The backbone of the architectural strategy for the extension project of the Fine Arts Museum in Badajoz is meant to regain an Identity: a new built environment (Architecture) that interacts with the urban context (City) through its cultural content (Museum).
We project a complex whose starting point is the expansion of the existing museum, located in a listed building in the center of Badajoz. The complex includes two new buildings that are connected through a courtyard and are opened to two different streets of the city. Due to the difficult circumstances that come together in this place (archaeological remains, party walls and the rehabilitation of the listed building) a powerful and coherent architectural response is required.
As a new home for the spectacular natural history collections of Tel Aviv University, the building combines exhibition spaces and research activities. The collections, which were never before on display, were placed in a large wooden chest – a treasure box of valuable specimens of flora and fauna. The building enfolds the box and offers it to the public as an enigmatic object, invited to be explored. The box itself, which aspires to be of timeless qualities, concurrently ancient and futuristic, is covered with industrial wooden panels that highly insulate the collections and keep them under strict climate control.
Kirkland Museum of Fine & Decorative Art is a two-story museum in the heart of Denver’s arts and cultural district, the Golden Triangle. Located across the street from the Denver Art Museum and the Clyfford Still Museum, the new 38,000-square-foot museum has a bold presence. At the same time, it stays true to the intimate atmosphere for which Kirkland Museum is known, offering visitors an enhanced salon-like experience. Designed by architect Jim Olson, the new building highlights both the artistry and craft of Kirkland Museum’s internationally renowned decorative art collection and its singular collection of art by Colorado artists.
Shougang Group is the flag bearer of Beijing national industry, however, with the process of urbanization, the city’s overall planning and industrial structure is facing adjustments, and the industrial layout has also changed. It has become a historical necessity for non-capital core functions and excess capacity enterprises to migrate. With such a historical mission, Shougang has made an overall relocation, and the old factory area has also acquired the opportunity for historical transformation. How to awaken the vitality of the city and reshape the spirit of places has become a core social issue that design faces.
Architects:CCTN Design (Bo Hongtao, Zhao Jiakang, Zhang Yang, Gao Wei, Zhang Zhicong, Zhu Xueyun, Kang Qi, Li Kehui, Tan Xirui, Pang Tailong, Zhou Mingxu, Zhao Mengmeng, Ni Ziyu)
Project: Transformed Void-The Museum of Regeneration of Shougang No. 3 Blast Furnace
Location: North Part of Shougang Plant at Shijing Mountain, Beijing, China
Photography: Chen He
Project Owner: Beijing Shougang Construction Investment Co., Ltd.
Design & Management Team of the Owner: Wang Shizhong, Liu Hua, Jin Hongli, Xu Yan, Chai Dewen, Dong Quanxi
Mechanical and electrical structure (Shougang International Engineering Co.,Ltd. + CCTN Design ): –Shougang International Engineering Co., Ltd. : Li Yang, Hou Junda, Yuan Wenbing, Chen Gang, Ning Zhigang, Yin Yonggang, Ji Yongping, Zhang Xiuzhen, Chen Xilei, Li Hongfei, Yu Lifeng –CCTN Design: Zhou Le, Guo Facheng, Wang Chao, Sun Yue, Wang Xiangrong, Wang Meng, Zheng Hao, Li Yungen, Zhang Lixin, Hu Yangshuo, Cai Xiaohan, Yu Mingsong, Su Wenjing, He Zhiyong, Du Xing
Design Unit: CCTN Design, Shougang CCTN, Shougang International Engineering Co.,Ltd.
Plan (CCTN Design): Bo Hongtao, Liu Pengfei, Zhang Yang, Gao Wei, Fan Dandan, Kang Qi, Zhou Mingxu
Project Scale: 49,800 m2, where the aboveground part is 11,100 m2, and the underground part is 38,700 m2
Creation Time: 2016.10-2017.4
Completion Time: plan to be completed in early 2019 (to celebrate the 100th anniversary of Shougang)
The former Tonofenfabrik (Clay Oven Factory) is situated in the historic centre of Lahr in Germany, close to the remains of the medieval castle ‘Storchenturm’ and the medieval town wall. In danger of complete deterioration, the listed building has been reinvented as a City Museum utilizing this strategic urban location to create a destination for tourists and residents alike involving them with the history and heritage of Lahr in a way the old museum in the city’s park was never able to. The old industrial brick building was not only transformed into a modern museum, but the somewhat incomplete ‘L’ shaped volume has been completed by a new stair tower forming a coherent ensemble of old and new.
Beylikduzu Municipality Cumhuriyet Street Urban Design Project, designed by PDG Architects, is turning a public space into an open air museum and has aimed to obtain products that are important to humanity and which are not unscaled. Around the idea “Touching the green”, the project has been aimed to create the balance between the green pattern and the settlement. The Kiosk Structure, which has constructed at the first stage of the urban design project, has been awarded with Architect Turgut Cansever National Architecture Awards.
The main theme of the reforming story to a town from a rural of Beylikdüzü is created by two opposite concepts which are supporting each other: Green Pattern and Settlement.
The building envelope is created by methods of twisting, connecting and layering the city grid axis and the adjacent RRS Discovery ship axis, using a ring structure made of reconstituted stone and concrete to compliment the traditional construction materials used in Dundee and reflect the natural cliff structure of the coastline.
The building’s form creates dramatic spaces with an impressive main hall forming a public indoor plaza, and areas that overhang the external public plaza. The external envelope draws people to the waterfront and generates a new migration route along the riverside promenade. The interior space of the main hall is filled with a gentle light emanating from apertures cut through the layered stone to create an open yet intimate public space.
The project sets the restoration of the Sant Julià’s Castle enclosure – 19th century fortress- and the recovery of its surroundings, through the creation of a facility to host a Contemporary Arts Centre, accompanied of complementary services: workshops for artists, auditorium, hotel and restaurants. The fortress is formed by a set of units, built with vaults and walls made of stone with considerable thickness, the majority of them half-buried and communicated through tunnels that run across the mountain.
Tags: Sant Julià de Ramis, Spain Comments Off on International Contemporary Arts Centre and Hotel at the Sant Julià de Ramis Fortres, Spain by FUSES VIADER ARQUITECTES
James Carpenter Design Associates, as part of the Michael Van Valkenburgh Associates (MVVA) team that won the 2010 City+Arch+River international design competition, is seeing its substantial plan for the Museum at the Gateway Arch come to life. Cooper Robertson and James Carpenter Design Associates (JCDA) with Trivers Associates have designed the significant expansion and renovation to the Eero Saarinen-designed Museum of Westward Expansion, located directly below the iconic Gateway Arch. The Museum developments are one part of MVVA’s comprehensive renewal of the National Park’s Dan Kiley-designed 91-acre landscape with dramatically improved connections to downtown St. Louis.
An Art Container – Instead of creating certain atmosphere forexhibition, in this case, we emphasize the connection between the subject and object.
The original architecture is Victorian style with Western-style gardens, as an overly makeup woman, is outdated. The owner intended to transform its function into an art space for the public using. Our first step is to remove all the decorations from her, to show her purely look.
Disharmony is what has happened in this project: an imitated aspect from a mighty culture without its core. For instance, the Victorian building without its cultural base, the only thing it has is symbol which needs to be reconsider and to be released. In short, what we aim to approach in this project is to make disharmony from disharmony. As a result, the building would be back to the original context, a spatial container.
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