Hasta La Ideas

Shanghai studio Neri&Hu has reinterpreted traditional Chinese architecture and courtyard typologies for the design of a 300-room hotel in one of China’s oldest cities (+ slideshow).

The hotel, for international chain Westin, is located in Xi’an, the 3000-year-old city where tourists flock to visit ancient sculptures the Terracotta Warriors. Neri&Hu planned the hotel as a modern building but added details that reference the historic local vernacular, such as gently inclining rooftops and bold flashes of red.

Interpretations of Chinese courtyards begin with a large rectangular garden contained at the heart of the building. Meanwhile, a top-lit atrium is located on the eastern side of the plan and forms the centre point for four smaller indoor courts.

“As in Chinese architecture, the ‘Tian Jing’ is an important concept that we wanted to bring to this hotel in a city that boasts rich Chinese history, artefacts and heritage,” the architects told Dezeen. “Its spiritual functions in Chinese traditional architecture are profound and we intended to bring this experience into the hotel.”

Dark stucco and stone clads the exterior of the five-storey building and a narrow strip of glazing separates the walls from the sloping roof. Vertically sliced windows decrease in size towards the top of the facade to create the impression of a tapered volume.

The architects cite the bulky massing of the city walls as inspiration: “The monumental scale of the Xi’an Westin building is not to be missed and inevitably it makes a lasting impression on each visitor to the hotel. But this is also a local character, given that the building footprint and massing is largely defined by the municipality, to be in keeping with the character of Xi’an as one of the most historically significant ancient cities in China.”

Flashes of red colour the window recesses, revealing the thickness of the outer walls. In most places these openings are slanted to direct views towards nearby landmark the Giant Wild Goose Pagoda.

Pools of water line the perimeter to give the illusion of a floating building, while slatted timber canopies mark the entrances for guests. One entrance leads into a ground floor lobby, while the other brings visitors down into a subterranean museum.

Neri&Hu also created three restaurants for the hotel, including one where diners sits beneath a cluster of skeletal pendant lamps.

Chinese architects Lyndon Neri and Rossana Hu previously designed a hotel inside an abandoned former army headquarters, which was named overall winner at the Inside awards in 2011. In a recent interview, the pair told Dezeen that Chinese architects need to stem the tide of “half-assed” building projects in the country.

Other recent projects by the studio include a design gallery and event space in a former colonial police station and an apartment where rooms are displayed like exhibits. See more architecture by Neri&Hu or more architecture in China.

Photography is by Pedro Pegenaute.

Here’s some more information from Neri&Hu:

Xi’an Westin Hotel

In an ancient capital of China, Neri&Hu Design Research Office’s design of the Westin in Xi’an emerges as a tribute to both the city’s importance as a hub of burgeoning growth in the region, as well as its long standing status as a cradle of Chinese civilisation. With 3,100 years of history embedded in the layers of the city, Xi’an is not merely a formidable backdrop to the building itself but has provided the architects with design inspirations that inextricably link its past to its present and future.

Above: ground floor plan – click for larger image

Arriving in Xi’an’s historic center, one is immediately struck by the fortress-like expanse of its enveloping city walls, and the architecture of the Westin takes cues from this heavy monumentality. Respectful of its urban context, the dark stucco and stone clad building blocks adopt the profile of vernacular Chinese architecture. While the sloped contours and overhanging eaves of the roof are immediately recognisable, its traditional details have been reduced to the clean lines of a minimalist contemporary architecture. The rhythmic sequence of deep-cut openings on the façade shifts playfully, getting smaller on each subsequent level of the five storey structure, giving the illusion of the building mass tapering as it rises. Each opening, lined in a vibrant red hue, is slanted to direct views to neighbouring landmark the Big Wild Goose Pavilion and reveals the thickness of this architecture, as deeply rooted in its history as in the ground itself.

Above: basement floor plan – click for larger image

The apparent heaviness of the architectural volumes is constantly juxtaposed against elements which bring a certain lightness to the project. From afar, it becomes apparent that the pitched roof, which is typically quite low and heavy in a traditional Chinese building is here, handled with more delicacy. Bulkiness shed and curves straightened, the roof is lifted from the building mass below by a band of glazing and floats one level above. Approaching it, one discovers that the entire assemblage of buildings is surrounded by a reflective pool of water, leaving the impression of a building that is suspended in an infinite sky. At either of its two main entries, wooden slatted canopies are gently attached to the façade and allow light and shadow to permeate deep into the interior, drawing visitors in further. Once inside, a pleasant surprise awaits, the light which floods in through skylit courtyards carved from each volume, as a piece of landscape implants itself into the center of each block. The architects’ constant effort to extend the exterior into the interior manifests most grandly perhaps in the sweeping set of stairs at the East entry, which brings visitors down two levels below into a large sunken garden at the very heart of the project, around which are located the main public spaces. Like the Neolithic Banpo village on the skirts of Xi’an, or the terracotta warriors for whom millions travel each year to visit, the architecture is a celebration of the subterranean.

Above: third floor plan – click for larger image

Along the journey from the East entry to the central sunken garden is a feature which is unique to the Westin Xi’an, a museum housing ancient mural art from the region. Neri&Hu’s concept for this space is grounded in the basic notion that the display format for murals should be inherently different from the display of any other form of art. As historic objects of art needs strict humidity, lighting, and temperature control, the design of the exhibition space starts with those basic units of exhibition, metal cases hung on bare white walls. Departing from the quintessential “white cube” museum idea here, each unit of display casework is positioned in a way that expresses each case’s individuality and the individuality of each work of art within. By detaching the casework from the white wall, and then framing the mural fragments as individual works, one is able to more deeply appreciate each one as a unique art piece.

Above: section A-A – click for larger image

The Westin Xi’an features three restaurants whose interiors Neri&Hu was also responsible for. The Chinese restaurant is a free-standing building which caps off the sunken garden on the West side, and its detachment from the other buildings allowed the architects to experiment more freely with its massing. Cleverly playing on the notion of the heavy roof, the entire building here is expressed as a Mansard roof which drops so low it appears to only be slightly hovering off the ground. Dormer windows protrude on each side to provide light, and the structure of the roof is exposed on the interior, so that one is constantly reminded of the inhabitation of this roof. The Private Dining Rooms are contained within a brick mass with vertical cuts through it, bringing unexpected light and views to the dining experience. The concept for the Japanese restaurant is derived from the stage of Kabuki theater, where actors surround the audience and perform in the round. In this restaurant, the main circulation paths are elevated around the perimeter, with diners inhabiting the sunken area in between; servers and passersby become performers on stage. Continuing the theme of performance and display, the All-day-dining restaurant features glass encased dining and buffet areas in the center of the space. Like a marketplace display vitrine, the food and spectacle of feasting become focal points.

Above: section B-B – click for larger image

With Neri&Hu Design Research Office’s fresh take on historic references, the Westin Xi’an pays due homage to this ancient city, while continuing to break through preconceived notions of Chineseness in architecture.

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by Neri&Hu appeared first on Dezeen.

London’s Battersea Power Station is transformed into a museum of architecture and surrounded by a giant roller coaster in these competition-winning proposals by French studio Atelier Zündel Cristea (+ slideshow).

The conceptual plans were awarded first prize in the international competition coordinated by ArchTriumph, which invited applicants to suggest how the crumbling brick landmark could be used as an exhibition centre dedicated to architecture.

“Our aim was to imagine a new cathedral to architecture, a building that will challenge its sister structure, the Tate Modern, for international acclaim,” said Atelier Zündel Cristea, explaining how they looked to Herzog & de Meuron’s renovation of the Bankside Power Station for inspiration.

A curved scaffolding structure would weave in and around the building, creating a network of pathways between the exhibition spaces and providing the tracks for the roller coaster running along on top.

“We conceived of a double-faceted project,” said the architects. “On one hand, a calm and contemplative interior, dedicated to the collection’s display; on the other, an exterior opening upon the surrounding landscape and providing breathtaking views.

Designed by architect Sir Giles Gilbert Scott, Battersea Power Station was constructed in the 1930s and spent over 50 years generating electricity for London. Over the years since its decommissioning, the building and its surrounds have invited dozens of development proposals and the site is currently earmarked for a mixed-use complex of apartments, shops, offices and a theatre.

Past proposals for Battersea Power Station include Rafael Viñoly’s plans for a 300-metre tower and an “Eco-Dome” and Terry Farrell’s idea to convert the building into a park. There was also an offer to convert it into a football stadium. Read more about Battersea Power Station.

Another extreme proposal for an iconic building released recently was a plan to extend the Guggenheim Museum in New York by continuing the spiral upwards.

Here’s a detailed description from Atelier Zündel Cristea:

Battersea Power Station London

The Site

London stands on the River Thames, its primary geographical feature, a navigable river which traverses the city from the southwest to the east. The city is home to numerous museums, galleries, libraries, sporting events and such cultural institutions as the British Museum, National Gallery, Tate Modern, British Library, Wimbledon, as well as over 40 major theatres.

The Battersea Power Station, which was built between 1930 and 1955, is situated a few miles south of Marble Arch on the south bank of the Thames, facing the borough of Chelsea. The decommissioned station is one of the best known landmarks in London and an excellent example of Victorian architecture. It is also the largest brick building in Europe, notable for its original Art Deco interiors and decor.

The area surrounding the site is characterised by a mix of residential, commercial, and industrial uses, with the presence of warehouses as well as rail infrastructure. Battersea Park, situated on the banks of the Thames towards the west, is an important element in the makeup of the neighbourhood. Like the power station, Battersea Park has its own fascinating history, from the Fun Fair which began as the Pleasure Gardens of the 1951 Festival of Britain, to the new century’s Millennium Arena.

A Temple of Power

The Battersea Power Station was built, due to the proximity of the cooling presence of water, on a 61,000m² plot of land situated on the south banks. From its inception, the station was very popular. It symbolised progress, industry, and a new type of power: the Power of the People.

The structure is made of a steel frame with brick cladding, similar to the skyscrapers built in the United States around the same time. The building’s large dimensions measure 160 metres by 170 metres, with the roof of the boiler house extending to over 50 metres high. The four chimneys are made of concrete and reach a height of 103 metres.

After being in operation for 40 years, the two wings have both ceased generating electricity, A station in 1975, B station in 1983. Over its seventy year history, the station has taken on iconic status, having been represented in many forms of popular culture, from films to music videos to video games.

A New Site for Architectural Pleasures

Our project envisions the regeneration of the Battersea site within a new park combining leisure and architecture, in creating a popular spot welcoming to all, dedicated to the pleasures of mind and body, replete with unique experiences. A space for learning, relaxation, and discussion; an architectural and cultural village in the heart of the city.

A museum of architecture, based on the Parisian Cité de l’Architecture model, will through a series of galleries present a panorama of architecture and cultural heritage from the Middle Ages to today. A highly varied collection of materials will illustrate the major changes that have taken place in international and British architecture throughout the centuries. Abbeys, cathedrals, historic city mansions display the wealth of their sculpted and painted decor, as well as the complexity of their structures. Train stations and skyscrapers attest to the technological and formal innovations of the modern era. Public and residential buildings bear witness to the changes in society and lifestyles.

The originality of the collections stems as much from the monumental scales of the displayed volumes as from the remarkable variety of supporting materials: stained glass, scale models, drawings, books, films, and prototypes… The discovery of which invites visitors on an architectural journey through time and space.

We tried to keep in mind the principal reasons for why people would visit the new Battersea Museum of Architecture: the opportunity to see and experience architecture while learning about it as a profession and discussing it with others; people watching and mingling amongst fellow visitors; exploring the architectural setting of the power station; revisiting familiar works of art and architecture. Our aim was to imagine a new Cathedral to Architecture, a building that will challenge its sister structure, the Tate Modern, for international acclaim, and establish a new visual reference point for the city.

A Playground for the Mind and for the Body

The development of culture is one of the highest possible human ideals. Therefore, in every museum it is not the exhibition of works that has meaning, but the presence of visitors and their wandering through and exposure to displays of works that stimulate meaning.

We have introduced the foreign element of a rail into the space of the power station, which will function above all in animating the empty space. It will offer visitors entering the structure a primary pathway, allowing them to take in the essential layout of the building with a minimum of effort. With the pathway determined by the presence of the rail, the simple fact of moving through the exterior and interior spaces of the station begins to make sense.

In its spatial ambition, our project encourages play and fun, categories largely devalued in the traditional world of art. Conceived in this way, cultural spaces are liable to attract new types of visitors. Our project puts the power station on centre stage, the structure itself enhancing the site through its impressive scale, its architecture, and its unique brick material. Our created pathway links together a number of spaces for discovery: the square in front of the museum, clearings, footpaths outside and above and inside, footpaths traversing courtyards and exhibition rooms.

The angles and perspectives created by the rail’s pathway, through the movement within and outside of the structure, place visitors in a position where they can perceive simultaneously the container and its contents, the work and nature. They come to participate in several simultaneous experiences: enjoying the displayed works, being moved by the beauty of the structure and the city: river, park, buildings.

The project has the strength of evoking the dimension and scale of man in the contemporary era, putting into question our relationship to the structure. It is not only a matter of showing, but also of suggesting post-industrial poetry. We conceived of a double-facetted project: on one hand, a calm and contemplative interior, dedicated to the collection’s display; on the other, an exterior opening upon the surrounding landscape, providing breathtaking views.

Museums are NOT FUN! Museums are FUN!

Can we design a museum in which new design ideas are explored, architectural experimentation is encouraged, and the profession challenged, while attracting large numbers of visitors? Alongside certain serious and important topics, the element of fun in museums is important!

For some people, “fun” is a loaded word. Some people would consider words like enjoyable, pleasant, worthwhile and so on, better terms of evaluation for the experience of visiting a museum. For a certain proportion of regular museum goers, “fun” is simply not a word they would consider using in describing the museum experience, implying as it might for them dumbing down, simplification, or out of place hands-on activities, commotion and even noise. Unsurprisingly, almost all of these respondents are over the age of 50. When it comes to younger respondents however, “fun” is a word often used to describe the museum experience, and in very positive terms. But the use of the word “fun” in describing the museum experience should no longer be limited to a particular generational or social category.

We believe that museums can make learning “fun”, therefore museums can be “fun”. As young adult architects with children, we often seek out experiences that combine fun and culture. Museums can provide artistically qualitative but fun activities for the entire family. And this is a trend we are delighted to see taking shape, the positive connotation of “fun” for many people with regard to museum going. Generally, museums are indeed fun, and we hope that increasing numbers of people come to view them as such, regardless of age.

The post The Architectural Ride at Battersea
Power Station by Atelier Zündel Cristea appeared first on Dezeen.

Focus sur le travail d’André Chiote, un architecte et illustrateur vivant au Portugal. Ce dernier s’est inspiré de grandes références de l’architecture dans le monde telles que « Zaha Hadid » ou « Oscar Niemeyer », pour concevoir une série de posters très réussie. L’ensemble est à découvrir dans la suite de l’article.

This angular rural house in Greece by Athens studio Tense Architecture Network has over half of its concrete body buried beneath the ground (+ slideshow + photographs by Filippo Poli).

House in Sikamino has a 60-metre-long and narrow shape with angular edges that thrust out into the sloping topography, creating a partially submerged upper floor and a completely buried lower level.

“The composition seeks to vigorously merge the residence with its elongated site,” explains Tense Architecture Network.

Grass covers the roof to create an artificial hill over the top of the house, intended to evoke the shapes of the Euboea mountains in the distance. Residents use the ground for planting herbs.

Glass walls bring daylight in along any exposed edges and open out to wooden terraces.

Spaces inside the house are broken up into a non-linear arrangement, with living spaces in the centre and bedrooms at the ends. A car parking area is also included on the lower floor.

Other recently completed Greek houses include a ridged limestone house in Milos and a weekend house in Paros. See more architecture from Greece.

See more photography by Filippo Poli on Dezeen, or on the photographer’s website.

Here’s a description from Tense Architecture Network:

Residence in Sikamino, Attica.

The field is elongated, rural, planted with olive trees. The land is dominant. How could a residence rise out of the ground, how could it be confined to a roof? The residence is its roof. A 60-metre-long one. While approaching the plot, it can be perceived as a slightly elevated strip of earthy crust in front of the distant mountains of Euboea. It can be walked on.

The roof is born from and returns back to the ground; it is planted likewise: helichrysum, rosanthemum, lavender, gauras, thyme. The roof’s shape is rhomboid and the living space is hosted under its central, maximum width area, while the sleeping quarters occupy the edges.

The composition seeks to vigorously merge the residence with its elongated site. An additional, fully underground level has been introduced to facilitate the increased needs that the intent agricultural life requires. A curvilinear car ramp enters the rhombus in transverse, therefore creating an opening towards the cultivable part of the field. Building shell is of reinforced concrete, exposed on roofs and walls. Iron frames, sun-protecting blinds, metallic shutters palliate the sense of transparency. The sculptural clarity of the extended, concrete roof was attained by means of inversion of all beams but one, which abuts at the central column: the hearth.

Project team: Tilemachos Andrianopoulos, Kostas Mavros
Collaborating architect: Thanos Bampanelos

Above: site plan – click for larger image

Above: ground floor plan – click for larger image

Above: basement floor plan – click for larger image

Above: cross section – click for larger image

Above: south-east elevation – click for larger image

Above: north-west elevation – click for larger image

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Tense Architecture Network appeared first on Dezeen.

A polished steel canopy reflects visitors walking underneath at this events pavilion in Marseille’s harbour by UK firm Foster + Partners (+ slideshow).

Supported by eight slender columns, the stainless-steel structure stretches over the paving to create a sheltered events space in the city’s Old Port. The roof features sharply tapered edges, creating the impression of a paper-like thickness.

“The new pavilion is quite literally a reflection of its surroundings,” explained head of design Spencer de Grey. “Its lightweight steel structure is a minimal intervention and appears as a simple silver line on the horizon.”

The Vieux Port pavilion forms part of a masterplan of public realm projects that Foster + Partners has been working on along the seafront of the French city to tie in with its role as European Capital of Culture 2013. Other improvements includes new surfaces, wider pavements and a series of nautical pavilions.

“Our aim has been to make the Vieux Port accessible to all,” said De Grey. “The project is an invitation to the people of Marseille to enjoy and use this grand space for events, markets and celebrations once again.”

The architects worked alongside landscape designer Michel Desvigne, who added granite paving to complement the original limestone cobbles.

London-based Foster + Partners has also released plans for several new projects in recent months. Others include a concept to 3D print buildings on the moon and a renovation of New York Public Library’s flagship branch. See more projects by Foster + Partners.

Photography is by Nigel Young.

Here’s a project description from Foster + Partners:

President of Marseille leads opening celebrations for new Vieux Port pavilion

The transformation of Marseille’s World Heritage-listed harbour was officially inaugurated on Saturday during a ceremony attended by Eugène Caselli, President of Marseille Provence Métropole and Jean-Claude Gaudin, the Mayor of Marseille. The event marked the completion of the new ‘club nautique’ pavilions and a new sheltered events space on the Quai de la Fraternité at the eastern edge of the port, built to commemorate the city’s year as ‘European Capital of Culture’.

The new events pavilion is a simple, discreet canopy of highly reflective stainless steel, 46 by 22 metres in size, open on all sides and supported by slender pillars. Its polished, mirrored surface reflects the surrounding port and tapers towards the edges, minimising its profile and reducing the structure’s visual impact.

Reclaiming the quaysides as civic space and reconnecting the port with the city, the boat houses and technical installations that previously lined the quays have been moved to new platforms and clubhouses over the water. The pedestrian area around the harbour has been enlarged and traffic will be gradually reduced over the coming years to provide a safe, pedestrianised environment that extends to the water’s edge.

The landscape design, which was developed with Michel Desvigne, includes a new pale granite surface, in the same shade as the original limestone cobbles. The simple, hard-wearing, roughly textured materials are appropriate to the port setting, and to improve accessibility for all, kerbs and level changes have been eliminated.

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by Foster + Partners appeared first on Dezeen.