In the exhibition area, the “rational and mechanical” modular scaffolding system conducts a dialogue with the life force of the dinosaurs that is “primal and organic”. While the rough scaffolding balances out the dinosaur’s gigantic scope, the gradient of the lighting, which seems to breathe, creates a spatial concept that is contrasting yet harmonious between the cold, blue-light scaffolding and the warm, yellow-light dinosaurs. The exhibition area is like a cloud in the space, fusing with the dinosaur to become one being.
The fortress Franzensfeste was built between 1833 and 1838 and consists of three autonomous parts: the upper, the middle and the lower fortress. First, the lower part and then the upper part has been renovated. In 2014/15 the building body C with the Infopoint BBT has been converted and expanded. This had been severely destroyed in the 1970s by the transfer of the state road.
Design has become and will be more and more the keyword of our world and our next worlds. The word will be the carrier of the thinking processes towards new societies. It is about the phase before production. It is about the thinking before the making. Design products change our world and so do the machines that produce new products. A society led by design is under endless construction and in an expanding smartening universe, there is an emergence of a new world of digitized making.
Design MVRDV: Winy Maas, Jacob van Rijs and Nathalie de Vries
Design Team: Winy Maas, Wenchian Shi, Marta Pozo, with Bart Milon, Gustavo van Staveren, Cai Zheli, Matiss Groskaufmanis, Guang Ruey Tan, Sen Yang, Jan Szymankiewicz, Jose Sanmartin and Wenzhao Jia
Sala Beckett is a cultural space designed by Flores & Prats in Barcelona. Architects Ricardo Flores and Eva Prats restored the old building of the Pau i Justicia cooperative, adapting it for new theatrical uses. The space is characterized by extraordinary vivacity and a surprising relationship with history which tends to redefine the theme of architectural restoration.
The architectonic project for the Klabin Research, Development and Innovation Center, installed near to the main entrance of Vila Harmonia, Telêmaco Borba, PR, has as guide line, the integration of the architecural ensemble to the surrounding landscape, a quite and pleasant space, especially chosen by the Managers Fabio Schvartsman and Francisco Cesar Razzolini. The area is right in the middle of the generous woods that define the compact green belt around the Unity Klabin Monte Alegre, defined and opened in the forties (1940), for the production of quality paper in total respect to the evironment.
In the heart of a fully renovated pavilion at the Anchorage Museum at Rasmuson Center—Alaska’s largest museum—the new Alaska exhibition has just been unveiled. This exhibit was realized by Quebec company GSM Project, who were given the task of creating a new permanent exhibition to replace one that was conceived in the 1980s and that presented an outdated vision of Alaska. GSM Project was involved in all phases of development of the new gallery, from conception to production, and took an innovative contemporary approach, putting content centre-stage while using design as a medium through which to tell the story of Alaska as an immersive and interactive visitor experience. At a time when attention is turning North, particularly in relation to climate issues, the goal was to showcase Northernness and Alaskan identity in the face of environmental challenges and preconceived ideas of Indigenous culture.
In the garden of a Dutch artist, [delacourt] [brook] designed a wooden object with a special roof shape. Under this roof, two completely different functions are housed: a public accessible studio with exhibition space and a poolhouse with sanitary and a covered terrace for the residents.
El “B” is this long construction, a body, that feeds on the heritage -the continuity- of a site’s treatment: THE Cartagena harbour, which is nothing but a harbour in Cartagena, borderline of the city from the sea.
A very pleasant walk can be designed for the city along this strip, a daily procession following the immutable edge. In fact, this promenade is what we encourage; it is what we insert in the building, in a dimensional continuum that seems to dig out an artificial beach, but is actually a continuity of history, because the old El Batel beach was right here, on this very spot. The harbour is artificial, not the beach. This reclaimed beach-ramp gradually submerges us below the waterline, with the pier’s horizontal line as a constant reference. At this point we cease to belong to the outside world and start to belong to ourselves, ourselves in movement, ourselves strolling, working on the 210 metre scale reserved site for ourselves.
Head Architects: José Selgas (Madrid 1965), Lucía Cano (Madrid 1965)
Assistant Architects: Lara Resco, Carlos Chacón, José de Villar, José Jaráiz, Lorena del Río, Blas Antón, Miguel San Millán, Julián Fernández, Beatriz Quintana, Jaehoon Yook, Jeongwoo Choi, Laura Culiáñez, Bárbara Bardín
Surveyors: Antonio Marmol, Joaquín Cárceles, Raúl Jiménez
Article source: Architectural Design & Research Institute of South China University of Technology
Back Ground Information:
The place where the ruins Unit 731 of the Japanese Imperial Army used to station is particular not just for its role as a historical site. Its particularity is already defined by the broken walls, silent and solemn gravel ground, rails extending to infinity, and the desolate lofty elms surrounding it, before the architect has time to assess the harmony of such combination.
Team Members: Ni Yang, He Chili, He Xiaoxin, Liu Tao, Luo Menghao, Luo Wanjun, Lu Zhiwei, Su Hao, Yan Zhong, Wu Zhaohui, Wang Mingjie, Zhu Yuanzheng, Chen Mengjun
Tags: China, Harbin Comments Off on The Exhibition Hall of Crime Evidences in Harbin, China by Architectural Design & Research Institute of South China University of Technology
Hutchinson opened its 507 Fab House a year ago. This research and innovation center is located at the group’s historic factory in Chalette-sur-Loing, two hours south of Paris. The architecture office of Encore Heureux undertook a complete renovation of this building, whose metal framework was designed and built by Gustave Eiffel in 1869.
The 507 Fab House is a High-tech and digital place but Hutchinson wanted it to be simple, convivial, warm, modular and different. The building’s exterior is intentionally understated to blend into the industrial environment.
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