stair leading the visitor up to a height that allows an unhindered view of the horizon and the nearby skyline of Rotterdam. The path makes a continuous movement and thereby draws on the context of the heavy infrastructural surrounding of ring road and tram track. While a tram stop presents the end or the start of a journey, the route of the stairway is endless.
The temporary Visitors Center for EMSCHERKUNST.2013 and the Art Camp for local art associations are made from re-used oversea containers which house the different programs. By keeping the layout strictly on ground level and referring to a path through a village, not only the space inside matters, but also the various in-between spaces, sheltered by a roof or open-air.
In this way a variety of social spaces are created while keeping the site fully permeable.
The word “emptyness” is the informal term that we use to refer to the absence of content of a container or place. For the architecture, probably for the most orthodox, it is the absence of artificial or natural references, where everything is in the habit of being sustained almost acts. The desert is always a challenge for the architecture and probably the most similar thing to nothing. The absence of modals forces to a major degree of search in this particular landscape, which will be able to be defined of many forms, but it will never be one “not place “.
Sitting at the west suburb of Kunshan, a booming industrial city, the Lake Yangcheng Park of 42.5 hectares is the largest public green space on the lake shore, visited heavily by central-city residents during the week ends. The linear building site lies between the main public parking lot and a curved boardwalk which leads people to the waterfront and other attractions.
Though Hungary, located in Central Eastern Europe, is not rich in active volcanos, a large expanse of the country used to be volcanic some 5 million years ago. However, this does help ensure good quality soil for high level wine production, one of Hungary’s largest export products.
This project is located on top of a remote mesa in far north Queensland in outback Australia.
It was created as a visitor centre for people to witness first-hand one of the world’s most significant and cohesive dinosaur collections and it is remarkable for two reasons.
The first is its gestation. Twelve years ago, a cattle grazier David Elliott accidentally stumbled on 100 million year old dinosaur fossils while mustering cattle. Since then, he has become Australia’s leading palaeontologist who has engaged Winton’s whole community in the excavating, assembly and conservation of large dinosaurs. Through these operations, Winton’s fragile farming economy has been transformed.
The construction of the Visitor Centre at the main entrance of the Castle of Veszprém, an important historical city in Western Hungary, have been commenced recently. The Visitor Centre will accomodate a small information desk and other public functions (toilets, wardrobe, etc.) helping the tourists visiting the Castle.
Designing the Newark Visitor’s Center meant bridging between opposing forces. On the one hand, there was a need to address the adjacency to the metropolitan center of NYC and its main transportation Hub – the Penn Station. This perspective implied the creation of a vibrant architectural event, which is capable of containing the centrality of Newark and of the reality of New Jersey as one of the most populated states in the US. On the other hand, there was a strong pull to blend with an image of a Garden State, or at least create a gateway to suburban America, which is perceived as a place of refuge, away from the metropolitan intensity.
Working with the contours along the landscape terrain, the design response to the strong wind and sand in winter, as well as the intense sunlight in summer. Looking carefully into the surrounding contexts and datum levels, the design reuse the structure of an existing building, extended it through slanted slabs into the new additions, connecting the building to the sloped ground and reduces the level differences created by the retaining wall.
All the way out where the forest ends and the reeds begin, a visitor center hovers low on piles set carefully into the water’s edge. The building is clad in thatch, camouflaged like a birdwatcher’s blind, hiding its contents from the natural world that surrounds it. This is quiet architecture, using traditional local materials to break new ground with its crystalline geometry. Steep roofs transition seamlessly into walls. The steep pitch gives them longevity. The ridge, where a thatched roof is most vulnerable, is transformed into a glazed skylight.
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