Monday, 31 December 2012

Peter Eisenman’s Guardiola house

Peter Eisenman’s Guardiola house

Location: Cadiz Spain
Designs completed 1988 (not actually built)
Client: D.Javier Guardiola

This conceptual house design by Peter Eisenman is a prime example of his ‘deconstructuralist’ style, where he refers to the house as a ‘receptacle’ (like sand on the beach: it is not an object of a place, but a record of the movement of the water) where ‘logic’ and ‘irrationality’ are fundamental components of this space. It is ‘frame and figure simultaneously’ and is based on 3 interweaving ‘L’ shapes penetrating in 3 planes.

Thursday, 20 December 2012

Chris Burden: Metropolis

Chris Burden, Metropolis II, installation view

Artist Chris Burden sees the future of mobility as standardized and mechanized, an urban vision of mechanization, much like the Case Study House Program launched in Southern California in the 1940s through the 1960s. Instead of mass production and standardized parts, Burden sees California's future through motorized and automated roadways, as visualized in Metropolis II (2010). Burden's kinetic sculpture modeled after a fast-paced modern city at the Los Angeles County Museum of Art (LACMA) boasts "a very hopeful future," according to the artist.

from here on DOMUS thank you

Wednesday, 19 December 2012

Flip Through Prod. Designer Syd Mead’s 'Blade Runner' Sketchbook

Flink here to SKETCHBOOK....

Blade Runner Concept Art - Los Angeles 1
Blade Runner Concept Art - Los Angeles 2
Blade Runner Concept Art - Vehicle
Blade Runner Concept Art - Sidewalk Diner

The final version of any futuristic sci-fi film is a wonder to behold when settings of entire cities are designed to look like they were crafted decades or even centuries in the future. However, those of us who like to look beyond the big screen usually find themselves fascinated with the production art that went into designing that world. In the case of Blade Runner, production designer Syd Mead and director Ridley Scott released a sketch book full of concept and production art from the film, but if you want the actual book it'll cost you a pretty penny somewhere online. But now the images have been posted online for your enjoyment.
Here are the Blade Runner concept art images courtesy of Comics Alliance (via The Playlist)

Sunday, 16 December 2012

Dr Julius Neubronner’s Miniature Pigeon Camera

from here.... thank you

In 1908 Dr Julius Neubronner patented a miniature pigeon camera activated by a timing mechanism. The invention brought him international notability after he presented it at international expositions in Dresden, Frankfurt and Paris in 1909–1911. Spectators in Dresden could watch the arrival of the camera-equipped carrier pigeons, and the photos were immediately developed and turned into postcards which could be purchased.

(All images from the National Air & Space Museum Spy Technology Section via Wikimedia Commons)

Saturday, 15 December 2012

Tolo House

Architect: Alvaro Leite Siza

Location: Lugar das Carvalhinhas – Alvite, freguesia de Cerva, Ribeira da Pena District
Site Area: 1000 sqm
Constructed Area: 180 sqm
Materials: Concrete
Project Duration: 2000-2005

Tolo House is a 3 bedroom holiday home in an unusually long and narrow location on the sharp slope of a woodland hill in Portugal. It is South-facing (maximum solar exposure) and immersed in thick forest making it inconspicuous and ‘at one’ with its natural surroundings.  

Due to its steep topography it was necessary to employ careful rational thought in how each element of the house ought to function. The result is that the various roofs function also as supports for the gardens, patios and small outdoor swimming pool, but also as a pedestrian link from the Northern high ground of the house to the Southern lower region. Down the Western side of the lot is a path which reflects the interior staircase connecting the several layers of spaces inside the building.

  It is simple form and works well at unifying the house with its slanting terrain. This is also achieved by the fact that the continuous monolithic structure is partially submerged in the hillside. The result is that it seems as if the reinforced concrete structure has somehow grown from the land as one, without disturbing the pristine environment around it.

 To conclude, Siza has clearly succeeded in designing an unobtrusive, economically-viable and functional home in a very challenging site.

sprikk . Earnest Studio . de+ge architects Safe House

team: Max Rink (sprikk) , Rachel Griffin (Earnest Studio), Simon de Jong (de+ge architects)

The Bergen Safe House is a temporary multi-purpose city structure, designed and built by Max Rink (SPRIKK), Rachel Griffin (Earnest Studio) and Simon de Jong (de+ge architects) during a 4-day competition in Bergen, Norway......

more here on AFASIA thank you!

Friday, 14 December 2012

Aalvar Alto: Baker House

The Baker House was designed by Aalvar Aalro in 1946 where he was lecturing at the  MassachussetsInstitute of Technology. It was built as a dormitory for students who were studying there.

Built with dark red bricks, the building resembles a curving “S” shape which slithers along the north side of the Charles River.  This is because at the start Aalto looked at ways of maximizing the view of the river for every student. Because a simple single-sided slab building would not contain sufficient rooms, he looked at how parallel blocks and fan –shaped ends as well as the “giant gentle polygon” which then eventually resolved into the final ‘S’ curve design of the building could increase the density of the building. The building is also cladded in timber to allow it to form a relationship with the trees and nature surrounding it.

Aalto did not want to design north-facing rooms as he wanted most rooms to have a view of the river from the east or west so he merged the rooms on the western end into double and triple rooms. He also wanted the views of the rooms to not be placed at right angles towards the busy main street thus this is resolved by the surging peaks of the building’s curve form. The building accommodates 43 rooms with 22 different room shapes per floor therefore customized built-in furniture is required for each distinct rooms. 

Small House by Kazuyo Sejima

Area context
The building is located in one of downtown Tokyo’s most attractive areas, surrounded by fashionable boutiques and exclusive restaurants. The footprint of 388-square-foot buildable area on a 646-square-foot lot is incredibly small; however this is not unusual to build on such a small site in Tokyo, where demand for property and real estate values are very high. The city has no minimum buildable lot size restrictions but shadow and setback regulations limit the size of the building envelope. 
On such a small site, it is crucial to maximise the potential of every space so Sejima adopted the strategy of calculating the permissible building envelope and then designed from the outside in.
From the outset, Sejima thought the building should be a unique-looking response to its extreme site conditions. The shape, she maintains, resulted from the requirements of the slabs and walls so function dictates the form here.
The spaces created on such a site are unavoidably small, facilitating the minimum necessities of daily life. However when considered in context this house is successful because many people in Tokyo live in confined spaces which creates a need for urban resources to expand the occupant’s available space. The result is a culture that uses parks instead of back gardens and cafes instead of living rooms - which suits this house perfectly.

Structure and staircase
The main element of this house is the spiral staircase that connects the four floors. The design of this staircase is very open which creates a sense of freedom and encourages sociological behaviour in the inhabitants. The openness of the staircase also helps create subdivisions between the floors, which induces a sense that there is more space in the building and eliminates the feeling of being trapped within a confined space.
The square enclosure for the staircase is the core structure, made from vertical and diagonal steel bars it acts as a column to counter horizontal shear and earthquake forces. The outer skin of galvanised steel and glass is supported by a web of steel with elements no more than two inches in diameter. The vertical parts of the steel webbing wrap around the building like flow lines that respond to the changing dynamics between floors.
The concrete floors partially cantilever off the staircase enclosure and connect the interior and exterior steel work. As a result of the ever changing dimensions between central staircase and exterior wall, the building adopts a sense of weightlessness that is accentuated by the glass walls. The powerful sculptural presence of the staircase varies constantly as the occupant moves through the building according to the outside wall’s proximity, shape and transparency.

Arrangement of spaces related to family needs
The house was designed to function as a family home and due to the space limitations; each floor was only given one or two uses. Segima says that she “felt uncomfortable dividing up already small spaces” and as such, she uses the spiral staircase to separate rooms instead of walls.
The dimensions and shifting of the four floors was carefully considered in relation to the parameters of the site and the client and to best accommodate each floor’s functional requirement. The floors were also arranged to achieve hierarchy:
Basement: Parent’s bedroom and lavatory with shower. So as not to waste space on an unnecessarily large bedroom, the space was split to allow for a sunken patio as well.
First Floor: main entrance and daughter’s future room. This floor was deliberately kept small to allow for an off-street parking lot – a must for Tokyo car owners.
Second Floor: Prime gathering area for cooking, living and dining. The ceiling soars to 11-foot-high, befitting its importance as the prime gathering place. “Every other slab is smaller and cannot project beyond this one” Segima explains. Room was needed on this floor to fit a galley kitchen so the slab was pushed out towards the property line.
Third Floor: a bathroom with a deep soaking tub and city views shares the third floor with a covered terrace.

Each floor defines different-sized open spaces around the fixed vertical element of the staircase. The floors align with exterior spaces to create an almost perfect use of space arranged in a sort of three dimensional jigsaw.

Privacy, light and views
The tilting, faceted outside walls change the quality of light and view for each room. With angled surfaces of standing-seam galvanized steel and clear or translucent glass panels, each face was carefully orchestrated to maximize the connection to the outdoors without compromising privacy. To achieve this balance, Sejima punctured the opaque walls with openings carefully positioned to control views in and out. She also cut clear areas within the glazing's translucent film and provided square, hinged windows, just big enough to let in fresh air. 
Glass wraps both corners but aptly turns translucent where the building greets the street. Through the clear zones, distant views of the Shinjuku business district's skyscrapers make the interior seem bigger. 

The form is truly unique, somewhat dictated by the required function but still featuring unusual geometry. The desired effect if for the occupants to feel liberated through a series of connecting spaces that relate to and accommodate for the exterior arrangements.


BRUDER KLAUS CHAPEL                                               Stan Anastasia
(Mechernich – Wachendorf 2007)

“in order to design buildings with a sensuous connection to life, one most think in a way that goes far beyond form and construction.”
- the mystical and thought – providing the interior is masked by  a very rigid rectangular exterior
- the design was constructed by local farmers who wanted to honor their patron saint – Brudr Klauss – of the 15th Century

-the building appears like a single intervention, but not very impressive from the outside; it’s minimal architecture
- even though from the outside the building seems more like a single wall, the entrance is the first element that suggests an upward direction

- Jhon Ruskin: “Architecture is sacrifice”.
-I think it’s about the sacrifice, because the interior of the chapel is quite complex (tree trunks were sacrified and then the concrete was poured over them); after that the chapel was burned from the inside – sacrifice again – and only the concrete remaind
-as the chapel’s main purpose is to give you the feeling of something that is not physically present, here this ceremony is represented through those tree trunks, because somehow even if they are not present anymore, their follow can still be read

- Usually this ritual appears under the existence of some established symbols (eg. Like the cross)
- like the cross became from pagan symbol a saint one, after being Jesus’s sacrifice place, this raw material ( tree trunks) becomes sacrifice through sacrifice
- the building work like a wind tower, because of the upper hole and probably it is very cold inside – this makes you thinking about the caves ( as being the first shelter of the humans) – the mysterious, the stranger of the exterior
- the light comes from the outside through that upper hole and it seems like the permanent link with the exterior, with the intangible
-it’s like saying that art is not the final manufacture, but the entire process

4+1 Peter Salter: Building Projects

4+1 Peter Salter: Building Projects is a book that denotes for Japanese projects and one proposal for Glasgow City of Architecture. Peter Salter’s perspective sketches, details plans and sketch models as the processes of each project are shown in this book. 

The medium used for Peter Salter during the thought process of designing ranges from complex technical plans, watercolour perspectives to making sketch model to portray his ideas.
The use of ink and watercolour on his perspectives drawings reveal a sense of character of the environment that he is trying to depict. Human are drawn in his perspectives thus it depicts clearly the scale of the spaces on the drawings.
With the use of watercolour, it shows suggestion of the texture of material use on different area. Details (eg. sculpture; image panels on wall, planters) are drawn clearly in the perspective, thus the drawings portray clearly what he is trying to convey. His drawings convey an extremely high quality of the spatial atmosphere, material and construction.
Looking at his detailed drawings of plans and sections, various line weights as well as lines shading were used. Thus, we can clearly see the depth of different elements as well as the material of each of them.

Various axonometric drawings are drawn when he is trying to shown a particular part of the design in detail.

Peter Zumthor in DEZEEN

“I’m a passionate architect… I do not work for money” – Peter Zumthor




Thursday, 13 December 2012

Villa Savoye- Le Corbusier

Villa Savoye
The Villa Savoye was to Le Corbusier and the architecture world a chance to fully create an architectural philosophy in a physical form. The Villa Savoye is such a complex and interesting building which combines the 5 points of architecture that so strongly dictated and drove the work of Le Corbusier.

From the use of ramp access, to the driveway being perfectly tailored to encompass the turning circle of a 1927 Citroën the whole building oozes the concepts of freedom of movement and prescription of space. The building was given ribbon-windowing and elevated off the ground to create a clear distinction between the occupants and the ground below and this frees up the ground-floor which is solely a garage. The freedom allocated by the French couple who commissioned it has given rise to such a clean and elegant building but one that seems very cold and sparse inside. 

The Villa does not have the feeling of somewhere you want to live and therefore questions the validity of his 5 principles of architecture. That withstanding the Villa Savoye is still an icon in the architectural world and to me a stand out as the one building that truly reflects Le Corbusier and demonstrates what can be achieved when you have full artistic control of a project, but highlights the issues that can be associated with this.