Située non loin de Madrid, la Balcony House est un projet de 952m2 sur 3 étages de l’espagnol Joaquim Torres du duo d’architectes A-cero. Jouant sur des lignes horizontales et de grands espaces ouverts sur un environnement naturel superbe, le résultat est magnifique. A découvrir en images dans la suite de l’article.
This wooden nursery and elementary school complex in Lyon by French architects Tectoniques has hilly rooftops carpeted with plants that feature walkways for students to explore (+ slideshow).
Tectoniques built the two schools on a sloping site opposite a wooded parkland in the northern city suburb of Rillieux-la-Pape.
The two- and three-storey buildings were designed with V-shaped plans. The nursery school frames a garden, while the elementary school wraps around a narrow courtyard.
In certain places the plant-covered rooftops appear to emerge from the ground, created a series of slopes and pathways that children are encouraged to investigate.
“One of the project’s major characteristics is the relationship it establishes between architecture and nature,” said the architects. “The structures in keeping with their surroundings are, at times, allowing nature to more or less literally to get the upper hand.”
“The general profile is uniformly and deliberately low, harmonising with the slope in such a way as to minimise the excavation and foundation work,” they added.
The two schools operate independently, but share some facilities. A communal entrance provides a place for parents to congregate before and after school, and is linked to the village by a pedestrian pathway.
Timber cladding covers most of the building’s interior and exterior, but is interspersed with a few yellow-painted panels on the walls and ceilings.
Spacious corridors run between classrooms and feature floor-to-ceiling windows to increase natural light.
A vegetable garden grows on the perimeter of the school, plus a new gymnasium will be added to the site next year.
Another project we’ve featured by Tectoniques is a black townhouse elsewhere in Lyon.
Other schools completed recently include a glazed art and music academy in Latvia and a high school in Germany with a spotty concrete ceiling. See more schools »
Photography is by Renaud Araud and the architects.
Here’s a project description from the architects:
Paul Chevallier School in Rillieux-la-Pape
The Paul Chevallier school complex is situated in Rillieux-la-Pape, a northern suburb of Lyon. At 5,034 m2, it is an unusually large project; and this indicates the growing attractiveness of the area. The complex currently comprises a nursery school and an elementary school. In 2014, a gym will be added, which will also be available for community activities. The site occupies an entire block, close to the centre of the district. The two schools are functionally and administratively autonomous. While following on from each other, they make up a continuum, in an overall composition.
They are made up of rectangular modules in “V” formations enclosing internal spaces which, in the case of the nursery school, is a garden, and, in that of the elementary school, a patio. The design takes account of the sloping terrain. The structures in laminated KLH® panels have imposing planted-out roofs with overhangs. Lending its tone to the entire project, this extra “façade” represents the lyrical nature of the relationship between nature and architecture, in a Japanese-inspired atmosphere. It is accessible and visible from inside the buildings via the volumes of the first floor, part of which rises up over the roof and seems to float over this hanging garden.
Integration into the urban mosaic
The site is surrounded by disparate constructed forms that illustrate the historical development of the area. The old village stretches out along the Route de Strasbourg, and on the southern side there is a mix of apartment blocks and private housing developments. Dense, diverse plant life accompanies and modifies this urban environment. Across from the site is the wooded Brosset park, with, on its perimeter, the Maison des Familles, the Centre Social and the Ecole de Musique, whose functions are complementary to those of the schools.
The nursery school occupies a calm, sheltered position in a garden at the heart of the site, with an area of vegetation close to a château and some villas. The elementary school has a façade that gives onto Rue Salignat. The future gym will follow the alignment of the street. A pedestrian pathway leads to the entrance, organising the area where the parents congregate, and linking the schools to the village, as a prolongation to the existing axes of communication. It is lined by the structures themselves, thus leaving room for the playgrounds and gardens on the southern side.
Reconciling architecture and nature
One of the project’s major characteristics is the relationship it establishes between architecture and nature. The structures are in keeping with their surroundings, at times allowing nature, more or less literally, to “get the upper hand”. The general profile is uniformly, deliberately low, harmonising with the slope in such a way as to minimise excavation and foundation work. The project harmonises vegetation on the upper and lower levels. The volumes in wood are separated by the broad, planted-out roofs, with their waves of colour.
The inclined roof planes and broad overhangs energise the silhouette, and attenuate the massiveness of the blocks. This schema is an encouragement to strolling and dallying. It projects an impression of insouciance that is ideally suited to the world of children. From the inside, nature is framed by the large windows of the classrooms, and its close proximity makes it an element of the children’s educational needs. The landscapers have provided places of discovery and experimentation. There is a vegetable garden beside Rue Salignat, and a discovery path on the way to the canteen in the northern wing of the nursery school. There are also walkways on the roofs, which introduce the children to another ambiance.
Poetry and surprise
The two schools are unified by their broad, pleated roofs, the nursery school being lower down on the slope. The ground plan is simple, so that the children can easily find their way around. The geometry, and notably the passageways, contrast with the spatial intensity. The inner perspectives are telescoped or attenuated, depending on whether the walls are convex or concave. Views onto the outside world, and superimposed spaces, are always different, always new. There are multiple, changing, irregular facets. No two façades are the same.
The complex is labile, asymmetrical, surprising. In terms of organisation, the classrooms are rectangular, and can take thirty children comfortably. The collective spaces (library, concourse, music and computing rooms) stand out, in part, above the roofs. Large windows, sheltered by the roof projections and sunshades, open onto the playgrounds on the southern side. And the nursery school also receives natural light from the north. Access to the nursery school classrooms is through cloakrooms, via yellow perforated metal entry points that indicate a passage from one world to another.
The toilets and dormitories are shared by two classrooms, and there is customised furniture in three-ply spruce, from the cloakrooms to the cupboards in the classrooms. The passageways have their own character, and are the project’s main axes. The galleries, main entrance, hall, covered playground, corridors and terraces are carefully designed, spacious, with natural lighting, for easy occupation.
Wood in depth
Wood is a pre-eminent presence. Tectoniques generally uses wood frames for its school projects, but in this case there are wood panels throughout, for the walls, façades and floors. They are left exposed on the inside surfaces, giving solidity and depth to the walls and partitions. This impression of mass and weight creates an impression that is unusual for construction in wood, which by its very nature is light.
Apart from the foundations, slabs, ground floor and stairwells, everything is in wood, including the lift shaft. The outer aspect of the complex is characterised by overhangs that are 2.4 m long and 0.18 m deep. Structurally, the roof is made of KLH® panels, as mentioned above, while the upper storey has cavity floors in prefabricated laminates between OSB planking on dry slabs, with soft coverings.
From preparation (long) to implementation (short)
The design-construction process is similar to certain techniques that have been used in Austria. Industrially-produced panels and more elaborate components are used for on-site dry assembly. This is one of the most ambitious project of its kind to be implemented in France, using a constructional approach that is one of Tectoniques’ specialities.
Area: 6,150 m2
Cost: €10.5 million
Client: Muncipality of Rillieux-la-Pape
Architects and surveyors: Tectoniques
Engineers: BPR Ingénierie Générale, Arborescence Structures Bois, Indiggo Environnement
Environmental approach: wood burning boiler, ground-coupled heat exchanger, wood frame, KLH panels, reutilisation of rainwater, solar-heated water for sanitary use
The post Paul Chevallier School
by Tectoniques appeared first on Dezeen.
The sprawling topography of the Portuguese landscape provided the shape of this restaurant, guest house and wine showroom by architecture studio Carvalho Araújo (+ slideshow).
Sited just outside the town of Passos do Silgueiros, the building was designed by Carvalho Araújo for Portuguese wine brand Quinta de Lemos as a place where critics and customers can sample and critique different vintages.
Glass walls angle back and forth to give the concrete building its winding plan, which nestles closely to the rugged forms of the rocky hillside.
“The building’s drawing is developed starting from the topography, based in contour lines,” said the architects. “It defines an extensive course that represents the dimension of the territory on which it is placed”.
Visitors arrive at the building after traversing a winding pathway down from the road. Upon entering, they can either head into a large dining room, or make their way to one of three guest bedrooms.
The wine showroom is positioned just beyond, past a private indoor swimming pool that offers far-stretching views across the vineyards and hills.
A pair of long staircases tucked behind the building lead up onto the roof, which is covered with paving slabs and functions as a large viewing platform.
“The building is drawn by the land,” added the architects. “Its openings and orientation respect the main points of view over the vineyard, control of natural light and the discretion that is intended.”
Portuguese studio Carvalho Araújo also recently converted an old military police headquarters into an art and culture centre in Braga.
We also recently published a guest house at the Cloudy Bay winery in New Zealand and have previously featured an Italian winery with huge terracotta vaults and an asterisk-shaped restaurant and winery in China.
See more wineries on Dezeen »
See more architecture in Portugal »
Photography is by Hugo Carvalho Araújo.
Here’s a project description from the architects:
De Lemos
Answering the request for the conception and design for a gourmet restaurant, we developed the project with the idea of a guest house, private equipment as complement of the first. The group intends to relate to the wine production, and to frame this investment in a global brand strategy, instead of an isolated act in the territory.
The guest house doesn’t have a formal reception; the services create an intimate atmosphere, family like and exclusive. The bedroom is not just the private domain; it includes other spaces of social character, which makes this equipment different from the usual offer of temporary lodging. The bedroom is really a small house.
The association established with the wine production justifies the restaurant. It includes spaces for wine proofs, and a reserved area to discussion, analysis and wine critic, suggesting a flexible drawing for the space in all these uses.
The building’s drawing is developed starting from the topography, based in contour lines, as a reference to the platforms and the distant association that unites them in time, characteristic of wine’s production especially in the Douro and Dão region.
It defines an extensive course that represents the dimension of the territory on which is placed and is built in a level quota, being the direct result of the topography.
The building is drawn by the land, and its openings, orientations and internal definition of the program respect the main points of view over the vineyard, control of natural light and the discretion that is intended for the group, in spite of its apparent dimension.
The attractive point where the building is located creates a tension between the existent building and the new construction, being constituted as two poles, forcing the accomplishment of a course to relate them. The implantation of the new construction is just the continuity of that course; a drawing in the landscape, a built course leaning towards the beauty of the linear rhythm of the vineyards.
Architecture: Carvalho Araújo, Arquitectura e Design
Team: José Manuel Carvalho Araújo, Joel Moniz, Sandra Ferreira, Emanuel de Sousa, Ana Vilar, André Santos, Liliana Costa, Nuno Vieira, Pedro Mendes, Carlos Santos, José João Santos, Leandro Silva
Client: Celso de Lemos Esteves
Date: 2007 – 2012
Location: Passos do Silgueiros, 3500-541, Viseu, Portugal
Landscape: JBJC – João Bicho e Joana Carneiro, Arquitectura Paisagista, Lda Arquitectura de
Interior Architecture: Nini Andrade Silva
Engineering, management and supervision: Eng.o Carlos Pires
Contractor: Eduardo Oliveira Irmãos, Lda
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Carvalho Araújo appeared first on Dezeen.
Following our story about the extension of fashion designer Paul Smith’s Albemarle Street store, here are some more images of its new cast iron facade by London studio 6a Architects.
6a Architects abstracted Paul Smith‘s hand drawings to create a repetitive relief pattern of interlocking circles to cast in iron, a common material around the British capital.
“Cast iron forms an understated background to the city’s streets; its railings, gratings, balconies, and lamp posts,” said the architects.
Thin edges of the circles are embossed to cast shadows across the surface, which is patinated and marked from the casting process.
The facade covers an existing eighteenth century shop front, and its colour and style provides a sharp contrast to the other Georgian buildings in the Mayfair area of London.
Three small drawings by Smith have been cast directly into sections across the facade.
Curved glass cabinets protrude through the ironwork to display items of furniture, set against a white background.
At the entrance to the shop, the panels curve inward to the large stained oak doors.
Inside, the store features brightly coloured accents to match the designer’s furniture and an accessories room lined with dominoes – see our earlier story about the interior here.
6a Architects has previously completed the renovation of a contemporary art exhibition centre in east London and stripped back a derelict house to expose original structural features.
See more projects by 6a Architects »
See more design by Paul Smith »
See more architecture and design in London »
The text below is from 6a Architects:
The new Albemarle Street shop front for Paul Smith builds on a familiar material tradition in London. Cast iron forms an understated background to the city’s streets; its railings, gratings, balconies, and lamp posts. Paul’s brief was an eclectic collection of references, images, textures and traditions, encompassing military medals, woven hats and finely drawn gold ingots alongside sharp tailoring, the soft fall of cloth, craftsmanship and delight in surprise.
The ground floor rustication of the Georgian townhouse and the ornamental language of the 18th century shop front were reinterpreted and abstracted in a sinuous pattern of interlocking circles cast into a new solid iron facade. The repetition of the typical Regency shape brought an optical complexity, which with the play of sunlight and shadow turns the pattern into a deep surface texture. Seen obliquely it seems woven, like a fine cloth.
The surface is further enlivened by the latent makers’ marks of the casting process and the natural patination of the cast iron. A more intimate discovery is to be made in the trio of small drawings by Paul cast directly into panels scattered across the façade.
Curved windows project from the darkly textured iron as luminous vitrines, with a nod to the curved glass of the nearby arcades. A secret door of stained oak lies flush with the cast iron panels: the inverted carving of the timber recalls the mould and sand bed prepared for the molten metal.
The cast iron panels curve in to the recessed oak entrance door, a gently bowed iron step evokes worn away treads. Over time, the iron threshold will polish under foot, recording the life of the building in its material.
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store facade by 6a Architects appeared first on Dezeen.
News: architect Rafael Viñoly has admitted he knew the facade of his curvy Walkie Talkie skyscraper in London would focus an intense beam of sunlight onto a neighbouring street, but says that he “didn’t realise it was going to be so hot”.
Speaking to Guardian architecture critic Oliver Wainwright, Viñoly said that his curvaceous 37-storey tower at 20 Fenchurch Street was originally designed with horizontal sun louvres that would prevent a glare strong enough to melt the paint and bodywork of parked vehicles on Eastcheap Street, but that they were removed to cut costs.
“We made a lot of mistakes with this building,” he said, “and we will take care of it.”
The architect claims to have identified the problem during the design stages, but says he was without appropriate tools or software to analyse the precise effect.
“When it was spotted on a second design iteration, we judged the temperature was going to be about 36 degrees,” he said. “But it’s turned out to be more like 72 degrees. They are calling it the ‘death ray’, because if you go there you might die. It is phenomenal, this thing.”
He also suggested that the problem could be down to changing climate. “When I first came to London years ago, it wasn’t like this,” he said. “Now you have all these sunny days. So you should blame this thing on global warming too, right?”
This week developers installed a two-storey netted shield to cover the facade of the building, now nicknamed “Walkie Scorchie”, while city officials have suspended three parking bays until a more permanent solution can be found.
Reports first surfaced at the start of the week that the building was damaging vehicles. Since then it has been reported to have cracked pavement tiles, started a fire and even been used to fry an egg.
This isn’t the first time that Viñoly has had complaints about sun reflecting from one of his buildings. In 2010, guests at the Vdara Hotel in Las Vegas complained of scorched hair and melted drinks glasses.
“That was a completely different problem,” Viñoly told the paper, stating that the brief for that project had called for curvy towers. “We pointed out that would be an issue too, but who cares if you fry somebody in Las Vegas, right?”
The Walkie Talkie is scheduled to complete next year.
See more architecture by Rafael Viñoly »
See more skyscraper news »
Images of the Walkie Talkie are courtesy of Shutterstock.
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says Walkie Scorchie architect Viñoly appeared first on Dezeen.
Le Desert Lotus Hotel est situé entre les dunes du désert Xiangshawan, en Mongolie intérieure. Création du studio PLaT Architects, c’est un système innovant qui s’intègre parfaitement à son environnement tant du fait du système que des matériaux de construction utilisés. Une réalisation pour le moins audacieuse à découvrir.
Curving steel columns morph into angular arches around the etched concrete body of this bridge by New Zealand architects Warren and Mahoney over a road, railway and waterway in Auckland (+ slideshow).
Named Point Resolution, the pedestrian bridge connects the coastline with a stretch of headland on the opposite side of the bay. Warren & Mahoney designed the structure to replace an existing 1930s bridge, which had become structurally unsound.
The body of the bridge is framed by three sinuous arcs, which branch out from the steel columns that elevate the structure. “The steel supporting the deck was designed to pay homage to the original bridge by echoing its three arches,” explained the architects.
A curved concrete deck was modelled on the hull of a ship and features a series of etched patterns by artist Henriata Nicholas, designed to look like delicate water ripples.
These patterns continue across the angular glass balustrades that line the edges of the walkway, supporting handrails on both sides.
The architects compare the delicate patterns and curving forms with the nearby Parnell Baths – a 1950s structure that features a decorative mosaic mural. “[The baths] offered a clear language of angular lines meeting sinuous form and became a key motivator of the language and geometry of the design,” they added.
Warren & Mahoney were also the architects for the newest terminal at Wellington International Airport, which topped the transport category at the 2011 Inside awards. Watch an interview we filmed with the architects »
Other bridges completed recently include a Corten steel river crossing in Norway and a pivoting apostrophe-shaped bridge in the UK.
See more bridges on Dezeen »
See more architecture in New Zealand »
Photography is by Patrick Reynolds.
Here’s a project description from Warren & Mahoney:
Point Resolution Bridge
Auckland Council invited Warren and Mahoney to provide conceptual ideas for a replacement pedestrian bridge connecting Auckland’s waterfront to a prominent headland. The existing bridge, built in the 1930s was suffering severe structural fatigue and with the imminent electrification of Auckland’s rail network, the bridge needed to be raised.
The council, recognising the importance of the location, both in terms of its prominence along the waterfront and its proximity to the historic salt water Parnell Baths, wanted something sculptural, elegant and iconic. The baths, designed in the early 1950s in the International Modern style of lido bathing pools with a mosaic mural by artist James Turkington, with its fluid and abstracted swimmers, offered a clear language of angular lines meeting sinuous form and became a key motivator of the language and geometry of the design.
The location of the bridge at the edge of the harbour also provided obvious nautical allusions, both historic and contemporary – the waka and the super yacht.
It was determined that the bridge would be formed using three primary elements:
» A simple but sculpted and hull-like concrete deck would extend from the headland and protrude out into the harbour. This would in turn be cradled by a highly expressive steel armature or exoskeleton which sinuously referenced the language of the baths beyond. A simple cantilevered glass balustrade, co-planar with the concrete deck would provide barrier protection.
» The steel supporting the deck was designed to pay homage to the original bridge by echoing its three arches. The arches begin under the deck as diamond shaped columns which bifurcate to form the arches.
» The deck is formed with three separate twin-celled post tensioned precast concrete sections joined with in-situ stitches. The deck is supported by the steel armature through discrete pin connections.
Artist Henriata Nicholas developed a pungarungaru(water ripple) pattern over the concrete and glass surfaces. It was important that the patterning was delicately completed in a contemporary manner to ensure it would not be read as a patronising cultural reference. To ensure consistency of the concrete colour, a pigmented stain was applied.
To create the fluid and sinuous forms, along with the geometric precision required the bridge was designed and modelled in Rhinoceros with the associated parametric plug-in Grasshopper. The parametric capability allowed for design iterations to be produced quickly and tested against architectural and structural requirements.
Architect: Warren & Mahoney (Dean Mackenzie, Simon Dodd, Sebastian Hamilton, Chris Brown)
Artist: Henriata Nicholas
Structures: Peters & Cheung (Duncan Peters, Brent Deets, David Brody, Joe Gutierrez)
Lighting: LDP (Mike Grunsell)
Main Contractor: Hawkins Infrastructure (Nick Denham)
Client: Auckland City (Greg Hannah)
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by Warren & Mahoney appeared first on Dezeen.
L’édition 2013 du festival mondial d’architecture se tiendra du 2 au 4 octobre à Singapour. On y retrouve des pontes de l’architecture comme Zaha Hadid, Aedas Ltd ou Leigh & Orange dont les créations se situent aux quatre coins du monde. Ci-dessous le Halley VI Research Station by Hugh Broughton (Antartique).
Al Bahar Towers by Aedas Ltd (Abu Dhabi)
Emporia by Wingardh Arkitktkontor AB (Malmo, Sweden)
Kontum Indochine Cafe by Vo Trong Nghia Architects (Kontum City, Vietnam)
Heydar Aliyev Center by Zaha Hadid Architects (Baku, Azerbaijan)
L’Avenue Shanghai by Leigh & Orange (Shanghai, China)
The Blue Planet by 3XN (Copenhagen, Denmark)
Are even tinier apartments the answer to better accommodating the emerging housing needs of major cities? An exhibition at the Museum of City of New York suggests as much, and the “live smarter and smaller” theme seems to be resonating—the popular show on new housing models has been extended to September 15. We asked writer Nancy Lazarus to head over to the museum’s fully built “micro unit” and make herself at home.
About thirty curious visitors filed into a 325-square-foot full-scale studio apartment model on a recent Friday afternoon. The occasion wasn’t a real estate open house, but a chance to experience a highly touted micro-unit called “The Launch Pad.”
The furnished model (pictured above) serves as the centerpiece of “Making Room: New Models for Housing New Yorkers,” an exhibition on view through September 15 at the Museum of the City of New York. Amie Gross Architects and interior designer Pierluigi Colombo, founder of Resource Furniture, collaborated on the unit’s design.
Architectural models and design solutions from New York and selected cities worldwide are also showcased. These coincide with New York Mayor Michael Bloomberg’s initiative to offer more affordable, though smaller-scale, housing options for the growing ranks of single city residents.
An open ambience prevailed inside the micro-unit, not claustrophobia, as skeptical attendees may have expected. They soon learned key elements for optimizing space from Jeffrey Phillip, an organizing pro who specializes in blending style and efficiency.
“We all struggle with living in small spaces, but small spaces are also grand spaces,” Phillip said. He showed visuals to illustrate the advice he offers to space-challenged clients. While a few concepts were conventional, others were counterintuitive. Some mini spaces benefit more from design makeovers.
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Danish firms JDS Architects and KLAR Architects have created a multipurpose pier in Copenhagen featuring a series of undulating bridges and promenades that rise out of the water like waves (+ slideshow).
JDS Architects and KLAR Architects redeveloped two existing public squares on a stretch of the Kalvebod harbour adjacent to several large office blocks, and extended the promenade onto the water in the gaps where the buildings’ shadows don’t reach.
“What has doomed the Kalvebod area until now were the long shadows drawn by the imposing structures fronting it,” JDS Architects explained. “We studied the course of those shadows throughout the day and the year and located two main pockets of shadow-free zones.”
The new intervention enlivens a previously barren area of the waterfront and connects the nearby Langebro Bridge with roads that lead towards Copenhagen’s central station and Tivoli Gardens amusement park.
Raised above the water on stilts, two concrete piers provide facilities including a dock for boats, a canoe club and an events space, while decked areas with benches encourage sunbathing.
Promenades on different levels offer various ways of navigating the waterfront, with the wooden decking rearing up at one point to create a diving platform.
The two firms won the competition to develop the Kalvebod harbour area in 2008, and JDS previously designed a public swimming area on the opposite side of the harbour, that was completed in 2003 when the firm was still operating under the title PLOT with fellow Danish architect Bjarke Ingels.
JDS Architects recently revealed its design for an M-shaped office building covered in green terraces in Istanbul, while its founder Julien De Smedt has launched a design brand focusing on furniture and homeware.
Other landscape architecture projects on Dezeen include a seaside square in Croatia with steps, terraces and textured paving, and a coastal path in England featuring a staircase that provides access to a historic naval supply yard.
See more JDS Architects »
See more landscape architecture »
Photographs are by Ursula Bach unless stated otherwise.
Here’s a project description:
Kalvebod Brygge is situated opposite the popular Copenhagen summer hang out, Islands Brygge. Kalvebod Brygge has the potential to be Islands Brygge’s more urban counterpart but has, until now, been synonymous with a desolated office address devoid of life and public activities.
This new waterfront will be a place for a larger spectrum of public activities. With a close connection to the central train station and Tivoli, Copenhagen’s famous city amusement park, ‘Kalvebod Bølge’, the ‘Kalvebod Waves’ will become a hub, buzzing with activity and providing a chance for the inner city to regain its connection to the harbour.
Constituted more by its functionality than its tradition, this inner city site is less fragile than others and manifests Copenhagen’s contemporary urban waterfront with neighbouring entities such as the Black Diamond Library and the Nykredit building. According to the schedule the complex should be finished mid 2010.
The project consists of two main plazas, which extend across the water and are positioned with regards to sunlight and wind conditions. To the south, the pier allows for a flexible public space on the water with facilities to host events related to the creative industry. During the last 10 years Copenhagen has developed into a stronghold for the creative class, therefore Kalvebod Brygge proposes an urban showcase that gives organisations, companies, festivals and fairs a location along the waterfront.
In connection with this space, an active water enclave is created, for various water related activities. The plaza and surrounding pontoons provide the necessary facilities for these activities to function. The flow of boats that commute to and from the water hub also creates an active maritime background and secures the connectivity of the plaza to the rest of the city.
The second square acts as an oasis on the water, providing both proximity and access. This recreational space, with a beach, allows for a break from the hectic pace of urban life, where a floating garden is proposed. A maritime park where urban and maritime life meet.
Project: Waterfront, Urban Plan
Type: Competition, 1st Prize December 2008
Size: 4000 M2
Budget: 7,000,000 EUR (52,000,000 DKK)
Client: Copenhagen Municipality, Lokale og Anlægsfonden
Team: KLAR, JDS, Niras, Sloth Møller
Location: Kalvebod Brygge, Copenhagen Harbor
Status: Completed August 2013
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and JDS Architects appeared first on Dezeen.
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