadie Shahbarat.
After the original Fiterman Hall was irreparably damaged on 9/11 by collapse of the neighboring World Trade Center, the construction of its replacement became an important neighborhood goal, symbolic of Lower Manhattan’s resurgence.
Out of the many design challenges faced, including the environmental remediation and deconstruction of the existing structure, the greatest challenge was to accommodate a vertical campus on a relatively small site. Housing 15 levels of program space, the new building is home to four major academic programs and contains a significant portion of BMCC’s general education teaching spaces.
The design of the new MODERNISM Gallery seeks to honor both the history of the existing structure and the origins of MODERNISM itself. The new façade of the gallery was inspired by the lithographs of El Lissitsky, one of the first artists to be shown in the revered thirty year history of the Gallery. A series of steel frames, planes, and lines are sculpted to create a large street front viewing portal and the primary entry into the gallery.
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