categories:
Rolex Learning Center (EPFL École Polytechnique Federale de Lausanne)
allee de savoye
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tengo que ir a verlo...
An interview with SANAA
October 5, 2008
New Museum, New York City which opened in December 2007
SANAA (Kazuyo Sejima + Ryue Nishizawa) is one of the most en vogue architecture office in Tokyo. They recently designed the New Museum in Manhattan. They also designed the Learning Center at the Ecole Polytechnique Fédérale de Lausanne (EPFL). Here is an excerpt from an interview we made for the Taiwanese magazine EGG, which published a special issue on SANAA in Summer 2007. For the full interview click here.
Gallery space in the New Museum
How does the New Museum project in New York relate to the city?
N: New Museum was a difficult project. It is difficult for a museum to be so open to the outside. It needs walls to hang up the paintings. An enclosed space is necessary. One of the striking features of the New Museum is that it is right in the middle of the city. It is not in the outskirts like many museums. Also it doesn’t exhibit classical art, it is very contemporary. This is why they wanted to be in the middle of the city. So the question for us was how to open up the museum in this context.
So how did you manage?
N: We opened up the ground floor, people can get in and out for free, go to the cafe or the bookstore.
S: The design of the New Museum is based on the concept of shifting box, which allows us to create an open skyline. The building literally opens up to the sky. The shifting boxes create terraces allowing people to go in and out in the middle of the building.
N: As people go up the atmosphere changes. Each floor has a different relationship to the city and offers a different experience. The ground level is very messy, in direct contact with street life. From the top we can see the skyline of New York and the Chrysler building. Of course the clients wanted walls to exhibit art, but we wanted windows because the view is so interesting!
In Japan buildings are typically not built to last more than 20 or 30 years, whereas in Europe architects don’t usually think about their work as temporary. How do you view your work in time?
N: Most of the Roman buildings are gone, except for a few bridges and the Pantheon which are still standing. In Japan some ancient temples remain thanks to maintenance. We expect our buildings to stand for a really long time, but I cannot say forever. Maybe a hundred years at the maximum. But the city has a longer life span. The city lives through many generations.
S: With many changes.
N: Yes, I feel nothing changes in European cities. The notion is that the city must preserve the same form forever. I go to Asian cities and I see everything changed since the last time. The population is growing. The life of the people is changing and the city is changing with it. In China and Tokyo I see many things happening, many changes. This is like moving with the life. This is a very different viewpoint. In Europe the idea is that cities must stay the same, in Asia cities must change. I cannot say which one is the good view.
Tokyo is the biggest city in the world and yet it is often described as a collection of small villages. What is your idea of Tokyo, thinking specifically about the notion of scale from very small to extremely big?
S: I use a very limited part of Tokyo, so in this sense Tokyo feels like a village. I cannot say I have an overall image of Tokyo. Physically I cannot tell what are the boundaries of Tokyo.
N: Tokyo appears to be very much disorganized but actually it is a city which works really well. There is no train delay. Every morning huge crowds are moved in a very orderly way from one point to the other. Very few crimes are committed in Tokyo. It is actually very orderly, even if the landscape looks disorderly. Some Westerners come to Tokyo and say this is chaos! Maybe it is true but people manage it very well.
S: It is a chaotic but also extremely dynamic place. Somehow it looks generic and not well organized but so many things happen in Tokyo. One bad aspect of Tokyo is that people cannot spend time without money, which is also related to the physical reality of the city. But since the economy was bad for so long, we gradually learned how to enjoy the city without much money!
categories:
alvar aalto studio
Written for Virtual Finland by Hanni Sippo and Arne Heporauta
In the early 1950s Aalto’s office received large commissions, among them two institutions of higher learning. Aalto’s home office and the Ratakatu office in the Finnish Engineering Society building of his own design, became too small. In 1954, Aalto designed a spacious studio in Munkkiniemi, completed in November the following year.
Situated at Tiilimäki 20, the building is only a few minutes walk from Aalto’s home at Riihitie, and the staff of both former offices fit there easily. The building was designed to be a studio, for in Aalto’s opinion you could not create architecture in a regular office space. The outlying location was an added bonus, providing the architects with peace and quiet.
The two-storey building is situated on a slope so that when looking from the street, most of the building cannot be seen and there is no hint of the spacious inner yard within the grounds. The house does not open itself to the passer-by: its closed nature is emphasised by the brick wall facing the street. To quote Aalto: ‘The studio turns its back on the street in an almost Oriental manner, opening instead towards the intimate central garden, which rises like an amphitheatre and doubles as a lecture hall.’
Aalto’s own office room dominates the first floor. The ceiling of the wedge-like studio room rises high in the main space, and the windows of the curved wall open onto the yard. The other architects worked in the long drawing hall, where natural light is skilfully utilised. When needed – with a competition deadline nearing, for example – extra desks were placed in Aalto’s own room as well. The ground floor houses the administrative office, the housekeeper’s rooms, a dining room, storage space and a garage.
In 1963, the building was provided with a two-storey extension behind the brick wall outlining the inner yard. Its first floor was a workspace, and the ground floor had a dining hall known as the Tavern.
Restoration
In time, it became evident that the building required renovation. The first condition assessments were made in the late 1990s and the planning of the renovation began in 2002. The board of the Alvar Aalto Foundation appointed a building committee consisting of board members Vilhelm Helander and Martti Huhtamäki and the architects Esa Laaksonen and Hanni Sippo. A-konsultit Architects were chosen for architectural design. Magnus Malmberg Consulting Engineers was responsible for structural design, Trilogon Engineering Bureau for HPAC planning, and Sähkö-Ohmi for electricity planning. Garden design was done by the landscape designer Gretel Hemgård.
The main contractor in the project was Laatukuutio Oy. The roof was repaired by Lemminkäinen Oyj. Electrical wiring was led through the original ducts. Ventilation work was subtle, and windows were repaired with thoroughly dry heartwood taken from parts of the storage room. The original light fittings were repaired, the furniture cleaned, the walls and the ceilings painted. All in all, the building met contemporary standards, yet retained the spirit of Aalto’s studio.
Published September 2005 / Updated July 2008
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obra del gran nervi
Pier Luigi Nervi (21 de junio de 1891 - 9 de enero de 1979) fue un ingeniero y arquitecto Italiano. Estudió en la Universidad de Bolonia y se graduó en 1913. Nervi enseñó como profesor de ingeniería en la Universidad de Roma entre 1946 y 1961. Es conocido por su brillantez como ingeniero estructural y su novedoso uso de hormigón armado. Es uno de los máximos exponentes de del movimiento de arquitectura racionalista de los años veinte y treinta.
"The Palace of Labour designed and built by Nervi and his son Antonio for the Turin exhibition of 1961 was the result of a competition held in 1959. The building—containing 85,000 square feet of exhibition space—had to be capable of conversion to a technical school at the end of the exhibition. It was erected in less than eighteen months.
Like Mies van der Rohe's buildings, there is a subtle fusion of structure and space in Nervi's buildings. But whereas Mies searched for free internal space, Nervi's aesthetic is dependent on an energetic exhibition of the structural parts of a building. The Palace of Labour was no exception... the simple 525 feet square shape was divided into sixteen structurally separate steel roofed compartments each supported on 65-foot-high concrete stems. The external walls, entirely clad in glass, wrapped round the perimeter of the building and incorporated large 70-foot-high vertical mullions."
—Dennis Sharp. Twentieth Century Architecture: a Visual History. p245.
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categories:
primera casa en USA del gran arquitecto, 1939
Commentary
"The house Gropius built for himself at Lincoln, Mass, stands on one of the most charming sites of New England, on the crest of a hill in the midst of an orchard of 90 apple trees, only half an hour's ride by car from Harvard. Mrs. Storrow, owner of all the land round about, left Walter Gropius quite free to select the site for the house that she was to finance. It is fitted unobtrusively into the landscape while, at the same time, overlooking its surroundings.
The structure of the house consists of the traditional light wood frame of New England, sheathed with white painted clapboard siding: only in this case the siding runs vertically instead of horizontally. Rough fieldstone walls, like those employed in the seaside house built around this time at Cohasset, are here not yet incorporated into the structure of the house itself.
—S. Giedion. Walter Gropius: Work and Teamwork. p71.
The Creator's Words
"Very gradually the process of building is splitting up into shop production of building parts on the one hand, and site assembly of such parts on the other. More and more the tendency develops to prefabricate component parts of buildings rather than whole houses. Here is where the emphasis belongs...
The future architect and builder will have at their disposal something like a box of bricks to play with, and infinite variety of interchangable, machine-made parts for building which will be bought in the competitive market and assembled into individual buildings of a different appearance and size."
—Walter Gropius. from S. Giedion. Walter Gropius: Work and Teamwork. p77.
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categories:
arquitectura anulada por los decoradores
si, jesus, la arquitectura esta muy bien, como que es de Javier Carvajal, un gran arquitecto olvidado a punto de desaparecer.
Me recuerda a Las Salinas de lanzarote, un maravilloso hotel de fernando higueras machacado, destrozado, ridiculizado por el ejercito de decoradores que igualan todos los hoteles (que butaquitas, en fin...) que no saben lo que tienen, que pena
snif
no, no esta mal, lastima un exceso de diseny urbanita, menos muebles tontorrones, menos confort visual, mas esencia, mas crudo todo estaría mejor, menos mamparas de cristal y sobre todo, más simpatía, que sus gestoras andan tan desbordadas que no se acuerdan de los clientes y se ponen tristes...
categories:
finca malvasia
Camino El Oratorio, 12-14 35572, Masdache Lanzarote
Lanzarote (Spain > Las Palmas)
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Telephone 0034 928173460 (24 hour message facility)
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categories:
lagomar
C/ Los Loros, 2 35509, Nazaret Lanzarote
Lanzarote (Spain > Las Palmas)
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dormir con omar sharif
Incrustada en el risco del volcán de Nazaret, con maravillosas vistas sobre el valle, se yergue majestuosa la "Casa Omar Sharif", concebida por el artista lanzaroteño César Manrique en los años setenta para ser la morada del famoso actor.
Cuenta la leyenda que Omar, quien se encontraba en la isla rodando una película, perdió la casa en una partida de bridge y nunca volvió. A su vez la Casa cobro fama de por sí y fue utilizada en rodajes con actores tales como Peter Ustinov o Horst Franck.
Esta increible mansión construida en las mismas entrañas de la roca volcanica, que aparece dentro de las habitaciones, esta rodeada por maravillosos jardines con aires orientales; que con sus
cuevas, túneles y empinadas escaleras transportan al visitante a una historia de "Las 1001 noches".
En este mismo jardín se hallan los 2 apartamentos independientes que se alquilan al turista, quien podrá disfrutar además de este entorno, del uso de las pistas de tennis y una pequeña piscina.
Por Reservas contactar en : info@Lag-o-mar.com
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Playa de las Conchas
Isla Graciosa
Lanzarote (Spain > Las Palmas)
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