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Parque De Los Colores
PARQUE DE LOS COLORES DESCRIPCIÓN DEL PROYECTO El parque de Mollet del Vallès, con el Centro Cívico y la Ludoteca, ocupa una superficie de aproximadamente 10.000 mq y surge en un área que originalmente era marginal. Sin ninguna identidad, simplemente delimitada por las construcciones que la rodeaban. Debido a que el terreno estaba libre de construcciones, se pudo trabajar con la topografía, obteniendo distintas zonas a partir de las diversas funciones: la zona de juegos, los paseos, los descansos, el verde. Los temas principales del proyecto derivan del lugar: como los edificios del barrio estaban recubiertos por decoraciones murales surgidas espontáneamente, del mismo modo se re-propone en el parque este tema por medio de la realización de paneles suspendidos sobre pilares. Las ságomas de estos paneles están estructuradas como verdaderos graffitis tridimensionales y las sombras –junto con las de los edificios circunstantes– localizan en el parque zonas con funciones diferentes. La Ludoteca es un volumen semicircular que se puede subdividir mediante paredes móviles; se genera sobre tres niveles escalonados, de manera tal que pueden comunicarse recíprocamente las tres distintas áreas de juego que contiene. Los accesos desde el exterior son una parte muy importante del proyecto del Centro Cívico, ya que el edificio se desarrolla alrededor del nivel de ingreso. La sombra de los edificios y la sucesión de los pilares, la vegetación, dispuesta en espesas masas arbóreas, el teatro al aire libre, formado por las gradas de la pista de bochas, -
The Ethos in the Form Making of Grand Projects in Contemporary Beijing City .Fiotch
The Ethos in the Form Making of Grand Projects in Contemporary Beijing City By Keru Feng Bachelor of Architecture Beijing Polytechnic University, 1999 Submitted to the Department of Architecture in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies at the Massachusetts Institute of Technology June 2004 @ 2004 Keru Feng All rights reserved The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of Author Department ofArchitecture May 19, 2004 Certif ied by Norman B. and Muriel Leventhal Professor of Architecture and Planning Thesis Supervisor Accepted by Julian Beinart Chairman, Department Committee on Graduate Students MASSACHUJSETTS INS fVTE OF TECHNOLOGY 2004 JUL 0 9 LIBRARIES . FiOTCH THESIS COMMITTEE Thesis Advisor William Porter Norman B. and Muriel Leventhal Professor of Architecture and Planning Thesis Reader Stanford Anderson Professor of History and Architecture; Head, Department of Architecture Thesis Reader Yan Huang Deputy Director of the Beijing Municipal Planning Commission The Ethos in the Form Making of Grand Projects in Contemporary Beijing City By Keru Feng Submitted to the Department of Architecture on May 19, 2004 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies ABSTRACT Capital cities embody national identity and ethos, buildings in the capital cities have the power to awe and to inspire. While possibly no capital city in the world is being renewed so intensely as Beijing, which presents both enormous potential and threat. Intrinsic to this research is a concept that the design culture of a city is formed largely by the national character, aesthetic value and culture distinctive to that city; these are the soil of design culture which merit careful observation and description. -
GRIGORY MASLENNIKOV " ARCHITECTURAL CONSTRUCTIONS" Architectural Constructions
GRIGORY MASLENNIKOV " ARCHITECTURAL CONSTRUCTIONS" Architectural constructions Architecture is the language of giants, the greatest system of visual elements that was ever created by the humankind. Just like artists, architects are not inclined to talk much, because they are aiming to create tangible objects. Each creative professional has their own tools for communicating their thoughts and feelings. For me, the most complicated yet essential element of architecture and art is simplicity. Simple forms require perfect proportions and measurements that result in visual harmony. To achieve that in my works I experi- ment with texture and colours. It’s not an easy task trying to translate words into construction elements. But being an admirer of archi- tecture myself, I’m setting out on a mission to reimag-ine creations by leading architects of the world in paintings. It’s a complicated yet fascinating challenge. Please join me on my quest powered by imagination and by the artistic tools that will bring it into reality. Painting 1 Ettore Sottsass 170 х 120 cm oil, canvas The painting by the “patriarch of Italian design” is a reflection of his inclina-tion towards simple geome- try, bright colours and playful style. His architec-ture is intimate and is meant for people, not institutions. At its core is the tradi-tionally Medi- terranean approach to life - seizing every moment and enjoying simplicity. Painting 2 Arata Isozaki 170 х 120 cm oil, canvas, metal This work describes Isozaki’s own character. One of the leaders of the 1960s’ avant-garde movement, he learnt from Kenzo Tange and managed to introduce romanticism and humour into large-scale urban construction. -
The Vision of a Guggenheim Museum in Bilbao
HARVARD DESIGN SCHOOL THE VISION OF A GUGGENHEIM MUSEUM IN BILBAO In a March 31, 1999 article, the Washington Post? posed the following question: "Can a single building bring a whole city back to life? More precisely, can a single modern building designed for an abandoned shipyard by a laid-back California architect breath new economic and cultural life into a decaying industri- al city in the Spanish rust belt?" Still, the issues addressed by the article illustrate only a small part of the multifaceted Guggenheim Museum of Bilbao. A thorough study of how this building was conceived and made reveals equally significant aspects such as getting the best from the design architect, the master handling of the project by an inexperienced owner, the pivotal role of the executive architect-project man- ager, the dependence on local expertise for construction, the transformation of the architectural profession by information technology, the budgeting and scheduling of an unprecedented project without sufficient information. By studying these issues, the greater question can be asked: "Can the success of the Guggenheim museum be repeated?" 1 Museum Puts Bilbao Back on Spain’s Economic and Cultural Maps T.R. Reid; The Washington Post; Mar 31, 1999; pg. A.16 Graduate student Stefanos Skylakakis prepared this case under the supervision of Professor Spiro N. Pollalis as the basis for class discussion rather to illustrate effective or ineffective handling of an administrative situation, a design process or a design itself. Copyright © 2005 by the President and Fellows of Harvard College. To order copies or request permission to repro- duce materials call (617) 495-4496. -
La Planta Miralles Representación Y Pensamiento En La Arquitectura De Enric Miralles
2013 DPA - Departamento de Proyectos Arquitectónicos ETSAM - Escuela Técnica Superior de Arquitectura de Madrid LA PLANTA MIRALLES REPRESENTACIÓN Y PENSAMIENTO EN LA ARQUITECTURA DE ENRIC MIRALLES Autor: Javier Fernández Contreras, Arquitecto Director: José Manuel López Peláez, Doctor Arquitecto Índice 00 01 LA PLANTA MIRALLES REPRESENTACIÓN Y PENSAMIENTO EN LA ARQUITECTURA DE ENRIC MIRALLES ÍNDICE RESUMEN - ABSTRACT 2 0. INTRODUCCIÓN 4 0.1. Representación y pensamiento en la arquitectura de Enric Miralles 4 0.2. Definición de “planta Miralles”. Hipótesis 6 0.3. Estructura de la tesis 8 0.4. Método de investigación 10 1. LA PLANTA MIRALLES 1.1. GEOMETRÍA: DIBUJO EN PLANTA Y TIPO ARQUITECTÓNICO 14 1.1.1. Formación de Enric Miralles: el pensamiento gráfico 14 1.1.2. Miralles/Pinós. De la escuadra y cartabón a los planos croissant 26 1.1.3. Enric Miralles y EMBT. La planta como contorno, la maqueta como sección 48 1.1.C. Dibujo manual de Enric Miralles: la geometría soporte 78 1.2. DIÉDRICO: FRAGMENTACIÓN DE LA PLANTA Y COMPOSICIÓN POR PIEZAS 82 1.2.1. Planta matriz y planos parciales: concepto 82 1.2.2. Dos familias compositivas: yuxtaposición y superposición 84 1.2.3. Yuxtaposición: de la composición urbana a la fragmentación arquitectónica 86 1.2.4. Superposición: de la planta libre al plano de situación en altura 124 1.2.C. Autonomía y relatividad: el límite de una planta 141 2. CONSTRUCCIÓN EN PLANTA MIRALLES: LA REUNIÓN DE LOS FRAGMENTOS 144 2.1. Los proyectos de yuxtaposición: discontinuidades e intersticios 145 2.2. Los proyectos de superposición: la tectónica de lo aéreo 164 2.C. -
Conferencia Dada En La Facultad De Arquitectura De Oporto, Portugal
Conferencia dada en la Facultad de Arquitectura de Oporto, Portugal, dentro del “6th European Symposium on Research in Architecture and Urbanism, EURAU 12”, celebrado en Oporto del 12 al 15 de Septiembre de 2012. Publicación en actas digitales del Congreso del artículo “Enric Miralles Santa Rosa´s Park in Mollet del Valles: Redefining public space in contemporary city” http://eurau12.arq.up.pt/sites/default/files/588.pdf CONGRESO EURAU 12. OPORTO. PORTUGAL MATEO_VEGA_JOSE MANUEL_MERITOS “Enric Miralles’ Santa Rosa´s Park in Mollet del Vallés: Redefining public space in contemporary city”. EURAU’12 ABSTRACT: This article attempts to show the influence of Enric Miralles’ project in Santa Rosa’s park (1992-2001), in Mollet del Vallés (North-West of Barcelona). How in the middle of an empty, degraded, and useless field, the contemporaneous architect assumes the responsibility of intervene to give live to this wasteland generating an ideal landscape, amending the breach previously existing in the surroundings. This project proves that there are still some models and practices that enlighten the future of public space in contemporary city. The park shows that the local authorities chose the right man for the job. Nowadays, the people of the districts of Santa Rosa, Plana Lledó and Can Borrell (a very old neighborhood, a working-class district of the 60’s and a new neighborhood) walk freely and enjoy collectively of the environment. KEYWORDS: site, landscape, public space, contemporary city, natural, artificial José Manuel Mateo Vega Institution: Escuela Técnica Superior de Arquitectura de Madrid. ETSAM. Professional postal: Utrillas 8, 5º D – Madrid 28043 – Spain Email: [email protected] Telephone: +34 616 553 580 1. -
Architecture As a Game, Isozaki in Barcelona
ARCHITECTURE ARCHITECTURE AS A GAME, ISOZAKI IN BARCELONA THEREIS NO DENYING THE GROWING IMPORTANCE OF JAPANESE ARCHITECTURE TODAY. IN ISOZAKI'S APPROACH TO HIS WORK IN THE WEST, HE REMAINS FAITHFUL TO HIS ORIENTALORIGINS THOUGH WITHOUT FORGETTING THE WESTERN WORLD. PAVlllON SANT JORDI. BARCELONA. ARCHITECTURE ARCHITECTURE PAVlLlON SANI JORDI. BARCELONA. ven before the lnternational the construction of the INEF (National nized as the most characteristic devel- Olympic Committee chose Bar- lnstitute for Physical Educationl was as- opment in contemporary Catalan cul- celona to host the summer signed to Ricard Bofill and his Taller ture, and come across Antoni Gaudí and games of 1992, the city felt an over- d'Arquitectura, and finally, the new Pa- his student Josep M. Jujol. From Gaudí whelming need to retrieve the sports lau dlEsports was to be the work of the he has borrowed those structural and precinct for which the stadium had been architect Arata Isozaki. formal elements which leave most room for built, at the end of the twenties, as part Arata lsozaki was born in 1931 in Oita, creativity while at the same time recog- of the development of the mountain of Kyushu, in Japan. He was a favourite nizing their links with Catalan architec- Montjuic. In this way, the "Estadi" and student of Kenzo Tange, with whom he ture. lsozaki wants his work to relate to the "Palau Nacional" became the last worked on the proiects for the 1964 its location, not only by virtue of its two symbols to lose their condition of Olympic Games in Tokyo, in particular formal affinity to Catalan architecture, ephemeral architecture after the Barce- on the Sports Palace in Takamatsu, be- but mainly because he is interested in lona lnternational Exhibition of 1929 tween 1962 and 1964. -
New Museums in China
NEW MUSEUMS IN CHINA CLARE JACOBSON PRINCETON ARCHITECTURAL PRESS NEW YORK ix INTRODUCTION: Building Culture EAST xiii Note to the Reader 11. NANJING 74 SIFANG ART MUSEUM Steven Holl Architects PROJECTS 80 JIANGSU PROVINCIAL ART MUSEUM KSPJiirgen Engel Architekten NORTHEAST AND NORTH 12. SUZHOU 1. HARBIN 84 SUZHOU MUSEUM 1 CHINA WOOD SCULPTURE MUSEUM I. M. Pei Architect with Pei Partnership Architects MAD Architects 13. SHANGHAI 2. CHANGCHUN 90 ROCKBUND ART MUSEUM 4 MUSEUM OF CULTURE, FINE ARTS, AND SCIENCE David Chipperfield Architects 96 SHANGHAI MUSEUM OF CONTEMPORARY ART Architekten von Gerkan, Marg und Partner Atelier Liu Yuyang 3. CHAOYANC 100 ZHUJIAJ1AO MUSEUM OF HUMANITIES AND ARTS 8 NIUHELIANC ARCHAEOLOGICAL MUSEUM Scenic Architecture Office Sutherland Hussey Architects with Pansolution 104 HIMALAYAS ART MUSEUM International Design Arata Isozaki & Associates 108 SHANGHAI AUTO MUSEUM 4. QINHUANGDAO IFB Dr. Braschel AG 12 QINHUANGDAO BIRD MUSEUM 112 MINSHENG ART MUSEUM Turenscape Approach Architecture Studio 116 SHANGHAI MUSEUM OF GLASS 5. TANGSHAN logon 16 TANGSHAN MUSEUM 120 SHANGHAI NATURE MUSEUM Urbanus Architecture & Design Perkins+Will 6. TIANJIN 14. LIANGZHU TOWN 20 TIANJIN MUSEUM 124 LIANGZHU MUSEUM Shin Takamatsu Architect & Associates with David Chipperfield Architects Kawaguchi & Engineers 15. HANGZHOU 7. BEIJING 130 MUSEUM OF THE IMPERIAL ROAD 24 CAFA ART MUSEUM Amateur Architecture Studio Arata Isozaki & Associates 134 CHINA COMIC AND ANIMATION MUSEUM 30 NATIONAL MUSEUM OF CHINA MVRDV Architekten von Gerkan, Marg und Partner 36 SONGZHUANC ART MUSEUM 16. NINGBO DnA Design and Architecture 138 NINGBO HISTORY MUSEUM 42 CHAOYANG URBAN PLANNING MUSEUM Amateur Architecture Studio NEXT Architects 46 IBERIA CENTER FOR CONTEMPORARY ART Approach Architecture Studio SOUTH CENTRAL 50 MINSHENG MUSEUM OF CONTEMPORARY ART Studio Pei-Zhu 17. -
Benedetta Tagliabue
BENEDETTA TAGLIABUE Benedetta Tagliabue was born in Milan and studied in Venice and New York. Graduated from IAUV (Istituto Universitario di Architettura di Venezia) in 1989. In 2004, awarded an Honorary Doctorate by the Arts and Social Science Faculty Napier University, Edinburgh, Scotland. In 1991 formed a partnership with Enric Miralles and founded Miralles Tagliabue EMBT. She is presently Visiting Lecturer at Columbia University in New York and she is directing summer workshops at TEC de Monterrey (Mexico) and the School of Architecture in Venice (IUAV). Visiting lecturer at ETSAB from 2000-2008 and at l´École Spéciale d’Architecture (ESA), París in 2007. Speaker at many architecture schools, Universities and colleges of architects in the USA, South America, Europe and Asia (Columbia University, University of Southern California, Central University of Venezuela, Zheijang University, China, R.I.B.A. (The Royal Institute of British Architects), A.A. (Architectural Association), London, Mackintosh School, Glasgow, among others). She is invited to participate as a jury in international architectural competitions and prestigious awards including the RIBA Stirling Prize 2009. Recently she has received the RIBA’s International Fellowships for her particular contribution as a non-UK architect. Honorary Member of the Royal Incorporation of Architects in Scotland and the Royal Institute of British Architects. COMPLETED PROJECTS 2010 Parking an remodelling public spaces of Ricard Viñes piazza, Lleida, Spain Spanish Pavilion for the International Exhibition Shanghai 2010 2009 Scenery for Merce Cunningham Dance Company Scenery for a play based on John Berger's novel. Directed by Isabel Coixet. Barcelona, Spain Camper shoes store interior design in Sevilla Furniture Design for a Research Center in Benasque, Spain 2007 Hafencity Hamburg Public Space, Marco Polo Platz, Germany Public Library in Palafolls, Catalunya. -
SOCIAL URBAN REGENERATION Postgraduate Diploma of Architecture and Urbanism
SOCIAL URBAN REGENERATION Postgraduate Diploma of Architecture and Urbanism Barcelona, October 6th 2016 Duration 10 weeks full-time Enric Miralles Foundation, Barcelona Universitat Politécnica de Catalunya (UPC) The Enric Miralles Foundation and the Universitat Politécnica de Catalunya (UPC) are collaborating to host a specialized course in the process of integrated urban regeneration. Based on the way of thinking and working of Enric Miralles and learning his methodology and his technique, and by joining the way of doing of EMBT Miralles Tagliabue the students will specialize on contemporary sustainable integrated Urbanism. Contact: The course aims to give students the necessary skills to develop an urban [email protected] project from start to finish, participants will create their own proposals for the T. +34936241702 Calling hours: “2017 Grand Paris Clichy-Montferneil Suburbs of Paris” project by integrating Monday to Friday all necessary theoretical and practical aspects on urbanism and creative 10am to 3pm and 4pm to 7pm design development. Where: Course leaders: Benedetta Tagliabue, Josep Maria Rovira, Igor Peraza, Salvador Fundació Enric Miralles Pass. de la Pau 10 (bis) Gilabert, Elena Nedelcu, Joan Callis, Salvador Rueda, Santiago Cirugeda, 08002, Barcelona Carolina García, Makoto Fukuda, Josep Ustrell. www.fundacioenricmiralles.com CENTER FOR EXPERIMENTATION OF CONTEMPORARY ARCHITECTURE The Enric Miralles Foundation is an open space in which the legacy of Enric´s work can continue to inspire new generations of architects to experiment and explore. It is based on methods of inquiry established by Enric and is conceived of as a platform for the promotion of knowledge. In addition to housing the archive of Enric Miralles, the Foundation will promote programs, workshops, courses, conferences, lectures, and international exchanges. -
Modelling Diagrams
Ateliers Jean Nouvel Paris Capella Garcia Architects Barcelona Miralles Tagliabue Barcelona Shmidt Hammer Lassen Copenhagen David Adjaye Architects London The Next Enterprise Vienna Bolles + Wilson Munster Schultes Frank Architects Berlin VMA Vienna Coop Himmelb(l)au Vienna Christian Kerez Architects Zurich J Mayer H Berlin Lynch Architect London TEEMA Architects Antwerp Claesson Koivisto Rune Stockholm Nigel Coates London JDS Architects Copenhagen Foster and Partners London Kruunenberg Architects Amsterdam Xaveer De Geyter Architects Brussels S.M.A.O Madrid Christian Sumi Zurich Agps architects Zurich Ateliers Jean Nouvel Paris Capella Garcia Architects Barcelona Miralles Tagliabue Barcelona Shmidt Hammer Lassen Copenhagen David Adjaye Architects London The Next Enterprise Vienna Bolles + Wilson Munster Schultes Frank Architects Berlin VMA Vienna Coop Himmelb(l)au Vienna Christian Kerez Architects Zurich J Mayer H Berlin Lynch Architect London TEEMA Architects Antwerp Claesson Koivisto Rune Stockholm Nigel Coates London JDS Architects Copenhagen Foster and Partners London Kruunenberg Architects Amsterdam Xaveer De Geyter Architects Brussels S.M.A.O Madrid Christian Sumi Zurich Agps architects Zurich Ateliers Jean Nouvel Paris Capella Garcia Architects Barcelona Miralles Tagliabue Barcelona Shmidt Hammer Lassen Copenhagen David Adjaye Architects London The Next Enterprise Vienna Bolles + Wilson Munster Schultes Frank Architects Berlin VMA Vienna Coop Himmelb(l)au Vienna Christian Kerez Architects Zurich J Mayer H Berlin Lynch Architect -
010, Un Ciclo Ricorrente Di Conferenze Affidate Ai Protagonisti Della Cultura Internazionale
BENEDETTA TAGLIABUE Miralles Tagliabue EMBT Benvenuto Lectures Aula 4H Invito del Preside Facoltà di Architettura dell’Università degli Studi di Genova Stefano F. Musso Stradone S. Agostino, 37 Genova Nella linea della migliore tradizione universitaria, Miralles Tagliabue EMBT has a main office in Benedetta Tagliabue is a renowned Italian architect la Facoltà di Architettura di Genova promuove, Barcelona and a branch in Shanghai, operating all established in Barcelona for more than twenty years. dal 2010, un ciclo ricorrente di conferenze affidate ai protagonisti della cultura internazionale. over the world. Born in Milan, she completed her studies in Pur restando centrale la dimensione architettonica Miralles Tagliabue EMBT can be seen as a Architecture in Venice and New York. In 1991 e territoriale, saranno affrontati temi di diversa melting pot of ideas, a meeting point of traditions started her collaboration with Enric Miralles with estrazione disciplinare e con diverse angolazioni and innovations; where each project presents a whom founded Miralles Tagliabue EMBT studio in interpretative. Filosofi, storici dell'arte, artisti, esperti di comunicazione, scienziati, sociologi, challenge and at the same time a new learning 1994. She designed her first project in China in 2010, politici, economisti... saranno chiamati a opportunity. the Spanish Pavilion at the Shanghai World Expo confrontarsi e a dibattere su argomenti di forte It’s without question an open approach, full of 2010 and received the prestigious RIBA cogenza culturale. Proprio per l’ampiezza del exploration and experimenting. Even so the high International Award for Best International Building ventaglio disciplinare, il ciclo di conferenze sarà chiamato «Benvenuto Lectures»; in ricordo di level of conceptual thought is fundamental.