Europaconcorsi - Progetti In Copertina

Teatro Greco di Siracusa - OMA

Wed, 16 May 2012 15:27:31 +0200

Gli interventi realizzati da OMA sono utilizzati drammaticamente ed adattati a momenti salienti della programmazione estiva del ciclo di rappresentazioni classiche, organizzato dall’Istituto Nazionale del Dramma Antico (INDA). La stagione include tra l’ altro le Baccanti di Euripide (regia di Antonio Calenda) e gli Uccelli di Aristofane (regia di Roberta Torre). Il primo intervento, l’Anello, e’ una passerella sospesa che completa il semi-cerchio delle gradinate dell’anfiteatro, racchiudendo il palco e il retro palco, e che consente agli attori un’ entrata in scena alternativa.

La Macchina e` un palcoscenico adattabile alle diverse rappresentazioni: un fondale a base circolare alto sette metri, che specchia l’anfiteatro. Il fondale puo` ruotare, rappresentando il passaggio di 13 secoli durante la tortura di Prometeo; diviso al centro puo’ aprirsi, permettendo l’ingresso degli attori sulla scena, o simboleggiando eventi drammatici quali la discesa di Prometeo nelle viscere della Terra. La Zattera, un palcoscenico circolare per attori e ballerini, ripensa l’orchestra in un moderno Thymele, l’altare dedicato ai riti Dionisiaci nell’antica Grecia.

OMA si cimenta nell’allestimento di una scenografia per il teatro greco antico per la prima volta, sebbene lo studio sia coinvolto nella progettazione di spazi innovativi per la rappresentazione da molto tempo: dal Netherlands Dance Theatre (1987), al Wyly Theatre di Dallas (in collaborazione con Rex, 2009) fino al Taipei Performing Arts Centre – tre teatri adattabili racchiusi in un unico cubo centrale, in fase di realizzazione a Taiwan. AMO ha inoltre realizzato le scenografie per eventi effimeri, come le sfilate Prada e il 24h Museum con Francesco Vezzoli a Parigi, all’inizio del 2012.

Bar “La Bohème entre amis” - AVA Architects

Wed, 16 May 2012 13:33:58 +0200

O Bar “La Bohéme” (entre amis) está localizado na rua Galeria de Paris no Porto, zona central da cidade. A intervenção procurou implementar e caracterizar o espaço através de uma identidade que não tinha. A solução é formalizada através da textura e da cor que a madeira proporciona na definição do espaço e da profundidade que o desenho da estrutura ao longo dos espaços impõe. Esta estrutura colocada ao longo do espaço canal disponível, ao nível das paredes e tecto, permite subverter a leitura plena do espaço, procurando que ele possa ser descoberto ao longo do mesmo.

O bar desenvolve-se ao longo de três níveis: piso da entrada, cave e um mezanino este último estabelece uma relação visual com o piso da entrada. No piso de entrada que amplia a ligação ao espaço público através da deslocação da entrada para o vão maior instalou-se o balcão de apoio do bar. A solução funcional anteriormente adoptada mantém-se embora tenhamos trocado a implantação do balcão do bar (e único) para lhe dar maior dimensão, funcionalidade e espaço disponível para os utentes.

No piso inferior (em cave) e na dificuldade do mesmo não deixar de ser uma cave sem relação com o exterior do espaço optou-se pelo mesmo princípio da estrutura de madeira desenhar a envolvente e rematar com uma espécie de vitrina ou mostruário de garrafas de vinho. A fachada do edifício é revestido e construído em cantaria de granito. Presumimos que as caixilharias anteriores fossem em madeira maciça à semelhança de alguns exemplos existentes em edifícios contíguos. As alterações introduzidas na fachada são exclusivamente ao nível da caixilharia e vão de acesso, propondo-se uma madeira de afizélia (cor natural) com vidro laminado incolor. A solução funcional preconizada prende-se com novo funcionamento e organização dos espaços do estabelecimento.

A composição e desenho dos elementos que compõem o caixilho foram formulados tendo em conta o desenho interior do espaço e ao mesmo tempo a introdução de um ritmo através do desenho de prumos verticais e a garantia de alguma segurança evitando a instalação de sistemas de segurança anteriormente instalado.

Zwei kleine Häuser - Architekturbüro Scheder

Wed, 16 May 2012 12:53:44 +0200

Located in Hohenecken, a suburb of the city Kaiserslautern [Germany], the two small houses close an empty lot. A combination of prefabricated wood frames and solid wood board ceilings is used for the primary structure of the houses. In order to allow for a scenic view on a church and an old castle common principles for single family houses are turned upside down. Living room as well as kitchen are located on the upper floor. Bathroom and three rooms are located downstairs. The layout is characterised by a central staircase which in combination with translucent polycarbonate panels separates the different rooms. This detail also ensures optimal light distribution within the houses and creates fluid space boundaries.

Apartment São Mamede - pedro domingos arquitectos

Wed, 16 May 2012 10:56:29 +0200

The work consists of the reconstruction of an apartment of the 80’s, in Lisbon. The proposal reverses the organization of the apartment. The definition of the different spaces is made from a continuous structure of birch wood cabinets. This system of wood that runs throughout the apartment is apparent in the main spaces and lacquered in white in circulations and in the kitchen.

Fernando Guerra / FG+SG. Pubblicata il 15 Maggio 2012.

Skywalk Rennweg 44 - 46 - SOLID architecture

Tue, 15 May 2012 17:52:32 +0200

SOLID architecture designed a bridge that is enclosed on all sides to connect the two buildings Rennweg 44 and 46 at the fifth upper floor, 17 metres above the Kleistgasse in the third district of Vienna. The bridge with a span length of 22 metres was completed in May 2009.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Architecture
In reference to its outward appearance, the bridge adds a third and formally individual element to the two existing buildings dating back to the 1980ies. The fair grey metallic colour of the exterior surfaces of the bridge assimilates with the grey-green colour spectrum of the two already existing building structures. Large-area glazed sidewalls make the supporting construction of the bridge, which is arranged inside, visible from the outside, and they make the bridge appear light and transparent.  The interior area of the bridge has its own individual character, independent of the two already existing buildings.  If you cross the bridge, you will experience space that is dominated by the dynamic alignments of the supporting construction and the bottom and top plate. There may also be made out a colour difference between the interior area of the bridge on the one and the existing building structure on the other side. With the exception of the fair grey floor, all surfaces are white.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Extending from the building Rennweg 46, there is created a horizontal plane into the road space, 17 metres above ground level of the Kleistgasse. From this horizontal area, there is presented a wonderful view onto the road space situated beyond and as far as the towers of the Arsenal. Following a bend in the botton plate, a slightly inclined ramp counterbalances the difference in height between the two building structures and leads into the building Rennweg 44. The construction of the details is reduced and simply supports the view and the atmosphere and the effect of the space created.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Statical System of the Bridge 
The main supporting structure of the bridge is formed by means of two supporter trusses spanned beyond.  The top chords of these trusses – welded hollow profiles with a lower flange projecting on one side – are integrated in the roof plane. The trussed beams consist of welded rectangular hollow steel tubes.  There are integrated welded I-beams as supports in the walking plane. These I-beams are suspended by means of tension rods from the main supporters, and they are attached to the supporter trusses of the main supporters in the bend of the bridge.  Roof and floor level are formed as horizontal latticed framework and transmit the horizontal load into the already existing buiding structures. 

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Geometry of the Bridge
 From the buildings Rennweg 44 and Rennweg 46, there is extended a horizontal plane into the road space: The bottom plate of the 5th upper floor Rennweg 46 as bottom plate of the bridge,  the ceiling above the 5th upper floor Rennweg 44 as roof of the bridge. The bottom plate with a 6% inclined ramp and the bridge roof with its inclined roof area extend over to the 1.04 m-offset level of the neighbouring building. The bends of the two levels – bottom plate and roof – are situated on top of each other. In ground view, the bridge is tapering from 2.70m down to a width of 2.35m at the middle of the bridge. In combination with the bends in the roof and the bottom plate there is created a bridge structure, which extends across the road space in a rather elegant way; furthermore, its interior area is clearly dominated by the perspective dynamics of the strongly aligned lines.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Illumination 
The bridge is illuminated by means of two parallel light panels extending alongside the glass walls. These two light bands imitate the bends in the roof and the sidewalls.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Contractors
Builder: SAN AS BAU, 2322 Schwechat / Himberg bei Wien
Steel / Glass Construction: Stahlbau Kamper GmbH 2640 Gloggnitz
Plumber: Ing. Ledermüller GmbH, 1140 Wien
Electrician : Fleck Elektroinstallationen GmbH, 1100 Wien
Fire Protection Gate: Peneder Feuerschutz GmbH, 1220 Wien

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Facade VERBUND headquarters - SOLID architecture

Tue, 15 May 2012 17:51:30 +0200

1. Starting point and the task set
The headquarters of the Verbund AG is a block perimeter development built around a central courtyard in Vienna’s first district. It was erected between 1952 and 1954 to designs by Carl Appel and is bordered on three sides by public streets or squares. The street facade extends from the square known as Am Hof along Heidenschuss towards Freyung and into Tiefer Graben. The block perimeter development is made up of two volumes, one facing onto Am Hof and the other towards Freyung.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

In formal terms the building refers back to the architecture of the interwar period. On the other hand the economical use of design and decorative elements, for example the window reveals of real stone, is characteristic of the post-war era.
In 1982 the plinth zone and the areas of facade that frame the large projecting bay elements on Heidenschuss and Tiefer Graben were remodelled to designs by architect Sepp Stein in the volume oriented towards Freyung. The storey-height glazing facing towards Freyung was replaced by horizontal ribbon windows with brown metal parapet claddings. This, however, weakened the building’s orientation towards Freyung.
As this facade design had reached the end of its useful life, an invited competition was set up for the redesign of these areas. This competition was won by SOLID architecture.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

The objectives of the design
The new design of the facade towards Freyung – one of the most prominent locations in Vienna – should represent the Verbund AG as a producer of electricity with the aid of hydraulic power.
The facade should be integrated in its historic setting. The Verbund headquarters is the same height as the neighbouring buildings, but with its nine storeys has almost twice as many floor levels.
The redesign of the facades should allow the different elements of Carl Appel’s Verbund building to be perceived as a coherent ensemble.
The Verbund headquarters should be oriented more strongly towards Freyung in urban planning terms. In addition the shop entrance on the corner to Freyung, the sole area of the Verbund headquarters accessible to the general public, should be emphasized.
In functional terms the new facades should use state of the art technology.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

2. Conceptual study of the theme “facade” on Freyung
The ensemble on Freyung is made up of buildings dating from various epochs which have been rebuilt and extended over the course of time. Overlaying a building with traces of different time layers is the conceptual starting point for the new design. It uses design principles from different eras of architectural history to integrate the volume of the building in the historic ensemble on Freyung.
Additional filters and levels of meaning were placed in front of the history and characteristics of the post-war building, overlaying the facade with a second layer that sits in front of it. By mounting this additional layer the new design, which initiates a dialogue between the existing Verbund building and the ensemble on Freyung, becomes clearly legible. An apparently ephemeral envelope or shell is created, which, depending on the weather conditions and the distance of the viewer to the building, allows different planes and aspects of the facade to emerge in the foreground.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

3. A veil of silver waves – the technical implementation of the design concept
By separating the facade into two layers the inner layer could be upgraded simply and without the need for major interventions. A second layer is laid like a veil of silver waves in front of the original facade but at the same time allows a view of what lies behind it.
The entire veil of waves is designed with a single repeated facade element that is used at different scales. This element consists of stainless steel rectangular section tubes curved in a wave-like shape, arranged in an offset pattern and held in position by a frame.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

In formal terms the wave-like form of the facade elements refers to the dynamics of water in motion. The wave symbolizes the Verbund and, in an abstract way, informs about the area in which the company operates. The gleaming silver veil of waves represents the Verbund towards the city. The ornament encases the building volume, which is detached from the internal layout of the building core, and lends it a symbolic content.
The arrangement of the facade elements makes reference to the historic neighbouring buildings, enabling the Verbund building to become part of the ensemble. The new facade elements are mounted in rows that follow the floor levels of the building. It is only on the facade facing towards Freyung that the new layer departs from the existing division into floor levels: here nine storeys of almost the same height are reduced to five by a design that extends across the floor levels. This move adapts the scale of the Verbund headquarters to that of the surrounding buildings.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

The use of axes of symmetry – comparable with the secondary axes of symmetry in the surrounding historic buildings – additionally emphasizes the facade onto Freyung. Here the facade elements are not arranged additively but using mirror symmetry. This axial mirroring of the facade elements creates a new ornamental configuration that further emphasises this facade.
In the plinth zone the veil of waves delineates the load bearing structure of the facade in that the glazed areas are left free and the new facade elements are placed only in front of the structural piers. The facade elements facing onto the balconies above the large projecting bays can be opened. On the other floors two facade elements for each room behind are made as a rescue opening, comparable to a shutter.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

4. The inner plane – the functional facade
The rear facade plane continues the design of the facade from Am Hof to Tiefer Graben. In the two-storey plinth zone the same natural stone cladding to the piers and the post and lintel facades with anodised aluminium cover pieces were used. The facades to the upper floors were insulated with mineral wool and rendered in the same colour as the facade onto Am Hof. Making the facades of the two building volumes more similar helps the Verbund headquarters to be read as a coherent ensemble.
The inner plane of the facade deals with all the technical aspects of the building envelope such as thermal and noise insulation, as well as protection from sun and glare. The old windows were replaced by combination windows (a modern form of the traditional Viennese double windows) of the same size. The solid parapets were left unaltered for structural reasons. For the offices where windows had to be replaced this meant short fitting times. Thus, the facade was refurbished without having to close down the building.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Construction firms: Aluminium facades: RIEGLER METALLBAU GmbH, A-4040 Steyr
Facade elements: RIEGLER METALLBAU GmbH, A-4040 Steyr
Stone mason: RADA NATURSTEIN GmbH, A-2170 Poysdorf

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Austrian Pavilion Expo 2008 Zaragoza - SOLID architecture

Tue, 15 May 2012 17:49:12 +0200

The Austrian Pavilion at the EXPO 2008 in Zaragoza was designed by an interdisciplinary team formed by SOLID architecture, Michael Strauss and Scott Ritter.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

For the EXPO 2008 the participating countries rented spaces in buildings provided by the organizer. The room made available for the Austrian pavilion had a semi-circular shape. The central idea of the design concept was to double that shape to the figure of a cylinder by using a floor-to-ceiling mirror. This mirror extended along the length of the room and doubled a digital 180° projection on the curved interior wall into a 360° panorama. By means of digital projection the panorama underwent permanent changes.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

In terms of building typology the Austrian pavilion transposed the historical panorama building into the present. The viewer’s platform in the middle and the three-dimensionally designed foreground of the historical panorama architecture were merged into a white landscape. This landscape was dissolved into contour lines and became the exhibition area of the pavilion. The abstract form of the landscape made the exhibition space become part of the changing panoramic projections. Surrounded by mountain tops, it turned into a snow-covered hilltop. The projection of a forest turned it into a green clearing.  The design of the landscape used the concept of reflection through the mirror to create diverse spatial and visual relations and situations. An arena with a pneumatic stage in its centre was created that only became complete in its reflection, a plateau offered the ideal overview onto the pavilion and a hollow way avoided the doubling effect of the mirror. One space was located behind the level of the mirror, only accessible through an opening in the mirror itself.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

For the visitors the landscape like designed exhibition space was a stage set to walk on. The visitor became part of this stage setting, as he moved through the pavilion on the exhibition area. By means of mirroring the room, the visitor and his reflection were an integral part of and an actor in the panorama setting.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

In the exhibition space of the pavilion works of various artists were shown dealing with the theme of the EXPO 2008 “Water and Sustainability”, reaching from sculpture, digital art and dance performances to music. The exterior façade of the pavilion also dealt with the topic of Landscape and Spectator, showing an image of the photographer Walter Niedermayr.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Kindergarten Neufeld an der Leitha - SOLID architecture

Tue, 15 May 2012 17:48:20 +0200

The design by SOLID architecture for the new kindergarten in Neufeld an der Leitha emerged as the winning project in an invited competition that sought designs for a new building to house a four-group kindergarten. One requirement of the competition was that it should be possible to add a further two groups without disrupting day-to-day activities at the kindergarten.

Photo by Kurt Kuball. Pubblicata il 15 Maggio 2012.

Placing the building volume in an east-west direction created clearly defined outdoor areas. Towards the north the building remains closed. The vehicular approach, the car-parking area and the entrance are on this side. As a result the outdoor spaces in the south and west, which are reserved exclusively for the children, are largely undisturbed by traffic.

Photo by Kurt Kuball. Pubblicata il 15 Maggio 2012.

The interplay of daylight and architecture is an essential element of the design. In the interior the service zones and ancillary rooms face north. An open communicative central area flows through the entire building. Towards the south the groups rooms detach themselves from the building with large areas of glazing that allow the best possible use of daylight. Incisions made in the roof together with the outdoor areas allotted to the groups form new spaces between inside and outside. Staggering the units in a north-south direction establishes visual connections between the group rooms. The open spaces ascribed to the groups can be integrated in educational activities. They are a manageable size and break down the boundaries between inside and the constantly changing outdoor area.

Photo by Kurt Kuball. Pubblicata il 15 Maggio 2012.

Together with its sanitary facilities and storage space each of the group rooms forms an independent unit. Glass walls, roof lights and the way the garden interlocks with the kindergarten create spaces flooded with daylight, lively lighting conditions and different moods of colour.

Photo by Kurt Kuball. Pubblicata il 15 Maggio 2012.

The group rooms are open in design. Clearly defined play areas, such as a building corner or dolls corner, were deliberately left out so as to allow the free combination of different play and work areas. Encounters in and withdrawal from the group are both possible. All areas are also accessible to children with physical disabilities. The dining room is positioned near the entrance and can also be used as a “parents’ café”.

Photo by Kurt Kuball. Pubblicata il 15 Maggio 2012.

Roof lights in the large roof extending over the entire building provide light for the central zone and the sanitary facilities. In the south the roof extends into a pergola with wooden slats. This helps protect the south-facing group rooms against overheating. Together with the wooden deck below it the pergola defines a sheltered transitional zone to the garden.

Photo by Kurt Kuball. Pubblicata il 15 Maggio 2012.

The building services concept focuses on an economic use of resources and protection of the environment. The entire building has a controlled ventilation system. The fresh air introduced via a subterranean tunnel is pre-warmed in winter and cooled in summer. Hot water is produced by means of a water-water heat pump. Rainwater seeps off into cisterns in the school grounds.

Photo by Kurt Kuball. Pubblicata il 15 Maggio 2012.

Bene Flagshipstore - SOLID architecture

Tue, 15 May 2012 17:46:56 +0200

SOLID architecture was commissioned to design the showroom of office furniture manufacturer Bene in a newly erected building at no. 4–8 Neutorgasse in Vienna. With a floor area of 1,000 m² the showroom is located at ground floor level and forms a band that runs along the facade. Bene also uses the first floor and a part of the second floor as offices. The intention was to offer visitors an interestingly varied tour through the world of Bene and at the same time to create a place with its own identity and an unmistakeable character.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Design of the showroom
The walls, floor and ceiling are the surfaces that determine the character of the space: for each of them a single material was used throughout. To accommodate the different spatial functions and presentations of the show room, these design elements can be adapted as required.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Wall cladding – the “backbone”
The entire rear wall of the showroom is clad with panels covered in fabric and forms its spatial backbone. The panels are built up on a modular system so that they can be easily exchanged and interchanged. The backbone defines and delineates the space. In the area that is also used for events the panels are backed with an additional sound-damping acoustic inlay.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Ceiling
The acoustic ceiling to the showroom is made of blown glass granulate. All the linear light fittings and technical services in this ceiling run parallel to Neutorgasse. This direction is continued throughout the entire showroom. All the inserted services are flush with the ceiling.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Flooring – terrazzo
The entire showroom, including the service spaces, has a light-coloured terrazzo floor. It forms a continuous surface on which individual functions and presentations can be individually emphasized by means of carpets.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Colour scheme
In selecting the materials for the floor and walls it was important that these surfaces should provide a harmonious background for furniture with different surface finishes and colours. White surfaces as well as wood finishes with a strong grain should be able to make an impact and contrast with the setting. At the same time the showroom was to convey a warm and friendly underlying mood.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Consequently it was decided not to use monochrome surfaces in the design of the showrooms but materials made up of several colours that also have a high haptic quality. The large area of light-coloured terrazzo has a white, grey and brown natural stone “grain”. The dark brown fabric used to cover the “backbone” also follows the same concept; the material is woven from brown and black threads.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Internal staircase
The core of the Bene premises is a centrally positioned internal staircase that connects all the floors used by Bene. This stair forms the central communication area to which certain gastronomic functions are attached: the bar with the “coffice” on the ground floor, and the tea-kitchens and the areas for informal communication on the two upper floors.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

The internal staircase follows the design concept of the ground floor showroom. The staircase walls are clad with panels covered with brown fabric. In addition a “cloud” of square LED lights extends from the ground floor to the second floor.

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Construction firms
Carpenter: Tischlerei Haselmaier GmbH, Miesenbach
Dry Walling: MBS BaugesmbH, Wilhelmsburg an der Traisen
Terrazzo Works: Stein Schmieder GmbH, Graz
Electrical Engineering, Gottwald GmbH & CoKG, Hürm
Heat / Ventilation: Ing. August Lengauer GmbH & CoKG, Linz

Photo by Günter Kresser. Pubblicata il 15 Maggio 2012.

Pontifical Seminary Reform (1St Phase) - ON-A arquitectura

Tue, 15 May 2012 15:49:36 +0200

The project focuses on the conversion of the Seminary of Tarragona into a cultural space and a landmark for the city. A prestigious research centre where science, art, religion and history are part of the essence of the project. A clear intention to open the building to the public, to discover all its rooms and show the world a unique cultural heritage that is now hidden.

To provide the building with the most modern technologies to host all sorts of cultural events but with great respect of the historical environment, preserving it and emphasizing it. Outstanding places as the chapel of Sant Pau, the Roman wall, the Paraninf or the Historical Library are now displayed in all their glory in this contemporary proposal which is at the same time respectful and resolute.

nella roccia, vigili del fuoco magré - bergmeisterwolf

Tue, 15 May 2012 12:58:18 +0200

un fronte roccioso fa da scenografia alla nuova stazione dei vigili del fuoco di magré: tre caverne scavate nella montagna comunicano tra loro, mentre un setto di cemento nero replica l’inclinazione della parete rocciosa a un metro di distanza dalla montagna. il setto costituisce una protezione dalla roccia e allo stesso tempo è l’elemento caratterizzante del progetto. la scelta del materiale è ricaduta sul cemento: durevole, resistente, possente. il colore scuro ricorda il legno bruciato. tre corpi fuoriescono dalla parete in cemento: il primo, vetrato, è destinato all’amministrazione, gli altri due con un rivestimento metallico verniciato di nero, proiettano all’esterno, attraverso le loro aperture, il rosso acceso dei mezzi dei pompieri. in relazione alla sostenibilità il progetto per i vigili del fuoco volontari si differenzia da altri per due aspetti: la posizione e il concetto energetico. come altri edifici, la caserma, poteva venire realizzata su un lotto di terreno libero. l‘opera è stata collocata nella montagna per preservare, nel particolare contesto delle alpi, il raro terreno agricolo: un contributo attivo al rispetto delle risorse. da un punto di vista energetico un obiettivo del comune di magrè era la realizzazione di un edificio altamente efficiente. il committente voleva risparmiare sui costi di gestione e contribuire alla protezione dell‘ambiente. attraverso la collocazione nella montagna, le superfici esposte alla temperatura dell‘aria esterna (-10°c in inverno), si limitano ai portali. tutte le restanti superfici confinano con la montagna (+12°c in inverno). la sola decisione di collocare l‘edificio nella montagna da un contributo positivo al risparmio energetico e riduce il consumo per riscaldamento. è stata anche operata una simulazione dinamica per determinare quali fossero le parti nella montagna da isolare per ridurre ulteriormente il consumo energetico. attraverso la simulazione si è potuto capire se alcuni ambienti fossero riscaldabili unicamente attraverso il calore naturale della roccia. le superfici trasparenti nel „portale“, irradiate dalla luce del sole, contribuiscono ulteriormente al concetto energetico. la restante energia (40kwh/m²,a) viene prodotta ecologicamente con una caldaia a pellets.

jürgem eheim. Pubblicata il 14 Maggio 2012.

jürgen eheim. Pubblicata il 14 Maggio 2012.

günter richard wett. Pubblicata il 14 Maggio 2012.

jürgen eheim. Pubblicata il 14 Maggio 2012.

günter richard wett. Pubblicata il 14 Maggio 2012.

jürgen eheim. Pubblicata il 14 Maggio 2012.

ulrich egger

Hans Klotz srl - monovolume architecture + design

Tue, 15 May 2012 12:04:57 +0200

La ditta Fruity con sede a Bolzano-Sigmundskron opera con grande successo nell‘ambito dello smercio di frutta e verdura. La nuova zona amministrativa sarà integrata in un edificio preesistente di proprietà aziendale, nelle vicinanze immediate della sede attuale. Per conferirgli un carattere autonomo, gli spazi saranno concentrati in un corpo unico a due piani, dal linguaggio architettonico innovativo, e sovrapposto al primo piano dell‘esistente come un parassita benigno. Il nuovo elemento si adegua alla composizione formale del tetto esistente, dal quale sembra scaturire, ma se ne emanciperà con un‘ampia facciata in vetro sul lato nord ed ovest, aprendo l‘edificio verso gli ampi meleti circostanti. Ciò permette un‘esposizione ideale degli ambienti lavorativi, affiancandoli inoltre ad una vista spettacolare. Al primo piano si trovano due ampi open spaces, la zona ingresso e di accoglienza, oltre ad alcuni spazi di servizio. Un‘ampia scala collega sia l‘interno con l‘esterno, sia i due piani dell‘ampliamento tra di loro. Il secondo piano è caratterizzato da una galleria con zona bar, che si affaccia su un generoso terrazzo. Inoltre, ci sono una sala riunioni e due uffici rappresentativi. L‘ampliamento amministrativo avrà un involucro appariscente metallico, che citerà il tetto esistente sottolineandone, al contempo, la sua estraneità.

Ulrich Egger. Pubblicata il 07 Maggio 2012.

Committente: Fruity srl Luogo: Bolzano (BZ) Tipologia: sede aziendale cubatura edificio: 1200 m³ superficie totale: 280 m²

Ulrich Egger. Pubblicata il 07 Maggio 2012.

Die Firma Fruity GmbH ist ein ebenso tradisions- wie erfolgreicher Großhandelsbetrieb für Obst und Gemüse mit Sitz in Bozen-Sigmundskron. Der neu zu errichtende Bürotrakt sollten in ein bestehendes, betriebseigenes Gebäude auf dem Firmengelände integriert werden. Um ihm einen eigenständigen Charakter zu verleihen, wurden die erforderlichen Räumlichkeiten in einem autonomen, zweigeschossigen Baukörper, gleichsam als architektonischer Parasit, stirnseitig auf das bestehende Erdgeschoss aufgesetzt. Der neue Baukörper nimmt die Trauf- und Firstlinien des alten Komplexes auf und öffnet sich zur Nord- und Westseite hin auf die weitläufigen Apfelplantagen. Somit ermöglicht der neue Baukörper eine optimale Ausrichtung der Büroräume nach Norden, gepaart mit einer großartigen Aussicht. Im ersten Geschoss befinden sich zwei Großraumbüros, der Eingangs- und Empfangsbereich, sowie kleine Nebenräume. Eine großzügige Treppe entlang der Glasfassade verbindet sowohl den Außen- mit dem Innenraum, als auch die beiden Geschosse miteinander. Im zweiten Geschoss entsteht eine Galerie mit einem Barbereich, welche sich durch eine Ganzglasfassade zu einem großen Dachterrassenbereich hin öffnet. Hier befinden sich ein Besprechungsraum und zwei weitere Büroräume. Der neue Verwaltungstrakt wird von einer weithin sichtbaren, schimmernden Haut umhüllt, die das bestehende Dach zitiert, gleichzeitig aber dennoch die Eigenständigkeit des Neubaus unterstreicht.

Ulrich Egger. Pubblicata il 07 Maggio 2012.

Bauherr: Fruity GmbH Ort: Bozen (BZ) Typ: Gewerbebau Baujahr: 2008 Bauvolumen: 1200 m³ Gesamtfläche: 280 m²

Ulrich Egger. Pubblicata il 07 Maggio 2012.

Palais des Filateurs - Le Corbusier

Tue, 15 May 2012 10:13:39 +0200

Palais des Filateurs, Ahmedabad, Inde, 1951

Rehabilitation of former prison of Palencia As Cultural Civic Center - EXIT architects

Mon, 14 May 2012 17:12:24 +0200

The former Palencia Provincial Prison complex was created at the end of the XIX century, built with brick bearing walls following the “neomudéjar” style, and composed mainly of four two-storey wings and some other with one storey. On this building was planned a comprehensive refurbishment to transform the former use and convert it into a center that promotes the social and cultural activity in this part of the town.

Our proposal intends to convert the former prison into a meeting place, recovering some of the old spaces, and creating at the same time new structures that make possible the new planned activities. It is a project that respects the existing building, which is given a contemporary, lighter appearance, and where the natural light will play a key role.

With this aim the main two-storey wings have been refurbished, emptying their interior and placing a new independent structure to bear the new floors and roofs. Besides, between the main wings have been built new connecting pavilions, which form the new complex perimeter and give it a modern and friendly aspect.

To introduce the light in the building we had to remove the old covered with tiles which were in very poor condition, and have been replaced by others of zinc that open large skylights which introduce light into the open halls of the Center.

The entire building is organized around a great hall that connects the 4 pavilions of the former prison. It is a diaphanous space based only on a few mild cylindrical courtyards of glass that illuminate and provide the backbone of the stay. Due to its central location in relation to the pavilions, this space acts as a nerve center and distributor of users, across the Pavilion access and reception, directed towards the rest of the areas of the Centre.

The hall gives way to the lateral pavilions where the auditorium and various music and art classrooms are. On the upper floor, under a large glass skylights, are two multi-purpose areas dedicated to more numerous groups.

In the area where is the cells of prisoners were, we placed the library. The reading rooms are articulated around a central space of high-rise under a lantern of octagonal shape that acts as a distributor for the different areas and that arrives vertical communication and control areas and offices.

Finally, access to the Centre are carried out through a very light and bright glazed perimeter that pretends to be a filter between the city and the activity of the interior. A structural steel beam travels abroad tying areas glazed with the former factory walls getting an alleged industrial air.

The use of metallic materials in all intervention, as the zinc in facades and roofs, glass and uglass in the lower bodies and skylights and the aluminium lattices as lightfilters also contributes to this.

Easter Sculpture Museum - EXIT architects

Mon, 14 May 2012 17:05:09 +0200

The Museum Project was the result of an ideas competition organized by the Hellín Municipality. The competition rules considered the refurbishment of the Casa del Conde as well as the construction of an extension on the plot area former occupied by some small service buildings of the house.

In the competition winning proposal we included the completely refurbished Casa del Conde as a part of the Museum. We even wanted to give it a main role, incorporating the former backyard facade as the background of the new main exhibition space. The inner court of the house played also a significant role as an exhibition area which established a relationship between the old and the new parts. The upper levels hosted an administration area and a library.

Nevertheless, at the time we developed the Project, and after a rigorous inspection of the building we confirmed that it was not possible to refurbish the whole house at a reasonable cost, so we decided to concentrate all the efforts in preserving and restoring the painted façade and those valuable elements (stone columns, ironworks,…) we could recover for the museum.

This way, the old façade, once disappeared the rest of the house, is no more only a construction element and becomes also a canvas, a decorated surface to be integrated in the museum as an exhibition object. Indeed a very special one, due to the decisive role it plays in the relation of the building with its surroundings (the Assumption Church) and with the city history and memory.

Despite the disappearing of the house, we preserve the volume occupied buy it, as a mechanism to adequate to the surroundings scale. The new building steps backwards, creating a small square in front of the main visitors access. Therefore the museum as a whole responds to a double urban scale, the close-scale of the street and the far-scale of the Church square. Besides the building adapts itself to the steep slope of the plot decreasing its height in the longitudinal section so that it keeps always the urban scale of the surrounding houses.

Another mechanism to integrate the building and give it a representative character is the use, for the facades, of the same local stone as the one of the nearby Church, keeping the museum into the chromatic spectrum f the historic centre.

In the inside, a white-concrete space, shaped by light, surrounds a sinuous way among the sculptures, which stand on several big wooden bases that organize the exhibition and contain the showcases for smaller objects. Therefore it happens just the opposite as in Easter, and in this case it is the visitor who wanders between the sculptures as he discovers them from different points.

The great scale of the main space, the intentional use of light and the construction with few and durable materials give the interior a character very appropriate for the important collection of religious sculptures to be exposed.

Droogloodsen Wienenberge - Lens°ass Architecten

Mon, 14 May 2012 16:32:18 +0200

Heritage
The drying sheds on the ‘Tuileries du Littoral’ site in Kortrijk were established in 1924 by Ernest Dumolin. The residual heat of the tile works’ baking ovens was pushed through a two-layered floor into the hangars where the pressed and wet roof tiles were dried. This principle was widely copied in many foreign countries. In the mid-sixties, the sheds were replaced by modern installations.

This place is a lieu de mémoire (site of memory). People have lived and worked here, and have consequentially become attached to the architecture and its surroundings. The visual impact of this ‘near-ruins’ on the landscape becomes the architectural motivation to preserve this industrial heritage in its pristine splendour. By placing a steel bracing structure in the sheds, and thus ensuring their stability, it became possible to give the building a new purpose.

The conservation of the building, the choice of a precise colour scheme, the custom-made window frames, and the recessed new window frames, reconcile the ruin’s history with its new function. Incidentally, the original windows were not designed to man-size height and a standard floor level in the building takes up one and a half story.
The connection with this building is so intense, that the Koramic-Terca-Wienerberger group will again relocate its offices to this heritage-rich location.

House in Strandbaden - DinellJohansson

Mon, 14 May 2012 13:06:01 +0200

This small summerhouse at the coast of Höganäs was modeled after Palladios famous villas in the Veneto. Different from those extraordinary estates, this house is all about spatial economy. The goal was to create a maximum amount of spatial subdivisions in a building whose size was limited by budget constraints. With Palladios villas it shares the intriguing quality of the cross shaped space and the idea of summer life as an utterly joyful experience.

vicino la cappella - bergmeisterwolf

Fri, 11 May 2012 17:27:12 +0200

Il lotto oggetto dell’intervento si trova in una piccola località sopra Vipiteno, a un’altitudine di 1400 m sul livello del mare. La località si compone di quattro case e una cappella. Una fatiscente abitazione contadina, dotata di un antico forno, doveva diventare la nuova casa per vacanze della famiglia Brunner.

günter richard wett. Pubblicata il 10 Maggio 2012.

La forza della cappella storica ha suggerito la formazione di un ensemble in montagna. L’approccio progettuale prevedeva fin dalle prime fasi l’integrazione delle varie funzioni – abitare, sauna, garage, pollaio – nel paesaggio, e il lavorare con oggetti trovati, il paesaggio e i resti dell’abitazione contadina – il muro di pietra, ma anche i materiali tradizionali come per esempio le scandole della cappella.

günter richard wett. Pubblicata il 10 Maggio 2012.

Il costruito doveva essere diviso per funzione, forma, materialità e ciononostante formare, attraverso la disposizione compositiva, un’unità. L’aprirsi e la moderazione dovevano essere caratteristiche del progetto. L’insieme genera un gioco tra architettura, paesaggio e arte.

günter richard wett. Pubblicata il 10 Maggio 2012.

Messi a punto gli elementi fondamentali del progetto, il punto di partenza concreto è stato il muro in pietra del vecchio maso. Dopo molte ricerche fummo in grado di trovare artigiani (artisti della pietra), in grado di costruire, secondo le antiche tecniche, il muro a secco senza l’impiego di malta. Data forma al guscio di pietra, nello spazio generato è stato posto a una distanza di 1,50 m il corpo dell’abitazione. Questo è stato rivestito di scandole di legno che riprendono la copertura della cappella. Dato che il corpo principale è avvolto dalle scandole – questo significa che le scandole si trovano anche in parti coperte – le scandole sono state esposte per un anno e mezzo alle intemperie, per ottenere un invecchiamento della superficie omogeneo: si tratta di un tono tendente all’argento.

günter richard wett. Pubblicata il 10 Maggio 2012.

I tre edifici sono stati collocati nel terreno senza alterare la forma del suolo. Anteposte ai corpi edilizi, le terrazze, che integrano lo spazio esterno.

günter richard wett. Pubblicata il 10 Maggio 2012.

Si accede all’edificio abitativo attraverso un piccolo ponte in metallo, che apre lo sguardo sullo spazio piantumato tra guscio in pietra e corpo in scandole. Una scala collocata in uno spazio vetrato, porta tra il muro in pietra e il rivestimento delle scandole, verso il basso alla zona notte – sempre con lo sguardo sul muro e lo spazio interstiziale verde.

günter richard wett. Pubblicata il 10 Maggio 2012.

Materiali semplici caratterizzano lo spazio interno: il solaio in cemento dalla texture caratterizzata da ruvide assi di legno, elementi in vetro stampato con le foglie dell’artista Lies Bilowski, acciaio e legno. Nello spazio che si apre dall’ingresso un gioco di volumi: nello spazio libero un corpo formato da lamiera d’acciaio che racchiude un wc; un forno a ole composto di antiche formelle; un mobile girevole che su un lato contiene libri e tv, mentre sull’altro vi sono appese le corna di un cervo – elemento rispetto al quale il committente prova un particolare orgoglio. Infine, riconoscibile e percepibile all’esterno, il corpo della stube sospinto nel mezzo, che si compone nel rivestimento interno da un’antica stube contadina.

günter richard wett. Pubblicata il 10 Maggio 2012.

Fondamentalmente sono stati riutilizzati i materiali antichi: la modernità è nella combinazione con nuovi materiali. Così anche nel piano inferiore. Il corpo-armadio in un verde intenso si pone in contrasto con l’antica parete, dietro la quale si trovano stanza e bagno.

günter richard wett. Pubblicata il 10 Maggio 2012.

Inoltre fa parte dell’ensemble il corpo esterno della sauna, che è profondamente conficcato nel terreno. Il piccolo edificio è stato rivestito con un intonaco dal color terra (il colore si basa su pigmenti organici; la superficie è modellata). Il tetto verde incrementa l’integrazione nel paesaggio. La terrazza aggettante è coperta e all’aperto contemporaneamente e apre un ampio sguardo sulla valle. Dialoga con il paesaggio attraverso le grandi aperture. Nell’interno: mosaici bisazza neri su pareti, solai e pavimenti. Nella zona della sauna: mobili in cirmolo massiccio. Uno spazio per tutti i sensi.

günter richard wett. Pubblicata il 10 Maggio 2012.

Dall’altro lato il garage, una nota sommessa. Un volume quasi nero è posto nel terreno piantumato, ed è costituito da semplici ritagli e assi di larice verniciate di nero.

günter richard wett. Pubblicata il 10 Maggio 2012.

Tutti gli elementi architettonici sono stati oggetto da parte della coppia di artisti Lois e Franziska Weinberger (partecipanti a Dokumenta e alla Biennale) d’installazioni della serie scritture.

pupp hotel - bergmeisterwolf, Christian Schwienbacher

Fri, 11 May 2012 17:25:26 +0200

L´obiettivo era quello di risarcire una parte di cittá e dare vita ad una piccola architettura per il turismo di appena 11 stanze.

jürgen eheim. Pubblicata il 10 Maggio 2012.

L´idea é stata quella di creare una struttura tripartita giocando con i volumi interconnessi dando vita ad un blocco che si apre e si chiude ai differenti livelli generando aree libere e bucature verso l´interno, cosí che la caratteristica di questa architettura e´principalmente quella di essere rivolta verso l´interno di se stessa, aprendosi poco verso la cittá, riscoprendo e restituendo quel senso si intimitá a chi andrá ad abitarla, anche se solo per un breve periodo come puo´essere quello di un soggiorno. Un piccolo mondo all´interno del suo “grembo”, un´architettura dal forte carattere introspettivo, lontana dalla solita e normale attivitá quotidiana di una cittá, giardini interni e patii permettono di rifugiarsi in una realtá completamente difforme da tutto ció che fa parte del nostro vivere quotidiano.

Il modo di porsi alla citta´denuncia questo suo essere cosí distante da tutto, non é questa un´architettura che intende nascondere il suo carattere cosí radicale, anzi al tempo stesso vuole generare un rapporto tensionale con le architetture della tradizione che la circondano, arrivando ad un “normale” stato di quiete che la rende partecipe del processo in divenire dell´immagine della cittá´.

jürgen eheim. Pubblicata il 11 Maggio 2012.

Límmagine che l´edificio restituisce alla cittá é quella di un volume puro, scavato nelle sue parti, reso plastico dal gioco di luci e ombre che si ripercuotono su di esso, un´immagine forte, un “gate”, un ingresso alla cittá in grado di rispondere con forza ad un immaginario cosí distante dalla tradizione, ma complice nel restituirsi alla cittá.

jürgen eheim. Pubblicata il 10 Maggio 2012.

schreckbichl kellerei - cantina produttori Colterenzio - bergmeisterwolf

Fri, 11 May 2012 17:24:12 +0200

La nostra intenzione era quello di dare un immagine non architettonica alla cantina che dal 1960 svolge la sua attivitá, creando un´immagine unitaria con quello che di recente si é andato a sviluppare nelle tecnologie e nelle immagini contemporanee.

günter richard wett. Pubblicata il 10 Maggio 2012.

Proprio a sottolineare la volontá di affermare questa differenza, le parti aggiunte di recente simboleggiano lo sviluppo e la tecnologia dei tempi moderni che dovrebbe essere riconosciuta come tale.

günter richard wett. Pubblicata il 10 Maggio 2012.

Il progetto architettonico segue il concetto della filosofia legata alla cantina dove il progresso della viticoltura rimane il punto centrale. Da un lato la facciata in quercia riprende le antiche tradizioni della fermentazione in botti di rovere, dall´altra il materiale metallico simboleggia lo sviluppo della tecnica nella produzione e nella conservazioni in fusti metallici per la grande produzione.

günter richard wett. Pubblicata il 10 Maggio 2012.

La facciata in quercia é stato il primo intervento su un impianto che si vede ancora oggi in via di progettazione di alcune sue parti.

günter richard wett. Pubblicata il 10 Maggio 2012.

Nella prima fase per l´appunto é stata giustapposta una seconda pelle di metallo e legno ad una distanza di 50 cm che gioca con spaziature, aperture, colori e ombre per un risultato finale di 45 metri per 9 di altezza strutturata in tre parti differenti, dove per ognuna di queste si é cercato un ritmo in modo tale che il risultato finale sia una differenza nell´unitarietá dell´insieme.

günter richard wett. Pubblicata il 10 Maggio 2012.

Sull´altro lato si trova invece la facciata di pannelli neri di lamiera stirata che ancora una volta cerca una complicitá relazionale con altezze e distanze, allo stesso tempo il materiale svela e cela dietro se stesso la realtá antecedente risaltandone le caratteristiche o nascondendola del tutto a seconda dell´inclinazione dalla quale la si osserva.

günter richard wett. Pubblicata il 10 Maggio 2012.

La facciatta in pannelli metallici segue “organicamente” il vecchio edificio, allargandosi e stringendosi all´occorrenza, appoggiandosi senza disturbare le attivitá e le attrezzature giá presenti in sito.

günter richard wett. Pubblicata il 10 Maggio 2012.

Insieme con l´artista Philipp Messner la facciata metallica é stata arricchita da zone circolari in acciaio inox lucidato, simile a specchi, installati come costellazioni, sia singolarmente che in gruppo a differenti altezze e in differenti posizioni. Queste superfici riflettenti generano una rottura sulla facciata, inoltre a casusa del continuo movimento dell´osservatore le superfici riflettenti generano sempre un continuo cambiamento del punto di vista nel riflesso, sia di giorno che di notte, al tempo stesso, vista nel suo complesso, l´installazione riprende il concetto del grappolo, da dove tutto ha inizio.

günter richard wett. Pubblicata il 10 Maggio 2012.

Legno e acciaio, contrasto materico che genera un diretto contatto con la cantina come spazio , si mettono in relazione con la natura, si aprono alla differenza arrivando ad una fusione completa con lo spazio circostante che li ospita generando una continua tensione che aiuta l´una all´accettazione dell´altra arrivando a quel concetto di “non Architettura” che il progetto persegue inserendosi con forza e con educata differenza nel paesaggio e con il paesaggio.