2017 Laureates Rafael Aranda, Carme Pigem and Ramon Vilalta Spain
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Archi-Ne Ws 2/20 17
www.archi-europe.com archi-news 2/2017 BUILDING AFRICA EDITO If the Far East seems to be the focal point of the contemporary architectural development, the future is probably in Africa. Is this continent already in the line 17 of vision? Many European architects are currently building significant complexes: 2/20 the ARPT by Mario Cucinella, the new hospital in Tangiers by Architecture Studio or the future urban development in Oran by Massimiliano Fuksas, among other projects. But the African architectural approach also reveals real dynamics. This is the idea which seem to express the international exhibitions on African architecture during these last years, on the cultural side and architectural and archi-news archi-news city-panning approach, as well as in relation to the experimental means proposed by numerous sub-Saharan countries after their independence in the sixties, as a way to show their national identity. Not the least of contradictions, this architecture was often imported from foreign countries, sometimes from former colonial powers. The demographic explosion and the galloping city planning have contributed to this situation. The recent exhibition « African Capitals » in La Villette (Paris) proposes a new view on the constantly changing African city, whilst rethinking the evolution of the African city and more largely the modern city. As the contemporary African art is rich and varied – the Paris Louis Vuitton Foundation is presently organizing three remarkable exhibitions – the African architecture can’t be reduced to a single generalized label, because of the originality of the different nations and their socio-historical background. The challenges imply to take account and to control many parameters in relation with the urbanistic pressure and the population. -
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, -
Architecture
ARCHITECTURE LE MUSEE SOULAGES, UN ECRIN POUR DES ŒUVRES SINGULIERES Service Educatif Musée Soulages – Service Educatif - Professeurs chargés de mission ARCHITECTURE- Le musée Soulages un écrin pour des œuvres singulières Sommaire 1 Musée Soulages : le projet ............................................................................................................................................... 1 Présentation générale ..................................................................................................................................................... 1 Le temps du projet .......................................................................................................................................................... 2 Le concours ..................................................................................................................................................................... 3 L’architecture du musée Soulages .................................................................................................................................. 4 L’agence RCR arquitectes ................................................................................................................................................ 5 2 La démarche RCR, le point de vue des architectes ........................................................................................................... 6 Les sources d’inspiration ................................................................................................................................................ -
LAUREADOS PRITZKER PRIZE PRITZKER 2018 Balkrishna Doshi Pune,Índia,1927
LAUREADOS PRITZKER PRIZE PRITZKER 2018 Balkrishna Doshi Pune,Índia,1927 • Estudante e colaborador de Le Corbusier e Louis Kahn • Em atividade profissional há mais de 70 anos, • Princípios • Arquitetura poética • Influências das culturas orientais • Amplo espectro de programas arquitetônicos desde a década de 1950 • Doshi é o primeiro arquiteto indiano a receber a maior honra da arquitetura. Iniciou seus estudos de arquitetura no ano da independência de seu país, 1947 • Depois de um período em Londres, mudou-se para a França para trabalhar com Le Corbusier, voltando para a Índia para supervisionar o trabalho de Le Corbusier em Chandigarh e Ahmedabad (Edifício da Associação de Proprietários de Moinhos (1954) e a Casa Shodhan (1956). • Também trabalhou com Louis Kahn no Instituto Indiano de Gestão em Ahmedabad, que teve início em 1962 Hussein Doshi Gufa em Ahmedabad Galeria de arte que lembra uma caverna exibe o trabalho do artista Maqbool Fida Husain. Muito parecidas com o estúdio Sangath, as estruturas em forma de cúpulas são revestidas de mosaicos. As obras de arte são afixadas diretamente nas paredes internas e as esculturas de metal repousam contra as colunas de forma irregular Juri • Júri do Prêmio Pritzker de 2018 –Glenn Murcutt (presidente), Stephen Breyer, André Aranha Corrêa do Lago, Yung Ho Chang, Kristin Feireiss, Lord Peter Palumbo, Richard Rogers, Benedetta Tagliabue, Ratan N. Tata, Kazuyo Sejima, Wang Shu e Martha Thorne – justificou deste modo a sua atribuição a Balkrishna Doshi: “O arquitetco indiano Balkrishna Doshi tem continuamente apresentado na sua obra os objectivos do Prêmio Pritzker de Arquitetura no mais alto grau. Tem praticado a arte da arquitectura, mostrando contribuições substanciais para a humanidade, há mais de 60 anos. -
Subject Index
Subject Index Aalto, Alvar, 22 Art Shed Southbank Architectural Com- bearing, solar angle diagrams, 334 Ackerman Student Union, University of petition, 2006, 383 Berkeley Art Museum and Pacific Film California at Los Angeles, Cali- Asia Society, Hong Kong Center, China, Archive, Berkeley, California, fornia, 250 410, 411 197 Adelaide University, South Australia, assembly drawing, linear perspective Bernal Heights residence, San Fran- School of Architecture, Land- drawing, 311 cisco, California, 262 scape Architecture and Urban Atocha Station, Madrid, Spain, 75 B FIVE STUDIO, 550 Design, 499 audience, portfolio, 463–64 Bilbao Effect, 120 Adelman/Liano residence, Santa Moni- August Wilson Center for African Ameri- BIM (building information modeling), ca, California, 207 can Culture, Pittsburgh, Penn- capabilities of, 93–94 Adobe Photoshop, 63 sylvania, 284 bird’s eye perspective African American Museum of Slavery, Aulenti, Gaetana, 22 linear perspective drawing, 246–47, Rockville, Maryland, 429 automobile 298–301 Aga Han Museum, Toronto, Canada, conceptual sketching, 73 one-point perspective from above, 242 representational drawing, 26–29 linear perspective drawing, Alaska, University of, Fairbanks, 198 auxiliary views, multiview-drawings, 177 248–49 alternatives, conceptual diagramming axes addition, orthographic and paraline underside perspective with, linear and sketches, 40, 44–45 drawing, 195 perspective drawing, 303 altitude, solar angle diagrams, 334 axial lines, orthographic and paraline Birkerts, Gunnar, 42, 69, 150 American Museum -
DREAM and NATURE ©Photo: Hisao Suzuki Hisao ©Photo
PRESS KIT RCRCATALONIA IN VENICE DREAM AND NATURE ©Photo: Hisao Suzuki Hisao ©Photo: RCR. Dream and Nature Catalonia in Venice Collateral Event of the 16. Mostra Internazionale di Architettura. La Biennale di Venezia. The Institut Ramon Llull presents as Collateral Event RCR. Dream and Nature_Catalonia in Venice, a project about the architecture firm, RCR Arquitectes - recipients of the Pritzker Architecture Prize in 2017 - for the 16th International Architecture Exhibition - La Biennale di Venezia, that will run from May 26th to November 25th, 2018. The project, which will represent Catalonia in the Biennale Architettura 2018 as Collateral Event and which is curated by journalist Pati Nunez and architect Estel Ortega along with RCR Arquitectes, reveals an unknown side of Rafael Aranda, Carme Pigem and Ramon Vilalta: their most intimate universe. These three architects have created a space to research and rethink man’s relationship to the world, located in the La Vila estate in the Bianya Valley (Girona), and it’s in this landscape that their project for 16th International Architecture Exhibition is based. In the words of RCR Arquitectes: “In Venice we will present our dream, unknown and unpublished up until now. It’s a key moment in the development of this project, and it’s through architecture that the birth of a utopia under construction that unveils our interior world is being represented.” The intention is that “those who visit the space at the Biennale will feel an immense draw to get to know La Vila and to perceive the force of nature, a force that can change you. -
El Croquis 189: Alfredo Paya, Toni Girones, Jose Maria Sanchez Garcia the Secret Life of Date Palms
I D E A B O O K S Architecture & Landscape I D E A B O O K S Architecture & Landscape El Croquis 189: Alfredo Paya, Toni Girones, Jose Maria Sanchez Garcia The Secret Life Of Date Palms El Croquis El Escorial 2017 Archizoom Lausanne 2017 ISBN 9788488386953 ISBN 9782970113201 $ 67.55* -- Idea Code 17231 $ 35.75* -- Idea Code 17188 author: Cyril Veillon Ed José María Sánchez García, Alfredo Payá, and Toni Gironès are the subjects of this triple focus on young Spanish architects. Although based in different cities and regions, they all launched their Six date palm characteristics provide the structure of this book: Form, Fruit, Hydration, careers in the 21st century, and each has since built notable projects throughout Spain and its Metamorphosis, Shade and Shadow, and Gender. Each investigation draws on Emirati traditions territories. Each architect’s profile includes a biography, a conversation with the architect, an essay and tacit knowledge to share a narrative that is infused with sensitivity, genuine curiosity, and by the architect, and several examples of built works. Gain insight on these three architects and human inventiveness. This is the story of a species that continues to provide great value to the recent highlights from the Spanish architecture scene, including the Rowing Pavilion in Alange, the Middle East. The hope is that the spirit of engagement and ingenuity employed throughout history Ibiza and Formentera Music and Dance Conservatory, and the Climate Museum in Lleida. inspires others to find value in their own regional -
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. -
Eisenman Architects’ Map
1 INTRODUCTION M Matteo Cainer Matteo Cainer is a practising After receiving his master’s degree from the University In 2013 he co-founded and co-directed with Odile of Architecture in Venice, Italy, Matteo worked and Decq the Confluence Institute for Innovation and Office Principal architect, curator and educator. collaborated with a number of celebrated international Creative Strategies in Architecture in Lyon, France Based in London, he is Principal of practices including Peter Eisenman in New York and was Chair and professor until July 2015. City, Coop Himmelb(l)au in Vienna, and Arata Isozaki Matteo Cainer Architecture, founder Associati in Milan. It was in London that he then In March of 2020 to respond to the pandemic he of the Confluence Institute for created/directed the Design Research Studio at launches MCA Online a free educational initiative to Fletcher Priest Architects, and in June 2010 opened provide help and support to home-bound students Innovation and Creative Strategies his own practice. with tutorials, crits and a series of Lectures. He then in Architecture in Lyon, France and launches as part of Alphabet for the Futrure “What Now? Curatorially in 2004 he was Assistant Director to and ‘Post C-19!’ an Open Call to all the Architectural Director of Architecture Whispers. Kurt W. Forster for the 9th International Architecture Graduates of 2020 to imagine and sketch how Exhibition of la Biennale di Venezia - METAMORPH, they see and want the future to CHANGE. Matteo and in 2006 was appointed curator of the London continues to be a regular guest critic and jury member Architecture Biennale - CHANGE, with the exhibition: in various universities worldwide. -
\ My Personal Experiences About Zaha Hadid
ArchiCreationArchiCreation36 λ৵喑⮱͗ϧ㏼侹ڠ \ MY PERSONAL EXPERIENCES ABOUT ZAHA HADID ⒅ᇖ \ Pan Yan 㔨䃾喟Ვᄜ \ Translator: Yang Jun γܳᲽ喑ᣏ䃕γ৵⮱䌢҉ͧ⣝АͨͶ䌢⮱᱙䉕ᆋᕔ喠ᄦλ৵e৵䔗ᓤᐧܧಸ䶦Ⱋ䔈㵹ϟࢳ㔰ᄌ⮱ധ̷ևڥ͗܍ᦅ㺮喟᱙᪴ᄦλ৵e৵䔗ᓤ㕹͇⩌⋜̻θߎࣾᆂ⮱̺ह䭣⃢⮱ ࡃহ྿Ҁߖᣕ̸䊲፥㻱⮱倅䕌ࣾᆂ喑Ꭳᄦ䔆ᐧま䃫䃎⤰ڕま䌢⮱ᐭ - 䌢⌽䊸⛌ - ䷻ᵩࡃ⮱⬂䔦݊ₒϔ⩌ - ䷻ᵩࡃᐭͧͨᄩ䔆ᵤ⮱ࣾᆂ㏬㉏䔈㵹γᣏ䃕喠ᎣՌₑ䃕䃧γᐧまጵౕ γᕊ㔰ȡౕ䔆ऻ喑䃧䔝ఋᑿݝ৵e৵䔗ᓤ͗ϧᄦλᐧま⮱᱗Გ⮱ᙌჅ⮱⾬䔼߈喑Ꭳᄦλ᱗Გ⮱ᐧまጵ喑ᐧまⵁ⾣㔲ຯ҂॥ᩣ喑ⵁ⾣৵e৵䔗ܧጯ౧ᐼᄦλᐧま䃫䃎ⅡᎠ⮱ᒞ৺և ᓤ⮱ᐧま䖄ϔևܧγᆂ᱈ȡ ABSTRACT: Based on the author’s personal visiting experiences, the essay analyses several typical projects in different stages of Zaha Hadid’s architect career, demonstrates the modernism nature of Zaha Hadid’s architectural practice; following the clue of Zaha Hadid’s personal career development and the institutional evolution of Zaha Hadid Architects, the research identifies four stages of Zaha Hadid’s architectural practice: practice beginning, gradually matured practice, Zaha style emerging, Zaha style dominating; accordingly, the essay discusses contemporary architects’ unconventional high-speed development levered by globalisation and mass media, and addresses the issue of new architectural design market’s influences on architectural design. Furthermore, the essay probes into Zaha Hadid’s extraordinary perceptional vision in architecture, raises up the questions of how to absorb and research Zaha Hadid’s architectural legacy for future architects, architecture researchers. 䩛䃺喟৵e৵䔗ᓤ喑㒻႓喑⣝АͨͶ㔲喑৵䷻ᵩ喑ᐧま䌢喑ᕊᘠ㔲喑㜗⩞喑ᙌჅ⾬䔼߈ڠ KEYWORDS: Zaha Hadid, aesthetics, modernist, Zaha style, architectural practice, liberty, perceptional vision ͚ఫܳㆨत喟TU-086 ᪴⡛ᴴ䃳喟A -
237 Luis Barragán and the Invention of Mexican
LUIS BARRAGÁN AND THE INVENTION OF MEXICAN REGIONALISM Giulia Mela Università IUAV di Venezia / IUAV University of Venice, Venice Italy. Abstract The work of Luis Barragán (1902-1988) embodies Mexican identity, and the architect is considered one of the most important figures of the Critical Regionalism movement in Latin America. Nevertheless, a comprehensive analysis of his own private library–kept at the Barragan Foundation, Switzerland and Fundación de Arquitectura Tapatía Luis Barragán, Mexico–tells a different story. In fact, the contemporary critical reception of his work has a far more complex genesis, which might be summarised as follows: 1. Barragán, nemo propheta in patria. For many years, Barragán’s work was better known abroad than in his own country. The national recognition came in 1976, with the Premio Nacional de Ciencias y Artes, after an exhibition at the MoMA in New York. At that time, Barragán was a 74-year old architect that had realized some of his most famous projects, such as the Casa Barragán, Tlalpan Chapel, Cuadra San Cristóbal, and Casa Gilardi. 2. Barragán, forger of an independent path. The urban project for Jardines del Pedregal was the turning point of Barragán’s career, and from the mid-1940s the architect distanced himself from the research path of his colleagues. His detachment from the academic, political, and theoretical infrastructure allowed him to develop an autonomous language. 3. Barragán, a “visual” architect. Barragan defined his work as “autobiographical” and inspired by the colonial villages of his childhood. This is partially true; alongside Mexican architecture, the architect was deeply fond of the timeless aura of vernacular architecture in general.