The pavilion’s dramatic planar form articulates an assured, yet subtle compression of space, framing views of the lake and the local topography. The building’s tectonic rigour is palpable, its seemingly gravity defying configuration enabling the floor plate and ceiling to cantilever some 6m beyond the lakeshore.
Laval University’s science building, the Pavillon Alexandre-Vachon, was inaugurated in 1962. After fifty years of use without any significant work done to it, the 45,000 m2 building was in need of a major facelift and complete overhaul. Designed by architect Lucien Mainguy, an important figure in Quebec’s modernist movement, the pavilion is protected by the CAMEO, a university committee that among other things is mandated to protect and maintain Laval University’s architectural heritage. A $90 million phased renovation project was put forward by the university, starting with an initial $18 million investment.
The private gallery and house is sited in the hills of the Kangbuk section of Seoul, Korea. The project was designed as an experiment parallel to a research studio on “the architectonics of music”. The basic geometry of the building is inspired by a 1967 sketch for a music score by the composer Istvan Anhalt, “Symphony of Modules,” which was discovered in a book by John Cage titled “Notations.”
Three pavilions; one for entry, one residence, and one event space, appear to push upward from a continuous gallery level below. A sheet of water establishes the plane of reference from above and below.
The pavilion is an outdoor classroom and component of the North Carolina Museum of Art’s Sculpture Park. The structure is wrapped in varying widths of horizontal, perforated metal bands, which offer experiences that change with the seasons, the light, and the vantage point of the viewer .The pavilion’s metallic “skin” reflects its natural surroundings by taking on the colors of the grass and sky or, at times, completely disappearing into a moire pattern of light and shadow.
Three interventions in a 5000 m2 plot in a suburb of Santiago: A meditation hall (or Dojo) at the bottom of the site, a small pavilion in front of the family pool, and the refurbishment of a terrace that was virtually unusable because of high temperature and reflected light. In each case, outdoor spaces were enhanced to face the high temperatures in spring and summer.
A few weeks ago the Dr. Ing. h. c. F. Porsche AG celebrated the opening of their Porsche Pavilion at the Autostadt in Wolfsburg in the resence of 200 guests of honor. For the first time since its opening in 2000, the theme park receives another building structure in the form of the new Porsche Pavilion, which expresses the importance of Porsche within the Volkswagen Group family.
Starting very early cultural production aimed at the promotion of a genuinely Brazilian Architecture, Eduardo deepened in the areas of Design, Architecture and Arts, rescuing several fundamental characteristics of Brazilian Modernism of the 40s. Based on School Carioca, a national style of architecture internationally called Brazilian Style, the artist brings out the whole spirit of that era combining an invigorating nostalgic architecture to what is most modern and sustainable building processes. In defense of a truly Brazilian style, Eduardo has raised questions among academic students of Architecture and managed to change the view of students who had a predilection for international styles and achieved more followers of his vision \”Neo-Modernist\”.
Sitting is perhaps the most common condition from which we experience architecture. Whether we work, relax, watch, eat, sleep, or talk to each other, sitting is at the core of our relationship to buildings. Sitting enables the detached observation of our lives in space and time, whether it’s to look upon the buildings we inhabit, or look out from them, towards the cultural milieu that surrounds. Sitting enables a perception of the other and beyond opposite the inclusivity and interiority of our personal spaces that we carry with us. It conditions a cosmological covenant between one’s body and one’s place in architecture. It produces a body space continuum. Sitting structures our habitable spaces from within to without, determining the proportions of useable objects, forms, spaces, dimensions, and relationships in an unfolding sequence of architectonic layers.
The Performance Pavilion is the major architectural element in the overall plan of the new Festival Park in Fayetteville, North Carolina. It is comprised of a raised, covered stage, and back-of-house functions in a simple, rectangular extrusion. It is intended that, on a daily basis, the pavilion appears more like a park folly than an empty stage. To this end, the back-of-house functions slide to one side, allowing an open view through to the backdrop of existing trees. Operable panels, which can be retracted from behind a scrim wall, create a backdrop and crossover when performances are taking place.
Nicholas Kirk Architects have been appointed to design a folly for the London Festival of Architecture. The practice have design a project that augments reality whereby visitors enter into an environment that does not quite appear as it should. The architecture creates an illusion whereby perspective views are distorted inside the space and scale and proportion are challenge the senses.
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