Architecture and people are closely intertwined and through the creation of a space, the connection between the individuals within a space is encouraged. This was the starting point for the installation designed by noa*. The concept proposes a kind of light and sound landscape, which welcomes visitors as they enter the exhibition.
On either side of the doorway, a crown of structural light-beams open up, each one at different heights, visually amplifying the sequence of the 17th-century portico that serves as the setting for the installation.
Article source: Bien Urbain – atelier d’architecture
Situated in the very centre of the Musée des Arts Décoratifs in Paris, the exhibition rooms devoted primarily to fashion are in the Rohan Wing of the Louvre running along the Jardin des Tuileries and the Rue de Rivoli.
This wing was renovated in the 90’s, with an additional floor being added and with all of its windows blocked, such that its architectural structure was not immediately visible.
The grid has a particular power that extends way beyond its graphical presence. In art, it appeared as an optical device for visual explorations on perspective, particularly intense in the times of Paolo Uccello. In cartography, Cartesian coordinates have occupied extensively the world of maps as a reference system since the 17th century.
The particularity of the grid, as Rosalind Krauss has expressed in her 1980 article “Grids” published in the magazine October, is its capacity to mask and reveal, setting a seemingly ordered play of appearance and disappearance. What it reveals is what might appear over the grid once it is laid out. What it masks or occults is a pre-existing condition that its own laying out has covered, as an erasing action over a prevailing context.
This former bank suffered a robbery in which hostages were taken, leading to the term Stockholm syndrome. After the bank closed, several interventions added a series of layers over the years, masking the original neoclassic architecture.
The project cleans up the space, leaving only the essential features. Although the floors were made of real marble, many elements were faux marble, and the project plays with this duality. All the skin surfaces are monochrome within the shades of the original Ekeberg marble.
The interior scenario is based on the idea of continuity from the past to the future. Built in mid-19th century the building organically combines its historical architectural legacy and cutting-edge functionality of the futuristic technical centre. Zifergauz is designed to embrace digital reality and advanced ideas. It stands at the site where under Peter the Great history took a new turn and the great Russian fleet saw its early days. The building was designed to vertically store the timber delivered for the needs of the Admiralty shipyards.
The project is located at the former site of an aluminum factory in Huli District, Xiamen City. The building was originally a public bath of the factory. In 2019, the building was also partially renovated after the aluminum factory was transformed into a creative office park with multiple business forms, such as bars, basketball arena, and live-streaming space. This time we were commissioned by the Buddha artist Jiang Sheng to renovate the building into a new studio and exhibition space called “The Field”.
The word “Elysium” originates from Buddhism, meaning the Western Pure Land of Ultimate Bliss or Sukhavati, but “THE FIELD” is not intended to be an isolated pure land. The owner hopes to abandon the concept of “isolated and unreachable” and create an attractive spiritual place.
Understory at The Spheres is a multifunctional exhibit and visitor center designed to tell the story of The Spheres, Amazon’s iconic and unique insertion into the heart of Seattle. The exhibit unravels the complexity of the architecture and engineering and the very idea behind bringing people closer to nature on a daily basis in the heart of the city. The 3,883-square-foot exhibit is situated at the base of one of The Spheres, providing a fly-through of the orbicular buildings above and something the visitor won’t get in The Spheres themselves, extreme close-up, and intimate footage of the plants in an interpretive and immersive experience.
Based in Foshan within the Pearl River Delta known as a manufacturing hub, HUIYA CERAMICS is a leading building material supplier which has witnessed the development of China’s ceramic tile industry. In face of drastic changes of the market and industry transformation, what should traditional manufacturing brands do? Under such circumstance, HUIYA CERAMICS entrusted Foshan Topway Design to conceive its headquarters and exhibition hall via transforming an old building.
Dongxiang Culture Center is built in Maxiang village, Dongxiang autonomous county, Gansu province, China. On three sides (except for the south side) is the village surrounded by Tao River , a tributary of Yellow River. It is located on the Loess Plateau with an altitude of about 1,700 meters. The village is not only the settlement of Dongxiang people who are Muslims but also a village of the Han people. Due to its close proximity to the Tibetan area, there are also many Tibetan Buddhism temples in the region. Being a small village but full of rich and diverse history and culture, Maxiang is a extremely rare place in countryside with Muslim mosques, a Taoist temple and a Tibetan Buddhism temple. Therefore, how to involve the newly-built culture center in this multi-cultural complexity of space and time is the focus for the architect.
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