Shenzhen Mocape is located north of the Shenzhen Civic Centre; it is also the last major public cultural project in Shenzhen.
The building is an integration of the Shenzhen Museum of Contemporary Arts and the Urban Planning Exhibition Halls. Surface materials of glass, perforated plate, and stone extend and twist along the steel structure, creating a complicated architecture full of vitality. However, the unique façade form also created great difficulties in lighting design. Lighting design conquered multiple challenges and successfully inte-grated within the building, neatly and sharply presented a clear and translucent city “rock”.
Project: Museum of Contemporary Art & Planning Exhibition (MOCAPE)
Location: Shenzhen, China
Photography: He Shu
Client: Shenzhen Municipal Culture Bureau, Shenzhen, China and Shenzhen Municipal Planning Bureau, Shenzhen, China Construction Agency: China Overseas Commercial Properties Co., Ltd
Planning: COOP HIMMELB(L)AU – Wolf D. Prix & Partner ZT GmbH
The extension of the Villa Planta, which will accommodate the Bündner Kunstmuseum, is an exercise of integration within an urban ensemble. Despite the stringent limitations of the plot, the design strives to minimize its exterior volume by inverting the program’s logical order. Hence, a new public space is generated that incorporates the garden that surrounds the Villa and is integrated with the gardens of the nearby buildings.
Gottesman-Szmelcman Architecture, the award-winning architectural firm based in Israel and France founded by architects Asaf Gottesman and Ami Szmelcman, will celebrate the 10th anniversary of the Gottesman Etching Center, a state-of-the-art venue for artists from Israel and around the world focused on the art, technique and production of etching works and home to the largest etching press in Israel with a maximal format capability of 130×230 cm, located in Kibbutz Cabri in the Western Galilee, Israel with a special event and lectures on Saturday, November 12, 2016.
Making a landscape from a building was the ruling concept that guided this project search on the demand presented by the licitation for the building of a “Córdoba Province Interpretation Centre” to commemorate the Argentine Republic Bicentennial. The main challenge was to incorporate The Province Historical File and an the Auditorium without modifying the project essence.
The building assignment, calling for a new element between “icons of 20th century architectural history,“ Mies Van Der Rohe’s Neuer National Gallery and Hans Scharoun’s Berlin Philharmonics among other listed buildings of high cultural and architectural significance, requires both a sensitive and strong architectural as well as urban intervention. To us, composition, clarity and austerity all coalesce to form an appropriate response, situated at the nexus of the urban fabric at Berlin’s Cultural Forum.
Twenty two years after completing the first expansion to the Lillehammer Art Museum, Snøhetta is honored to expand the project yet again, creating a holistic expression for both the art museum and the adjacent cinema. Integration of art plays a central role in all aspects of the project, from the landscape to the program to the buildings themselves.
The extraordinary urban development with the large free square in front of the Old Pinakothek made it possible to close this square with a generous, quiet building in the south, which takes up approximately the proportion of the Old Pinakothek, vis-à-vis in the north, where the new building lies. In accordance with the lateral emphasis of the Old Pinakothek with its space-limiting risalits and avenue, is the entrance to the University of Film and Television located in the east of the new building and in the west the entrance to the State Museum of Egyptian Art, which is buried like an archaeological excavation underneath the green forecourt.
Tags: Germany, Munich Comments Off on The State Museum of Egyptian Art and The University of Film and Television in Munich, Germany by Peter Böhm Architekten
The site is surrounded by the unique hills of Chianti, covered with vineyards, half-way between Florence and Siena. A cultured and illuminated customer has made it possible to pursue, through architecture, the enhancement of the landscape and the surroundings as expression of the cultural and social valence of the place where wine is produced. The functional aspects have therefore become an essential part of a design itinerary which centres on the geomorphological experimentation of a building understood as the most authentic expression of a desired symbiosis and merger between anthropic culture, the work of man, his work environment and the natural environment. The physical and intellectual construction of the winery pivots on the profound and deep-rooted ties with the land, a relationship which is so intense and suffered (also in terms of economic investment) as to make the architectural image conceal itself and blend into it. The purpose of the project has therefore been to merge the building and the rural landscape; the industrial complex appears to be a part of the latter thanks to the roof, which has been turned into a plot of farmland cultivated with vines, interrupted, along the contour lines, by two horizontal cuts which let light into the interior and provide those inside the building with a view of the landscape through the imaginary construction of a diorama. The façade, to use an expression typical of buildings, therefore extends horizontally along the natural slope, paced by the rows of vines which, along with the earth, form its “roof cover”. The openings or cuts discreetly reveal the underground interior: the office areas, organized like a belvedere above the barricade, and the areas where the wine is produced are arranged along the lower, and the bottling and storage areas along the upper.
The following renovation project aimed to transform a botanical garden into a museum of craft works. Deliverables included a multi-purpose space with a kitchen, a dining space, and a stage for special exhibitions and performances, such as concerts and plays.
Alessandro Manzoni lived in numerous houses, but the only one that can be considered really his is the mansion in Via Morone in Milan, where the writer lived from 1814 up till his death. The building, which had been badly altered in the course of time, has now been restored in such a way as to re-establish the warm and domestic atmosphere in which Manzoni’s literary output was produced.
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