Novalis noted that “The curve is the triumph of the freedom on the rule”, Giovanni Lindo Ferretti used to sing that “Straightness is for hastiness” and Oscar Niemeyer kept on explaining: “It is not the right angle that attracts me. Nor the straight line, tough, inflexible, created by man. What attracts me is the free, sensual curve. The curve I find in the mountains of my country, in the sinuous course of its rivers, in the waves of the sea, in the clouds of the sky, in the body of the favorite woman. Of curves is made all the universe.”
As part of the master plan designed by HENN, the new Nantong Urban Planning Museum is located prominently along the central river, whose course, together with existing cultural and commercial facilities, establish the primary East-West axis of Nantong.
Client: Urban Planning Department of Nantong, Tongzhou
Architects And Lead Consultants: HENN
Principal: Prof. Dr. Gunter Henn
Design: Leander Adrian, Daniel da Rocha, Martin Henn, Anthony Hu, Alan Kim, Agata Kycia, Paul Langley, Jeewon Paek, Emil Pira, Klaus Ransmayr, Wei Sun, Mu Xingyu
Planning: Georg Pichler, Arjan Pit, Mu Xingyu, Jakob Drömmer
Quantity Surveying: Tshinghua University Architecture Design Institute
Article source: Provencher Roy + Associés Architectes
With construction of the new Claire and Marc Bourgie Pavilion of Quebec and Canadian Art at the Montreal Museum of Fine Arts, the architects at Provencher Roy + Associés Architectes have achieved a remarkable conversion of a heritage church. At a time when conservation of the religious patrimony is a challenge all over the world, this architectural intervention is an exemplary model of the genre. Its excellence has been acknowledged by the 2010 Canadian Architect Awards of Merit, the Grand Prix du design 2011, and the Prix d’excellence 2011 from the Institut de développement urbain du Québec, which, upon presentation of its award, congratulated Provencher Roy + Associés Architectes for “its thorough architectural reflection with regard to this project, its exceptional urban integration, and its design, which brings past and future together.” In 2012, the pavilion received the Award for Architectural Integration of Montreal Architectural Heritage Campains.
Image Courtesy Tom Arban, Alexi Hobbs, Marc Cramer, Jean-Guy Lambert
When we think of Italy many images are called back to our minds; generally speaking it’s about idyllic places, deeply viewed in a historical perspective, city palaces or country farmsteads that are vanishing under the spreading standardization of the “pre-packaged” house imposed by the building market.
Architecture is a means to bring people to the natural environment. The Museum features a large plaza that characterizes the building. The development of this area was vital to connecting the building to the environment.
It arose from the idea to strengthen the relationship between the town and the natural landscape that exists around the museum. The plaza gives a public space to the town, it is a place where people can eat and enjoy the landscape which is particularly striking for the site lies next to a dry river bed known in as the “Bar- ranco del Infierno”.
The split form is at once an ode to the landforms of the genus loci (rock out-crops) and the cultural interweave of local cultures. The building is distinctly two forms, the same yet mirrored & reversed to give a individuality & yet allowing each to speak – open faced to one another in constant dialogue. This dialogue is continued to the landscape by the form of the building, mimicking the shafts of rock and forming of stairs.
“The Cour Visconti will not be covered but will, in fact, remain visible’’: this is the architectural decision declared by the architects Mario Bellini and Rudy Ricciotti in order to achieve a “gentle and non-violent integration” of a decidedly contemporary architectural design within a historical place.
The MuséoParc Alésia illuminates the famous battle of Alésia between Julias Caesar and Vercingetorix, which took place almost 2,000 years ago.
Bernard Tschumi’s gigantic cylindrical MuséoParc Alésia interpretation centre symbolises the encirclement of the Gauls by the Romans during that battle.
Klingmann Architects and Brand Consultants’ competition entry for the new National Museum of Afghanistan envisions the institution as a compact jewel box concealing the treasure that history has entrusted to it piece by piece. For this reason, the box, though dense and hermetic on the outside, must be suggestive and magical on the inside. Seemingly simple and plain on the exterior, the box reveals the deep, rich and complex heritage of the people of Afghanistan on the interior. While the treasures are carefully embedded and protected deep within the box, they are not readily available to the onlooker. They remain a hidden mystery, longing to be discovered. We want to capture this sense of mystery and longing and The space within invites the visitor on a journey of unearthing and discovery. The space within is neither a mere organizing element, nor a beautiful but distant architecture. The exhibition’s experience has the ability to evoke places and people from a tiny yet resilient fragment of ceramic which has managed to survive, and which speaks of the fragility of time.
Clients: Islamic Republic of Afghanistan, Ministry of Information and Culture, The National Museum of Afghanistan, The Embassy of the United States of America – Kabul, Afghanistan, S.E.E |Office for Architecture and Design
Design Team: Anna Klingmann, DongCheol Yang, Sarina Heres, Dominique Dassum, Andrew Brooks, Bing Wu, Zijian Xu
CLOUDHAUS takes the rich history and deep meaning associated with Sukkahs and reimagines their role in today’s history.
The divine shelter of the Clouds of Glory elevated the Jews to a level of pure holiness, or Kedusha, and the Sukkah does the same. During Sukkot we are not merely reminded of the Clouds of Glory and our potential to attain Kedusha, we are temporarily elevated to that very same level.
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