Grundsteinlegung am 24. Mai 2013 um 14.00 Uhr
Das von Gerber Architekten geplante neue Verwaltungsgebäude zur Ardeystraße verbindet die beiden bisher voneinander getrennt stehenden Bauten der Handwerkskammer und macht nun mit der auskragenden Terrassierung auf die für Dortmund wichtige Institution aufmerksam. Die Handwerkskammer erhält so eine einheitliche, eindeutige und vor allem neue repräsentative Adresse. Die Auskragungen gestalten gleichzeitig eine großzügige überdachte Vorfahrt und eine fließende Eingangssituation, schon vor dem Eintreten empfängt das neue Gebäude den Besucher.
Zu den Gästen sprechen der Präsident der Handwerkskammer, Herr Otto Kentzler, die Bürgermeisterin der Stadt Dortmund, Frau Birgit Jörder sowie der Architekt, Professor Eckhard Gerber.
Das neue Verwaltungsgebäude der Handwerkskammer Dortmund wird auf dem Grundstück des bestehenden Bildungszentrums an der Ardeystraße in Dortmund entstehen. Es schiebt sich zwischen die westlichen Fluchten der Altbauten und markiert mit seinen geschossweise verspringenden Auskragungen den zentralen Anlaufpunkt für die Besucher.
Die Büros sind auf der Basis von Grundmodultypen mit einer Raumtiefe von 5,00 m entwickelt, so werden flexible Anordnungen möglich, die auf veränderte Bedürfnisse des Verwaltungsbaus eingehen.
Entwurf: 2009
Gesamtleitung: Eckhard Gerber
Projektleiter: Marko Kraus
Team: Markus Petry, Alexandra Kranert, Michael Mogga
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Handwerkskammer Dortmund
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Grand Plaza & Austin360 Amphitheater + Observation Tower
Grand Plaza & Austin360 Amphitheater
Bordered by the track on three sides, the 27-acre Grand Plaza lies at the heart of the Circuit of the Americas and defines the public experience for most visitors to the new motorsports and entertainment venue. The 3.4-mile racetrack coils around the Grand Plaza and springs out to the east and west, making it the perfect location not only to watch the action of the race unfold, but also to enjoy the amenities contained within. Ideally situated to capture the energy and atmosphere of the Circuit of the Americas, the Grand Plaza will serve as Central Texas’ new home for outdoor entertainment.
Visitors enter through a large hardscaped plaza containing the box office and entry gates. Overhead, flags welcome spectators from all nations as the entry plaza opens into the expansive Grand Plaza, with a dramatic view of the Observation Tower in the distance. This strong axial relationship across the Grand Plaza creates a significant moment of arrival to the Circuit of the Americas, establishing a sense of grandeur and place.
Continuing into the Grand Plaza, a monumental, elliptical reflecting pool sunken into a plush lawn offers a serene gathering point and draws visitors into the site. Varying landscape zones surround and enclose the reflecting pool to define unique areas of activity, including a large outdoor eating area shaded by a grove of Mexican sycamore trees.
From the reflecting pool, a promenade unfolds along the plaza’s northeast edge. Large banners and bold graphics punctuate this trellis-covered boulevard, making it a visually stimulating feature that frames the Grand Plaza. To the left are amenities including concession stands, retail areas, restroom facilities and the Turn 15 grandstands. To the right is the Great Lawn, which has the flexibility to accommodate a variety of events including festivals, athletics and pre-concert activities. At this point, visitors are surrounded by the sights and sounds of the race, heightening the sensory experience of the track and cementing the circuit’s identity. At the end of the promenade, a pedestrian bridge over Turn 16 grants access to the track infield as well as another bridge over Turn 3, thereby allowing visitors to completely cross the track.
Carved into the topography of the site in order to enhance acoustics and views of performers, the Austin360 Amphitheater is the largest outdoor stage in Central Texas, with 6,671 fixed seats and a total capacity of over 14,000 people. The dramatic backdrop of the 251 foot tall Observation Tower serves as a memorable setting, galvanizing the city of Austin’s reputation as the “Live Music Capital of the World.” Spectators enter the amphitheater at the back of the lawn and descend toward the stage, passing two tiers of fixed seating. The front center section of the fixed seating is occupied by nine rows of box seats with premium views of the stage. Directly in front of the stage, a flexible floor area provides the option for additional temporary seats, banquet tables or standing room.
Above the stage, a canopy of red steel tubes converges to form a “veil” that sweeps up and over the iconic Observation Tower. Exposed structural elements and red steel tubes are reoccurring themes meant to evoke the precision, dynamism and performance-driven design of racecars. Used consistently throughout the Circuit of the Americas, these elements create a cohesive visual experience that serves to establish the emerging identity of the complex as a world-class recreation and entertainment destination.
Observation Tower
Capturing the energy of Formula 1 racing in its iconic form, the 251 foot tall Observation Tower provides a dramatic focal point for the Circuit of the Americas and a new landmark for central Texas. Conceived as a visual finale to the central Grand Plaza, the Tower also serves as a memorable backdrop to the Austin360 Amphitheater concert venue at its base. The structure’s unique design anchors visitors’ experience of the motorsports and entertainment complex and fosters a sense of place that is essential to the new circuit’s identity.
The construction of the Observation Tower represents the successful integration of material efficiency with thoughtful structural design and elegant aesthetics. The Tower’s primary structure consists of a continuously-welded double-helix stair wrapped in a filigree-like diagrid. Each stair run serves as a helical diaphragm that transfers loads to a layered perimeter of vertical and diagonal HSS tubes. These small, distributed members contribute the necessary overall strength by number rather than individual brawn, enhancing the feeling of lightness and verticality that the Tower embodies. Together, the stair stringers/diaphragm, diagonal HSS layer and vertical HSS layer form a fully-braced tube.
Like Formula 1 racecars, the form of the Tower is directly influenced by its performance. Inspired by the image of red streaks of glowing light that tail lights leave behind in the dark, a roof of red steel tubes fans out over the amphitheater stage, converging at the base of the Tower to form a “veil” that sweeps up and over the central elevator core. The 8” diameter tubes not only have a strong visual impact, but also contribute to the structural stability of the Tower by acting as an outrigger column for lateral load resistance via a series of struts and rods that tie back to the primary structure.
Seemingly suspended from the red pipe steel canopy is a 900 square foot viewing deck that offers a sweeping panorama of the entire track, downtown Austin, and the nearby Hill Country from an elevation of 230 feet. A portion of the floor is structural laminated glass, allowing more daring visitors to look straight down to the ground below their feet. To reach the viewing deck, visitors can either ride a high-speed elevator or climb up 428 steps to their destination. At night, the stairs are illuminated by LED lights capable of producing an unlimited number of color combinations.
With less than a year to complete the venue in time for the inaugural race, final engineering, fabrication and erection of the Tower had to occur inside an extremely compressed timeframe. In order to expedite completion, the architectural, structural, and fabrication teams coordinated design solutions, detailing and construction strategies via a fully-connected 3D model instead of traditional paper drawings. This method allowed for agile, efficient communication between teams, and the project’s general contractor has estimated that it saved three months over traditional delivery methods.
In both its design and construction, the Observation Tower embodies the sense of precision, lightness and sleek dynamism associated with racing. Evoking the notion of split-second speed, the landmark structure reflects the spirit of the Circuit of the Americas and serves to establish the emerging identity of the complex as a world-class recreation and entertainment destination.
Client: Circuit of the Americas
Architecture: Miró Rivera Architects
Design Team:
Design Partners: Juan Miró, FAIA LEED AP & Miguel Rivera, AIA LEED AP
Project Architect/Manager: Ken Jones, LEED AP
Team Members: Matthew Sturich, Sergio Botero, Sarah Hafley, Michael Hsu, Diana Su
Civil Engineer: Carlson Brigance & Doering
Structural Engineer: Walter P. Moore
MEP Engineer: Bay & Associates
Lighting: ArcLight Design
Landscape: TGB Partners
General Contractor: Austin, Commercial, L.P.
Photographers:
Paul Finkel | Piston Design
Michael Hsu | Miró Rivera Architects
Ted Parker Jr. | Circuit of the Americas
Area: 27 acres
Site: 58.5 acres
Amphitheater Capacity:
Floor GA: 2,293 (Standing); 1,528 (Fixed)
Fixed Seating: 5,249
Lawn: 6,565
Total: 14,107
Buildings Included: Ticket Building #2 (916 sq ft), Concessions Support (3,220 sq ft), Concessions & Restroom (4,338 sq ft), Storefront (1,060 sq ft), Turn 3 Pedestrian Bridge, Turn 16 Pedestrian Bridge, Reflecting Pool (15,883 sq ft)
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Brent Civic Centre
The landmark new Brent Civic Centre has achieved practical completion in the north London borough of Brent. The multipurpose development allows the Council to realise its vision for a consolidated facility that houses their civic, public and administrative functions under one unified roof, providing office space for 2000 staff. Located on a prominent site next to two well-known civic icons, Wembley Stadium and Wembley Arena, it will streamline all aspects of the Council’s activities and has been designed to become the new hub and heart for the community where residents can meet, shop and eat.
The building’s spaces are arranged around a soaring, naturally-lit foyer and atrium which houses a large public amphitheatre and staircase that will host a programme of high-quality arts and cultural experiences that will enhance the building. A circular Drum clad in timber fins features prominently in this space and houses a multi-purpose community hall, library, one-stop shop and civic chamber. Behind this, glazed office wings are open-plan and flexible to provide a future-proofed solution to the diverse community’s administrative needs. The building also includes space for retail outlets and a landscaped garden to help it to connect further with the surrounding Wembley Regeneration Area.
The project has been awarded the coveted BREEAM ‘Outstanding’ rating, the highest possible, and is the first project in its category to have achieved this. As such, it features a 33% reduction in carbon emissions thanks to a combination of solar shading, natural ventilation, high-performance façade, and combined cooling, heating and power which utilises waste fish oil. It is the most sustainable local authority building to be completed in the UK.
The project team included Brent Council as client, Hopkins Architects as architect, Skanska as design and build contractor, URS for town planning, engineering design, environmental and sustainability services including the BREEAM assessment, and Turner & Townsend as quantity surveyor and project manager.
Official Opening: 10 June 2013 for Customer Services; Wembley Library will open on 17 June
Project Team:
Client: Brent Council
Architect: Hopkins Architects
Design + Build Contractor: Skanska
Town Planning / Engineering / Environmental / Sustainability: URS
QS and Project Manager: Turner & Townsend
Size: 40,000m2
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20-21 Albert Embankment, London
Lambeth Council has approved plans for St James Group’s new mixed-use scheme at 20-21 Albert Embankment in London. Consent was granted for three landmark buildings designed by Foster + Partners, ranging from 15 to 27 storeys in height and providing 253 apartments, including affordable homes for senior living, along with offices, restaurants and a residents’ bar, gym, pool and spa.
The scheme is the latest development to achieve planning in Nine Elms – a 195-hectare site between Lambeth Bridge and Chelsea Bridge on the South Bank, which represents the largest regeneration initiative in Europe. The £15 billion Nine Elms project will include 16,000 new homes and 6.4million sq ft commercial space with planning consent.
Cllr Lib Peck, Leader of Lambeth Council:
“This new development on Albert Embankment is another important stage of the transformation of Vauxhall. Developments like 20-21 Albert Embankment are essential to bringing new jobs, new affordable homes and inward investment into Lambeth which will secure our long-term economic growth.”
Sean Ellis, Chairman of St James:
“St James is in the fortunate position of owning a number of developments that will have a lasting impact on London and in this case its riverscape. This is a responsibility we take very seriously and are therefore committed to working with the world’s best architects and designers to produce developments which help enhance our world class city. Over 90% of the homes will have their own balcony, many with stunning views of the river and the Houses of Parliament. In addition, St James has carefully considered the landscape architecture as part of the wider strategy, delivering public realm spaces on all three sites that will be of exceptional quality.”
Grant Brooker, Senior Partner at Foster + Partners:
“We are absolutely delighted that 20-21 Albert Embankment has received planning permission – working alongside our clients at St James and with great support from Lambeth and the GLA, we hope to transform this important and highly visible site into a vibrant riverside community that sets a benchmark for the regeneration of this part of the river.”
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Deutsche Bahn Hammerbrookhöfe, Hamburg
„Hammerbrookhöfe - Die Deutsche Bahn AG macht Halt in der City-Süd“
Mit dem Projekt "Hammerbrookhöfe" wurde durch die Deutsche Immobilien AG in der City-Süd ein neuer Standort für die Deutsche Bahn AG geschaffen. Dies ermöglichte eine Standortkonzentration von ca. 950 Beschäftigten, die bisher auf unterschiedliche Standorte in Hamburg verteilt waren. Die Nutzfläche des siebengeschossigen Gebäudes am Mittelkanal im Stadtteil Hammerbroook beträgt ca. 26.500 m².
Im Auftrag des Quickborner Team, dass u.a. auch für die Belegungsplanung und das Bürokonzept verantwortlich zeichnet, entwickelte sbp ein umfassendes Gestaltungskonzept, dass sowohl die zahlreichen Sonderbereiche (wie z.B. Meeting Points, Eingangsbereiche, etc.) als auch ein individuelles Gebäudeleit- und Orientierungssystem beinhaltet.
Ein wichtiges Kriterium bei der Erarbeitung des Konzeptes war den Kundenwunsch nach einem hohen Grad an Emotionalität und Individualisierung. So wurde im engen Dialog mit Nutzervertretern ein objekttaugliches Gesamtgestaltungskonzept kreiert, das mit einen hohen Anteil an regionalen Bezügen spielt. So diente z.B. das Farbspektrum der Stadt Hamburg als Inspirationsquelle für das angewandte Color Coding. Jedes Geschoss wurde
einem regionalen Thema (wie z.B. Hamburger Architektur) und somit einer Hauptfarbe zugeordnet.
Das individuell abgestufte Farbspektrum pro Etage spiegelt sich in unterschiedlichsten Anwendungen wider: Neben der Farbgebung relevanter Orientierungs- und Abteilungsflächen, wird die jeweilige Farbstellung sowohl beim Beschilderungssystem als auch beim Möblierungskonzept der Meeting Points und anderer Sonderbereiche
deutlich. Großformatige Wandgrafiken unterstützen zusätzlich die Themenauswahl pro Geschoss.
Die Sonderflächen sind in jeder Etage andersfarbig gestaltet und durch die variierende Auswahl an Möbelmodulen und Textilien gut unterscheidbar. Einige wiederkehrende Einzelmöbel tauchen etagenübergreifend auf und signalisieren dadurch eine gestalterische Zusammengehörigkeit aller Sonderbereiche in allen Geschossen.
Die farbintensivsten Gestaltungshöhepunkte sind jeweils in den Verkehrsknotenpunkten platziert und nehmen in Richtung der Arbeitsbereiche bewusst ab. So sind die hochfrequentierten Arbeitsbereiche stets weniger farbig gestaltet als die Kommunikationszonen, um eine Überreizung der Mitarbeiter am Arbeitsplatz zu verhindern.
Die frühzeitige Einbindung der Nutzer und ihrer Sonderwünsche während des Planungsprozesses förderte die Akzeptanz der Mitarbeiter. Zusätzlich sorgt die gewünschte Mitgestaltung festgelegter Funktionsflächen in den Meeting Points für mehr Identifikation der Mitarbeiter mit dem neuen Büroumfeld.
Auch die Tiefgarage hat eine ebenso übersichtliche wie gestalterisch prägnante Markierung der Zugangsbereiche erhalten und lässt somit die Gestaltung im gesamten Gebäude durchgängig erscheinen.
Innenarchitektur: sbp - Seel Bobsin Partner, Hamburg
Leit- und Orientierungssystem: sbp / Verinion, Hamburg
Bürokonzept: Quickborner Team, Hamburg
Architektur: KSP Architekten
Fotograf: Karsten Knocke
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Mies van der Rohe - 1:1 Modell Golfclubhaus
Robbrecht en Daem architecten are building a life-size model to a 1930 design by Mies van der Rohe.
In the rolling landscape around the former industrial German city of Krefeld, Robbrecht en Daem architecten realized a striking temporary pavilion based on a design for a golf course clubhouse by Mies van der Rohe dating from 1930, which was never built. Christiane Lange, art historian and curator for Projekt MIK, invited the Belgian architectural firm of Robbrecht en Daem architecten to create a temporary objet d’architecture using the series of historical sketches of the project that were discovered during research into the Mies van der Rohe Archive at the Museum of Modern Art (MoMA) in New York City. The temporary installation by Robbrecht en Daem architecten is open for viewing from 27 May to 31 October 2013 at the original location of the project. The installation of 84 by 87 m is b uilt primarily of wood. It is be ing conceived as a life-size model whose abstraction brings out the essence of Mies’s architecture and spatial concepts. Along with the two other famous Mies projects in K refeld – Haus Esters and Haus Lange, characterised by their brick volumetries and classical plan – the pavilion serves as a lovely illustration of the evolution that Mies brought to Modernism.
Krefeld, an industrial city on the edge of the Ruhr area, already housed two masterpieces from the early European career of Ludwig Mies van der Rohe: the twin project consisting of Haus Esters and Haus Lange, which date from 1927-1930. Those two projects, along with a handful of other project from Mies’s hand, an extensive collection of furniture, several exhibition scenographies and the corporate building Verseidag bear witness to the good contacts that Mies had with the textile industry in Krefeld in the inter-bellum period.
Art historian Christiane Lange – granddaughter of textile manufacturer Hermann Lange, for whom Mies built Haus Lange – has been heading up a research and art project into the creations that Mies did for Krefeld. The research project ‘Mies in K refeld (Projekt MIK)’ has already seen two publications, an exhibitions and a documentary film around the theme. During research into the Mies van der Rohe Archive at the Museum of Modern Art (MoMA) in New York City, Lange stumbled upon a series of sketches that Mies had made in 1930 for a pavilion at the golf course close to Krefeld, that had never been built.
The unique archive material for the clubhouse includes sketched plans and perspectives that, in spite of being only few in number, manage to give a good impression of Mies’s ambitions for the project. The design was to be part of a series of experiments into the spatial principles of the plan libre. The sketches show a spacious roof surface on slender columns, combined with a s trongly rhythmical floor design and a few well positioned dividing walls that encapsulate the space. Along with the Esters villa and the Lange villa, known for their brick volumes and their open, yet classical plan, the clubhouse would have served as the perfect illustration for the evolution that Mies brought to Modernism.
For Christiane Lange, the unique archive material was the inspiration to curate an ar tistic project linking her historical interest in the persistent relation of Mies with the Krefeld based silk industry and its protagonists, with the broader question into the significance of Mies’s architecture for contemporary architectural practice. She challenged the Belgian Robbrecht en Daem architecten to develop a new interpretation of Mies’s design and to create an objet d’architecture to scale at the original site of the project.
The vision that Christiane Lange and Robbrecht en Daem architecten developed for this temporary installation, evolved from being ‘the impossible replica’ to a life-size model that will present their interpretation of the essence of Mies’s architecture. While staying within the confines of the source material by Mies, the team made deliberate choices about what would and what would not be shown, much as a restorer would go to work. The pavilion is built to the scale of the original project, but primarily of wooden plate material and stripped of its functional content and superfluous construction details. This strategy of abstraction, specific to the model, shows Mies’s economical precision in using material and detail, the specific spatiality of his plan libre and the strong relations with the surrounding landscape, which he intended. Just like an ancient ruin, the pavilion takes the viewer one step closer to the spirit and mood that Mies had in mind, while leaving a great deal to the imagination.
A large wooden roof sur face with a c anopy stands like a compass rose in the landscape. Along with several freestanding walls and a floor that flows from the inside to the outside, this gesture is sufficient to define Mies’s spatiality. The degree of detail of the large wooden model is only increased by three elements that Mies included specifically in his pe rspectives: the chrome, cross-shaped columns that he intended to create an explicit reference to other experiments with the plan libre, such as the Barcelona Pavilion or Villa Tugendhat. Or the minimal wooden frame that suggests the almost impossible ambition for the transparency of the large windows. But, above all, the strong grid of the floor that Mies used to impose compelling dimensions on his public spaces. In this model, too, the grid of the concrete floor tiles unites the indoor and outdoor public spaces. The model also serves as a legible scheme: The spaces that Mies placed in enclosed volumes at the end of the compass rose, are given neither floor nor roof. They are only encircled by vertical walls, which suggest not only their more classical plan, but also their more private character. The entire composition is constructed on a piece of farmland that is intersected by several hiking paths, making it possible for the viewer to study the pavilion from different elevations and approach it f rom different angles.
Christiane Lange had worked with Robbrecht en Daem architecten previously for the scenography for the exhibition entitled ‘Mies van der Rohe & Lilly Reich. Furniture and Interior’ (2007), during which furniture by Mies van der Rohe and Lilly Reich were exhibited. Since its beginning nearly 30 years ago, the practice of Robbrecht en Daem architecten has developed an intense relationship with ar t and culture that led to many direct collaborations with ar tists such as Juan Munoz, Christina Iglesias, Franz West and Gerhard Richter. Robbrecht en Daem architecten have also been responsible for many projects of cultural infrastructure, such as the Bruges Concert Hall (Concertgebouw), the Whitechapel Gallery, and ‘Het Huis’, a pavilion for the Middelheim Sculpture Garden. In o ther projects, Robbrecht en Daem architecten developed their own position vis-à-vis historical creations of modernist masters, including the restoration project for the University Library at Ghent by Henry Van de Velde, and the Centre for Fine Arts in Brussels, a late project by Victor Horta.
‘Mies van der Rohe - 1:1 Modell Golfclubhaus’
From 26 May to 27 October 2013 at Krefeld, ‘Area of Protected Landscape Egelsberg.’
Commision: Mies van der Rohe in Krefeld e.V.
Curator: Christiane Lange
Artistic Director and Concept Architects: Robbrecht en Daem architecten
Execution Architects: Architektur Büro Ruhnau and DGM Architekten
Team: Paul Robbrecht, Johannes Robbrecht, Tom De Moor, Tine Cooreman, Thomas Hick, Florence Daem
Subsidies: Kulturstiftung des Bundes, Sparkassen Kulturstiftung Krefeld , Privat Donations
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Bork Flagship Store
Bauherr: Bork, Moskau
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A014 Hybrid Apartment Block
This hybrid apartment tower, eight-stories in height, is located along the Van Starkenborghkanaal, in an area under renovation characterized by the mix of housing and industrial buildings.
The complete new urban development designed by Casanova+Hernandez architects consists of two main elements:
1 A massive plinth that unifies the whole urban intervention and defines a new public space, sheltering living and working dwellings and business units, storages and facilities.
2 Three 'crystals' on top of the plinth, composed of dwellings, designed as light and transparent volumes.
The hybrid tower works on the one hand as a landmark and a reference point in the surroundings, especially when it is seen from the park nearby, and on the other hand as a belvedere from where splendid views over the water and over the green areas can be enjoyed.
SOCIAL SUSTAINABILITY:
The project explores the concept of social sustainability in residential areas by promoting the full integration of handicapped people in our society. The Hybrid Apartment Block avoids the traditional physical and psychological segregation of this group by experimenting with different strategies that can be summarized in the following concepts:
1. Mixing groups: spreading special apartments to avoid segregation
The apartment block consists of 50 apartments from which 20 of them have been specially designed for handicapped people following the design criteria of the Fokus program promoted by the Dutch government. Following this program, the special apartments are spread throughout the whole building avoiding their concentration on specific levels (for instance on the two first levels of the block) or locating all of them in the same part of the building (for instance in the southern wing). On the contrary the special apartments are distributed on every level of the building and they are located as far as possible one from the other when placed on the same level. Family apartments are placed in between special dwellings for handicapped people to avoid the physical segregation of the group within the block and to promote their social integration reinforcing the daily coexistence with their neighbours.
2. A home is not a hospital room: hybrid building as a mix of independent dwellings and care centre
Many of the residents of the apartment block need specialized care. Some of then cannot walk, wash themselves, cook or even they require very special medical treatments. The traditional way to solve this dependence was the confinement of the 'patients' in a hospital or special residence.
This project allows the total independence of the handicapped residents and at the same time the complex provides 24 hours care service that is integrated in a space located on ground floor of the same building in the space called ADL unit.
3. Living independent, but protected
In former times traditional institutions like the family one were in charge of taking care of handicapped people that could not live alone and independently. Monofunctional buildings composed of special dwellings where people with similar problems lived together were the modern alternative to this specific situation. In our current world individuals want to be more and more independent. The amount of people that live alone in urbanized areas is increasing constantly. Handicapped people as part of our society share the same necessities, but at the same form a special group that needs special attention.
The hybrid apartment block offers a certain level of independence combined with a strong feeling of protection. An intercom connects directly every special apartment with the ADL unit and each dwelling is equipped with a special security system that allows quick assistance from the specialized staff located in the ADL unit. Each resident needs a different level of special assistance, and for all of them a quick assistance in case of emergency is guaranteed. Security and independency are two principles, in many cases incompatible, that in this project have been combined and to help the psychological integration of the handicapped.
4. Architectural appearance: neutrality and no differentiation
The architectural expression of the building does not show towards the exterior the existing difference in the interior program. From the exterior the position of the special apartments cannot be distinguished, and on ground floor, the exterior aspect of the ADL unit is treated as the other houses of the area located on ground floor. No special names, no hospital appearance, no signal of its function. Although this space plays an important role for the functioning of the hybrid building and is opened to other eventual visitors from the neighbourhood, the ADL unit has a neutral aspect that avoids any differentiation of the building and their inhabitants.
5. Strong visual relations between living spaces and street life
Many residents living in the special apartments of the block have serious mobility problems and therefore have to sit in wheelchairs or to lay in bed for many hours during the day. For that reason, the windows of the apartments are designed as high openings from floor to ceiling that allow the visual contact of the handicapped with the exterior urban life on ground level independently of the level where they are located.
6. Winter garden as semi-open space
The master bedroom where the handicapped resident sleeps is directly connected with the living room and both of them have direct access to a winter-garden space. This glazed space that could be opened in summer provides at the same time a comfortable semi-open space in winter that works as an extension of the living room by opening a sliding door.
7. Fluid circulations around the house
The design of the Fokus dwellings is based on the extra large dimensions of circulation spaces, doors and rooms which are assisted by home automation systems, allowing users to move easily through the whole house. The fluid movement of the handicapped residents through the building and especially through the house is a very important factor designed following a special layout where all the rooms of the house are organized following a circular scheme.
8. Chromatic differentiations of the collective areas and building levels
The use of different colours on the walls characterizes the different collective spaces of the building. The handicapped people get in this way a better orientation inside the building by recognizing the colour that characterizes the entrance level, the storage area, the underground parking garage and finally its own dwelling level.
9. Dwellings interior differentiation as promoter of social interaction
The changing relative position of the windows in relation with the interior spaces in the different apartments, combined with the use of coloured glasses following a random pattern dispersed in the façade, creates interior spaces characterized by very different chromatic conditions, something that incites the neighbours to visit other apartments, thus promoting the social relations within the block.
10. Outdoor public space for social relations among different groups
A public square has been created in front of the hybrid block based on the concept of “bench islands”. Three portions of the public space are limited by a continuous seating element made with prefabricated concrete modular elements that enclose a garden, a playground for children and a flowerbed. The morphology, dimensions and design of the “bench islands” provide small-scale spaces with a domestic character that offer a great variety of different spaces to chat, to meet and to play integrating handicapped people in wheelchairs. The “bench islands” have been specially designed to promote the social interaction among different groups in the neighbourhood and the social integration of the handicapped people.
Client: Nijestee Vastgoed
Programme:
41 apartments:
16 'Fokus' housing for disable people
25 apartments
Underground parking for 160 cars
Gross Floor Area: 10.400 m2
Structural Engineer: Dijkhuis
Services Engineer: Van der Weele, Groningen
Fire Engineer: Munnik advisers, Groningen
Budget: € 4.410.000
General contractor: Heijmans
Photographers: Casanova+Hernandez architects, Christian Richters, Theo Bos, Pepijn van den Broeke
Project awarded with the 1st prize in the international competition Europan 6
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Midway Crossings, University of Chicago
The University of Chicago's Midway Crossings project is a historic, mile-long, 80-acre open space originally designed in 1870 by landscape architect, Frederick Law Olmsted. The goal was to revive the unique green-space as a front yard and park instead of a perceived barrier.
The university encouraged strong collaboration throughout all phases of the project. The concept addressed considerations for student environment and campus identity, and the design needed to address site-specific needs ranging from plant selection to roadway lighting.
The project design has dramatic symbolic bridges at Ellis Avenue and Woodlawn Avenue creating a stronger sense of identity within the campus and surrounding communities. The luminous bridges suggest continuity and break down the scale of the mile-long park.
The theme of luminous views arose as the team focused on how a shallow arch of a long-span bridge frames and concentrates the sky’s brightness within the ground plane. Considerations for scale were addressed with 40-foot light masts emitting a glowing light, and internally lighted railings and pathway lights reinforce this rhythm.
The result is a dramatic transformation for the open space of the Midway Plaisance and the University of Chicago campus. The project has changed the park into a destination rather than a barrier and altered the community’s perception of this now-celebrated space.
The jury said, “ . . . this is a big urban move by the university . . . it is a gift to the city . . .”
Guiding principles included creating a welcoming community connection, destination, and link between the neighborhoods of Hyde Park and Woodlawn, increase the sense of safety, and improve the pedestrian environment.
In addition, the university’s reputation in academia for redefining the future with vision-changing ideas and its commitment to architectural heritage were strong themes that were considered.
“When a project can solve a practical need, improve the quality and beauty of an environment, and create points where true connections among people of various communities can occur, then it has been successful and useful beyond itself toward a greater good,” says Desiree DiLucente, senior project manager, capital project delivery at The University of Chicago. “This project is truly one of kind,” she adds.
Project Team: The University of Chicago with BauerLatoza Studio; also James Carpenter Design Associates; Schuler Shook; Matrix Engineering Corporation
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Walkways and Gardens in the Main Quadrangle Landscape, University of Chicago
Multiple projects within the University of Chicago’s most historic quad restore the architect’s original intent for pedestrian space and take its landscape in a direction first formulated by a botany professor at the turn of the last century.
Two multi-phase projects are powerful examples of how horticultural diversity can create a distinctive sense of place and how thoughtful design can contribute sustainable solutions to enhance the image of heritage campuses. Though different in scope, the Walkways and Gardens projects respond to historic plans and visions for the heart of the campus.
The jury “ . . . liked how they focused on lushness and material palette . . . it was seductive and gorgeous . . . want to be in the space . . . liked concept of campus as a botanical garden . . .”
Several principles guiding design included: create inviting spaces for repose and activity; enhance the historic image; design for formal campus rituals; and enhance academic teaching resources.
The walkways are a mix of traditional materials and contemporary technologies that enhance the quad’s image. The gardens have a level of detail designed to resonate on an individual level. The layered plantings soften the existing architecture and creates a space that is restful and intimate.
Together, the changes raised the level of detail and quality in the quad’s landscape in a way that honors its history and speaks directly to the prestige and distinctive qualities of the education it provides.
“Campus planning should take the long-range view, as university campuses are built for the centuries,” says Richard C. Bumstead, associate director for campus environment. “We finally achieved the original vision of these iconic quadrangles and enhanced the university’s ability to continue its mission of cutting edge research and top tier instruction.”
Project Team: The University of Chicago, Illinois with Hoerr Schaudt Landscape Architects; also HOH Engineers
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Duke University Campus Drive Planning Study
This project rebuilds and reconceives Duke’s Campus Drive to accommodate campus expansion, strengthen connections, and better integrate the university with its natural environment.
Beginning as a planning study for a new residential/arts campus, the ecological and landscape historical significance of the site quickly became the primary conceptual driver for the design.
The jury commented “ . . . liked sensitivity of materials . . . exemplary institutional behavior . . . comprehensive big move to update the university and integrate open space . . .”
The project balances historical values with 21st century ambitions, engages the surrounding woodland in ways unimaginable when the campus was founded, builds a network of walking and biking paths, shapes new campus spaces, gives back to Durham and the region, and asserts Duke’s role as a premier university with a vision for continued advancement, excellence and sustainability.
The renewal lays the groundwork for future transportation modes, upgrades utilities, restores degraded stream corridors, provides stormwater management enhancements, and facilitates future development.
Campus Drive proceeds between the historic east and west campus through woodland and hollows, shaping the character of the campus; therefore, any change had to sensitively balance ecological and cultural values.
Duke values its reputation as a campus in the forest and this plan weaves a gradient of canopy along Campus Drive, through the new arts campus.
The university recommitted itself to restoration of its wetland networks and maintenance of woodlands. The proposed stream restoration enhances the existing restoration efforts downstream by repairing the important headwaters of the corridor.
In the new plan, buildings and landscape shape intimately scaled spaces with portals and thresholds where the relationship between interior quads and the landscape is nuanced and woven.
“The landscape architects created a scheme for a realigned Campus Drive to help our physical planning efforts and support the university’s commitment to creating a sustainable campus,” says Tallman Trask III, executive vice president.
Project Team: Duke University with Reed Hilderbrand LLC; also Pelli Clarke Pelli Architects; William Rawn Associates, Architects, Inc.; EcoEngineering; Vanasse Hangen Brustlin, Inc., Watertown Office; Nitsch Engineering
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Crown Towers Eastern Entry
Crown Melbourne is an entertainment complex comprising a casino, luxury hotel, five
-star restaurants, bars and retail offerings. The eastern end of this complex was extended, incorporating a new façade. The challenge was to light the façade
while accentuating the richness of the faceted glass and sumptuous sandstone elements.
“The lighting of the façade has created a cross between a sparkling jewel and bubbles in
champagne,“ one judge commented of the project. The design concept was that of a luxury perfume bottle with precious contents. The interesting effect realized over the entire sandstone and glass façade was achieved through concealing cold cathode light in the façade nosing. Light is reflected in each of the corrugations of the individual glass panels
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The thickness of these panels and the lighting treatment add depth, sparkle and warmth, enticing patrons with the sense of luxury and sophistication. “Full integration of lighting with the architecture results in not only a beautiful façade design but also [acts as]
branding and signage,” another judge praised of the design. “If only every project could
have this level of lighting integration.”
The nosing system is designed to avoid any direct view of the light source, yet delivers light to the adjacent glass and sandstone. The effect is of a glowing façade, but it is difficult to tell where the light is coming from. Turned - back electrodes were specified for the cold cathode lighting to give a completely unbroken line of light the exact length of the façade, from top to bottom. Low - power cold cathode (20mA) was chosen over LEDs in favor of its omnidirectional light distribution, color appearance, lamp life and cost.
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SILO 468
With light as the sole transformative element, Silo 468 reinvents a functionally abandoned oil silo sitting near the sea, facing central Helsinki, into light art and a public space.
Wellknown to the inhabitants of Helsinki, the area’s prevailing winds served as the muse for the design team from Lighting Design Collective. Using natural light, wind and the movement of light on water as visual inspiration, and perforating the walls of the silo with 2012 holes in honor of the World Design Capital year, this project embodies the aesthetic and technical excellence indicative of IALD International Lighting Design Award -honored projects.
“The creativity in using both electric lighting and daylight to create a living, breathing space shows how light can transform an abandoned industrial element into a well-used public attraction,” one IALD awards judge commented of the project.
Silo 486’s 2012 circular cut-outs are fitted with 1,280 2700K LED domes. The lighting design team developed bespoke software using swarm intelligence and nature simulating algorithms that refresh responding to parameters, such as wind speed, direction, temperature, clear night and snow. The patterns are fluid, natural in feel and never repeat. Patterns start off moving slowly but speed up inrelation to the wind speed, creating a constantly changing mural of light.
Exterior floodlights with 2700K white and red LEDs are used to illuminate the form of the silo during sunset. After sunset the floodlights dim, allowing the naturally moving pattern to become the primary focus. When viewed from central Helsinki, 3 kilometres away, the pattern appears to be floating in mid-air. At midnight, the exterior turns deep red for one hour, referencing the former use of the silo as a container of energy. At 2:30 A.M, the lights turn off.
The inside surfaces of Silo 468 are painted a deep red. Fitted behind the cut-outs are 450 steel mirrors moved by the strong area winds. With sunlight, the silo appears to glimmer like the surface of water. The warm white LED grid reflects light indirectly via the red walls into the space, and the moving patterns read as halos racing across the walls.
“The magical experience in the interior is breath-taking and so unexpected,” one judge praised of the interior space.
Silo 468 has transformed itself into a civic space for the citizens of Helsinki. Light intervention has created a new space for the people of the area.
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Shure EMEA
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XCEL Campus
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Garten MB
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VEWIN Büroräume
Er vereinigt alle 10 Wasserbetriebe der Niederlande unter sich und genießt seit Ende Mai den atemberaubenden Blick über Den Haag: Der Verband der Wasserbetriebe in den Niederlanden, kurz VEWIN, wechselte in diesem Frühjahr seinen Sitz aus dem niederländischen Rijswijk in die Residenzstadt des holländischen Königshauses.
Im 19. Stockwerk des 1996 gebauten, architektonisch markanten Den Haager Stadttors „Malietoren“ finden die 21 VEWIN-Mitarbeiter seit Ende Mai auf rund 700 m2 eine neue Bürowelt mit viel Weitblick: WINI KantoorDesign, die holländische Tochter des niedersächsischen Büromöbelherstellers WINI, realisierte hier in Kooperation mit dem Fachhandelshaus Heering Office die Einrichtungspläne des Architekturbüros Studio 3036. Nach der kompletten Sanierung der Büroetage entstand so hoch über den Dächern von Den Haag eine transparente, freundlich helle und vor allem ergonomische Arbeitswelt für die Direktion, das Sekretariat, das Kommunikationsmanagement, den Lenkungsausschuss und die Rechtsabteilung von VEWIN.
Ergonomische Einrichtung für alle
Durch den Einsatz diverser Glastrennwände und halbhoher Sideboards erscheint die neue VEWIN-Repräsentanz trotz klarer Raumstruktur eher wie ein Open Space Office: mit viel Licht und ausreichend Freiraum für Kommunikation, aber auch für die konzentrierte Einzelarbeit. Quer über alle Hierarchien arbeiten alle Verbandsmitarbeiter an Steh-Sitz-Tischen der Serie WINEA PRO mit gut verdeckter Elektrifizierung und praktischer Anbindungsmöglichkeit für Monitortragarme. Kombiniert wurden die einzelnen Arbeitsplätze wahlweise mit Apothekerschränken oder Technikcontainern aus dem WINEA MATRIX Programm. Doppelarbeitsplätze wurden außerdem mit akustisch wirksamen WINEA SINUS Tischpaneelen ausgestattet.
Kommunikation im Mittelpunkt
Um dem erhöhten internen Kommunikationsbedarf gerecht zu werden, wurden die Direktions- und Management-Büros mit zusätzlichen WINEA PRO Besprechungstischen eingerichtet. Einen zentralen Kommunikationspunkt innerhalb der neuen offenen VEWIN-Bürolandschaft bilden Sideboards der Serie WINEA MAXX, die zusätzlich mit ausziehbaren Tresenelementen bestückt wurden – für spontane Besprechungen im Stehen. Für große Besprechungsrunden mit bis zu 12 Personen wurde ein zentral gelegener Konferenzraum eingerichtet – ausgestattet mit dem Tischsystem WINEA CONFERENCE.
Harmonisches Farbkonzept für ein motivierendes Ambiente
Zum harmonischen Ambiente der neuen VEWIN-Räume trägt auch die einheitliche Farbgestaltung der Möblierung bei: Als Oberfläche für alle Schrankkorpusse und Tischgestelle wählte der holländische Trinkwasserverband Titanweiß, während Tischplatten und Tresenelemente in Olive Sevilla Dekor dezente farbliche Akzente setzen.
Neben der hochwertigen Verarbeitung und Optik der Möbel war es vor allem die Flexibilität des Tischsystems WINEA PRO, die letztlich die Entscheidung zugunsten der WINI-Möblierung brachte. „Das WINEA PRO-System besitzt eine hohe Modularität. Sollten sich die Anforderungen an die Objekteinrichtung in den nächsten Jahren ändern, kann das System problemlos angepasst und mit wenig Aufwand relativ schnell umgebaut werden“, erklärt Peter Salm, Geschäftsführer von WINI KantoorDesign. „Das hat dem Kunden maximale Sicherheit gegeben – auch mit Blick auf die zukünftige Entwicklung des Verbandes.“ Darüber hinaus überzeuge das Gesamtkonzept: „Die offene, transparente und kommunikationsfördernde Raumstruktur sowie die ergonomische Einrichtung vermitteln ein freundliches Ambiente, das die VEWIN-Mitarbeiter motiviert und den Spaß an der täglichen Arbeit fördert.“
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GLOBAL WORK
New concept store starting Autumn 2012 for a fashion label Global Work.
Starting from reconsidering the brand’s running theme which is ‘American Casual’, we based our design on West Coast.
Image of freedom, undisguised, openness, joy, peace, sunshine, breeze, which conjures up the image of West Coast together with images associated with Global Work brand such as smile, communion, oasis, natural, family, outdoor, safeness, analogue, brought us the concept of ‘crafting together a place to gather.’
The concept of crafting together our home-base is emphasized by using plain, rugged structural timbers, while wide-spanning range of fashion items are arranged in an easy-to-find way by devising small compartments using box type fixed furniture.
Temporary displays in the corner are designed to be changed seasonally when the new collection arrives, while Blue container in the center of the shop will remain permanent to strengthen the brand’s identity.
Design Company: LIN inc.
Designer: Atsushi Suzuki
Location: lazona kawasaki
Area: 285 m2
Main Materials: mortar floor. wood floor. Blick wall. mortar wall. Western red cedar wood wall. structural plywood fixture. Galvanized steel pipe furniture.
Photographer name: Kozo Takayama
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E hyphen world gallery BonBon
In Laforet, the landmark of Harajuku, a new shop of the E hyphen world gallery has been opened, in which the world view of AMO, the top fashion model of Zipper magazine, is materialized as a shop.
Things that are associated with the word bonbon.
The shop’s sweet façade reminds us of a sweet shop with chocolate and vanilla scents, and colorful confectioneries.
Entering the shop, the interior decorations begin with an opulent classical café that has been clipped from a scene of a 70s French film. Then, her beloved cats’ stories are graphically displayed on the walls. It continues to the back room, “My room”, where her hidden motif of “angels”, which appear in various parts of the shop, is spread about on the wallpaper.
AMO’s unique mixed style, which suggests an integration of rock and romance, is directly realized in this dreamlike space.
Design Company: LIN inc.
Designer: Mayumi Suzuki
Location: Laforet Harajuku
Area: 80m2
Main Materials : marble stone floor in black and white color. Maple wood wall. Ribbed plate with acrylic paint. Decoration wall papers. 100% Silk original rug.
Photographer name: Kozo Takayama
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Kuning Changshui International Airport
Completed in 2012, The Kunming Changshui International Airport reflects the
traditional architectural heritage of the Yunnan Province, featuring a gold hovering phoenix-like roof and winding ribbon-like structure.
“The sheer scale of this design along with the enormous task of coordinating tens of thousands of lighting zones creates a spectacular show for travelers arriving at this airport,” one judge praised of the design.
To generate the gold color of the roof, 2,196 well-hidden customized washing lights in amber and white LEDs in a ratio of 3:2 are applied and positioned properly in different angles. Each light is dimmable and auto-addressed from the control server. Glare is well controlled so that visitors will not notice where the light on the roof structure comes from.
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