domingo, 30 de mayo de 2010

Altstadt Garage Building / Lussi + Halter

30 de mayo de 2010.

© Leonardo Finotti
Parking facilities are quite a challenge for architects, as we have seen on previous projects by X Architekten, N+B Architectes and Guilherme Machado.

Architecture photographer Leonardo Finotti shared with us the Altstadt Garage Building by Swiss architects Lussi + Halter, a “quiet” project that reveals itself to the city during the night.

jueves, 27 de mayo de 2010

New Acropolis Museum / Bernard Tschumi Architects

27 de mayo de 2010.

© Courtesy of Bernard Tschumi Architects
Architects: Bernard Tschumi Architects
Location: Athens, Greece
Associate Architect: ARSY
Bernard Tschumi Architects Team: Bernard Tschumi; Architect and Lead Designer Joel Rutten; Project Architect, Adam Dayem, Aristotelis Dimitrakopoulos, Jane Kim, Eva Sopeoglou, Kim Starr, Anne Save de Beaurecueil, Jonathan Chace, Robert Holton, Valentin Bontjes van Beek, Liz Kim, Daniel Holguin, Kriti Siderakis, Michaela Metcalfe, Justin Moore, Joel Aviles, Georgia Papadavid, Allis Chee, Thomas Goodwill, Véronique Descharrières, Christina Devizzi
ARSY Team: Michael Photiadis; Principal, George Kriparakos, Nikos Balkalbassis, Philippos Photiadis, Jaimie Peel, Niki Plevri, Maria Sarafidou, Makis Grivas, Elena Voutsina, Manoulis Economou, Anastassia Gianou, Miltiadis Lazaridis, Dimitris Kosmas
Structure: ADK and ARUP
Mechanical and Electrical: MMB Study Group S.A. and ARUP
Civil: Michanniki Geostatiki and ARUP
Acoustics: Theodore Timagenis
Lighting: ARUP, London
General Contractor: Aktor
Project Area: 21,000 sqm
Project Year: 2003-2009
Photographs: Courtesy of Bernard Tschumi Architects

Located in the historic of Makryianni district, the Museum stands less than 1,000 feet southeast of the Parthenon. The top-floor Parthenon Gallery offers a 360-degree panoramic view of the Acropolis and modern Athens. The Museum is entered from the Dionysios Areopagitou pedestrian street, which links it to the Acropolis and other key archeological sites in Athens.

With 8,000 square meters (90,000 square feet) of exhibition space and a full range of visitor amenities, the Acropolis Museum tells the story of life on the Athenian Acropolis and its surroundings by uniting collections formerly dispersed in multiple institutions, including the small Acropolis Museum built in the 19th century.

The rich collections provide visitors with a comprehensive picture of the human presence on the Acropolis, from pre-historic times through late antiquity. Integral to this program is the display of an archeological excavation on the site: ruins from the 4th through 7th centuries A.D., left intact and protected beneath the building and made visible through the first floor. Other program facilities include a 200-seat auditorium.

Designed with spare horizontal lines and utmost simplicity, the Museum is deliberately non-monumental, focusing the visitor’s attention on extraordinary works of art. With the greatest possible clarity, the design translates programmatic requirements into architecture.

Light: The collection consists primarily of works of sculpture, many of them architectural pieces that originally decorated the monuments of the Acropolis, so the building that exhibits them is a museum of ambient natural light. The use of various types of glass allows light to flood into the top-floor Parthenon Gallery, to filter through skylights into the archaic galleries, and to penetrate the core of the building, gently touching the archeological excavation below the building.

Circulation: The collection is installed in chronological sequence, from pre-history through the late Roman period, but reaches its high point (literally and programmatically) with the Parthenon Frieze. The visitor’s route is therefore a clear, three-dimensional loop. It goes up from the lobby via escalator to the double-height galleries for the Archaic period; upward again by escalator to the Parthenon Gallery; then back down to the Roman Empire galleries and out toward the Acropolis itself.

Organization: The Museum is conceived as a base, a middle zone and a top, taking its form from the archeological excavation below and from the orientation of the top floor toward the Parthenon.

The base hovers over the excavation on more than 100 slender concrete pillars. This level contains the lobby, temporary exhibition spaces, museum store, and support facilities.

The middle (which is trapezoidal in plan) is a double-height space that soars to 10 meters (33 feet), accommodating the galleries from the Archaic to the late Roman period. A mezzanine features a bar and restaurant (with a public terrace looking out toward the Acropolis) and multimedia space.

The top is the rectangular, glass-enclosed, skylit Parthenon Gallery, over 7 meters high and with a floor space of over 2,050 square meters (22,100 square ft). It is shifted 23 degrees from the rest of the building to orient it directly toward the Acropolis. Here the building’s concrete core, which penetrates upward through all levels, becomes the surface on which the marble sculptures of the Parthenon Frieze are mounted. The core allows natural light to pass down to the Caryatids on the level below.

sábado, 22 de mayo de 2010

School of Information Technologies / FJMT

22 de mayo de 2010.

© Andrew Chung courtesy by FJMT
Architects: Francis-Jones Morehen Thorp
Location: Sydney, Australia
Landscape: FJMT
Cost Consultant: Davis Langdon Australia
Structural & Civil Consultant: Taylor Thomson Whitting
Mechanical & Electrical Consultant: Lincolne Scott
Hydraulic Consultant: ThomsonKane
Environmental consultant: Advanced Environmental Concepts
Acoustic consultant: Arup Acoustics
Facade Engineer: Connell Mott MacDonald
Builder: AW Edwards Pty Ltd
Project Manager: Capital Insight
Project Area: 14,480 sqm
Project Year: 2006
Photographs: Andrew Chung courtesy by FJMT

The School of Information Technologies building (SIT) transforms a derelict site adjacent to one of Sydney’s major arterial roads into a new campus gateway. It also sets a new benchmark for the University of Sydney with respect to environmental initiatives and excellence in the provision of contemporary workplace and teaching environments.

The building is a sophisticated integration of multimedia, technology, communication, architecture, arts, landscape and ecology. It evokes a strong sense of identity for the school and the university as a whole, and projects a contemporary image of technology, openness and engagement with the campus and wider community.

On the north side of the building, a layered glazed facade counteracts the noise and pollution of Cleveland Street and a unique ‘frit’ within the glass minimises solar gain. These create appropriate indoor workplace conditions whilst presenting a contemporary image of transparency and interaction. On the south, a curved stainless steel facade integrates a unique perforated metal screen to protect against unwanted solar gain and glare. The building’s unique form allows for the creation of generous landscape zones for passive recreation and ‘extend’ the use of the building into adjoining campus areas.

SIT is predominantly a building accommodating the contemporary workplace environment of the School of Information Technologies and allied private industries. The building lends itself to a mixture of individual offices, collaboration areas and open-plan work spaces — mirroring those typically encountered in private enterprise. Excellence is sought in providing state-of-the-art work environments with a particular emphasis on health and sustainability, collaboration and interaction.

The floorplate is configured as two wings about a central atrium and interconnecting stair. Social hubs are located within the naturally ventilated atrium / support zone and aids in knowledge transfer through informal interaction and meetings.

A holistic and integrated approach to sustainability was developed with reference to the Green Star Office Rating Tool. The building uses active chilled beams to provide an energy efficient approach to environmental control as well as furthering a commitment to health and productivity, and individual task lighting is provided to reduce levels of ambient light.

The main foyer is centred within this atrium allowing the extension of Engineering Walk into the School and visually connecting Cleveland Street. Vertical connections are located within the foyer, facilitating easy access to upper levels and interconnecting the public facilities. Each level has a “bridge” connecting the eastern and western sections across the Engineering Walk axis. The building incorporates a strong commitment to sustainability.

The form developed to foster links with Engineering Precinct, Seymour Centre and external environment. The form constitutes a layered facade along Cleveland Street (a buffer to the noise and pollution). This is broken at the Engineering Walk axis to visually connect the precinct with the neighbourhood and announce the main entrance, then extends to the west to embrace the Seymour Forecourt. To the south, the building’s curved stainless facade incorporates a screen to refine the proportions and assists in controlling glare. This creates zones for passive recreation and extends building usage to the adjoining campus areas, and forms a new forecourt to the adjacent Seymour Centre.

The building sets a new University benchmark, with respect to environmental initiatives and excellence in the provision of contemporary workplace and teaching environments. Design intent has been benchmarked against the GBCA GreenStar office model. Although the rating initiative currently only exists for offices, the University showed great vision in adopting it for the project and achieved a 4 star GreenStar credit rating, placing the building within the top quartile of ESD office developments within Australia. Below are listed some of the many initiatives:
•Holistic and integrated approach providing a new benchmark in sustainability for the University
•Approaches and initiatives developed with reference to the GreenStar Office Rating Tool
•Active multi service chilled beams with enhanced ventilation provide throughout all offices and open plan workspaces
•Mixed mode mechanical ventilation, through the use of automated louvers providing natural air flow in the large atrium spaces
•Natural ventilation provided to central atrium and social hub collaborative zone
•Glazed interconnecting stair creating a ‘vertical street’ to reduce reliance on lifts
•Enhanced access to natural light and view
•PVC minimisation and use of recycled materials
•Sophisticated layered glazed facaded and integrated external shading to control solar gain
•Reduced levels of ambient artificial light by incorporation of individual task lighting
•Considered material selection in relation to embodied energy and whole of life costing analysis
•Incorporation of solar hot water, energy efficient fittings and zoning
•Incorporation of bicycle parking and shower/change facilities

jueves, 20 de mayo de 2010

Multifonctional Complex La Maladiere / Geninasca Delefortrie Architectes

20 de mayo de 2010.

© Thomas Jantscher
Architects: Geninasca Delefortrie SA
Location: Neuchatel, Switzerland
Project Managers: Yves-Olivier Joseph, Jean-Michel Deicher
Collaborators: David Ferrat, ValÈrie Mathez, Michael Schwab, AndrÈ Sundhoff
Engineers: ICA Ing. Civils AssociÈs SA, Fribourg / Ribi+Blum AG, Romanshorn / GVH SA, St-Blaise
Project Area: 105,000 sqm
Project Year: 2005-2007
Photographs: Thomas Jantscher

A backfill completed at the beginning of the 20th century – the available parcel – the old football stadium – was at the articulation of four forms of urbanism.

One specifically, is part of the “Beaux-arts” district from the 19th century. One has the random character of the “Nid-du-Crô” port. The other one is the “Jeunes Rives” in the south, punctuated by some public buildings and the last one is more urban in the north, along the “Pierre-à-Mazel” avenue.

By its position, its configuration and its expression, the project was organized to precisely match all these different characteristics. The project defines in the west, a street space, meeting the proportions of the existing streets. It suggests in the east, an esplanade to handle the flow between the new complex and the port area.

In the north and south, it follows the lines and the geometry of the existing axes.

The presence of this building, important by its size and function, enables us to reorganize a place which has now vanished and to give a new meaning to the town’s entry.

The base of the complex incorporates the mall, the rescue services and fire station, the delivery platforms and the 930 place car park. The first floor is dedicated to the football pitch, the access to the galleries (12’000 seats), the bars and the restrooms. The second floor incorporates the administrative offices and changing rooms for the sports facilities.

The third and fourth floors include the six gymnastic halls and the VIP activities.

In order to find the correct scales and to represent the different functions of the building, the architectural expression suggests a building which plays with reflection and the transparency.

The base allows the mirrored skin made of glass and stainless steel to reflect the town.

The upper facade’s skin is made from translucent woven metal wire revealing the stadium, enabling it to be seen from another side. The stadium is treated as if it is an Italian theater and colored in red and black which allows the spectator to become immersed in the world of entertainment.