Julius Shulman est un photographe américain né en 1936. Étant notamment connu pour ses clichés de maisons et bâtiments californiens, ce dernier nous permet de découvrir des images mythiques de la culture de son pays. Une série de visuels se dévoile dans la suite.
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Slideshow: Madrid studio Exit Architects designed this concrete sculpture museum behind the retained facade of an old house in southern Spain.
Translucent glazed walls connect the existing brick walls to the new three-storey-high structure, which is recessed by a few metres to create a public plaza at the main entrance.
Concrete tiles clad the exterior of the museum, while the interior walls are cast concrete, formed against timber.
At ground level, the floor of a central exhibition hall snakes upwards on a series of parallel ramps to correspond with the steeply inclining site.
Chunky wooden platforms separate these ramps and provide exhibition stands for the display of artworks.
Huge folding doors at the back of the building allow larger sculptures to be transported inside the building with relative ease.
See all our stories about museums here, or all our stories about galleries here.
Photography is by Fernando Guerra.
Here’s a more comprehensive description from Exit Architects:
The Museum Project was the result of an ideas competition organized by the Hellín Municipality.
The competition rules considered the refurbishment of the Casa del Conde as well as the construction of an extension on the plot area former occupied by some small service buildings of the house.
In the competition winning proposal we included the completely refurbished Casa del Conde as a part of the Museum. We even wanted to give it a main role, incorporating the former backyard facade as the background of the new main exhibition space.
The inner court of the house played also a significant role as an exhibition area which established a relationship between the old and the new parts. The upper levels hosted an administration area and a library.
Nevertheless, at the time we developed the Project, and after a rigorous inspection of the building we confirmed that it was not possible to refurbish the whole house at a reasonable cost, so we decided to concentrate all the efforts in preserving and restoring the painted façade and those valuable elements (stone columns, ironworks,…) we could recover for the museum.
This way, the old façade, once disappeared the rest of the house, is no more only a construction element and becomes also a canvas, a decorated surface to be integrated in the museum as an exhibition object.
Indeed a very special one, due to the decisive role it plays in the relation of the building with its surroundings (the Assumption Church) and with the city history and memory.
Despite the disappearing of the house, we preserve the volume occupied buy it, as a mechanism to adequate to the surroundings scale.
The new building steps backwards, creating a small square in front of the main visitors access.
Therefore the museum as a whole responds to a double urban scale, the close-scale of the street and the far-scale of the Church square.
Besides the building adapts itself to the steep slope of the plot decreasing its height in the longitudinal section so that it keeps always the urban scale of the surrounding houses.
Another mechanism to integrate the building and give it a representative character is the use, for the facades, of the same local stone as the one of the nearby Church, keeping the museum into the chromatic spectrum of the historic centre.
In the inside, a white-concrete space, shaped by light, surrounds a sinuous way among the sculptures, which stand on several big wooden bases that organize the exhibition and contain the showcases for smaller objects.
Therefore it happens just the opposite as in Easter, and in this case it is the visitor who wanders between the sculptures as he discovers them from different points.
The great scale of the main space, the intentional use of light and the construction with few and durable materials give the interior a character very appropriate for the important collection of religious sculptures to be exposed.
project: EASTER SCULPTURE MUSEUM. HELLÍN. ALBACETE
architects: EXIT ARCHITECTS – IBÁN CARPINTERO / MARIO SANJUÁN
client: PUBLIC WORKS MINISTRY / HELLÍN MUNICIPALITY
built area: 2.160 m2
budget: 3.512.235 EUROS
project: 2002
completion: 2011
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collaborators: MIGUEL GARCÍA-REDONDO, SILVIA N. GÓMEZ, ÁNGEL SEVILLANO, JOSÉ Mª TABUYO
technical architects: ALBERTO PALENCIA / JOSÉ ANTONIO ALONSO
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mechanical consultant: MAINTENANCE IBÉRICA
structural consultant: INDAGSA (JOSÉ LUIS CANO)
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general contractor: PEFERSAN, S.A.
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Designed in Hackney: next up in our Hackney design showcase is a conservatory with a five fingered roof that Shoreditch architects Spacelab installed at London’s Great Ormond Street Hospital in 2004.
Located on top of a boiler house, the Orangery provides a dining room for both staff and patients at the hospital, as well as a space for temporary exhibitions or events.
Some of the the zinc and wood-covered fins that comprise the roof are angled upwards to draw light in through the glazed facade, while others are slanted downwards to create overhanging canopies.
Gaps between the different sections of the roof are also glazed, creating a row of high-level windows.
The wooden ceiling surfaces wrap down around the walls and floor, then extend beyond the facade to become stripes on the terrace outside.
Here’s some more text from Spacelab:
The Orangery, designed and built by award-winning architects, Spacelab was completed in August 2004 and picked up an influential RIBA Award in 2005. The architects’ brief was to create a ‘conservatory type building’ providing both an internal and external area for dining and drinking and SpacelabUK delivered an inspiring and exciting contemporary space, which hugely differs from a normal hospital canteen experience.
Set on the existing boiler house roof, the Orangery is a modern sculptural pavilion and a dramatic transformation from a forgotten, unloved space. The new internal space provides a dining hall for staff and patients and can also be used for presentations, exhibitions and entertaining by the hospital staff. Spacelab have also created a new landscaped external area, which provides a quiet space for rest and relaxation. The front façade of the Orangery is fully glazed to allow light in as well as to connect the internal and external elements into one harmonious space.
Spacelab spent 24 weeks on site and the total cost was £390,000. The primary structure is made of steelwork structural ribs, which have been bolted together. The steelwork is tied together with timber joists covered in plywood to give both rigidity and form a substrate for the zinc cladding used for the roof. Timber, glazing, resin and rubber materials have been used to unite the interior and the exterior, blurring the boundaries and adding light and warmth to the overall space. Timber and resin wrap through as one continuous element from the ceiling across the wall and the floor right through to the landscaped terrace area. Tatajuba, European Oak and Ash were used for their colour and texture and the timber forms an important part of the overall aesthetic. Glazed apertures between the intersecting roof planes allow light to penetrate deep into the building.
The Orangery’s external space connects to the adjoining coffee shop, also designed and built by Spacelab at the same time to a budget of £120,000. The design flows seamlessly from the Orangery into the coffee shop and connects the two spaces. Similar to the Orangery, Tatajuba timber forms the floor of the coffee shop and then wraps around to finish as decks on the terrace and the boundary wall is fully glazed to allow maximum amount of light in as well as views of the terrace and Orangery.
Spacelab opened their practice in 2002 and their offices are located in Shoreditch, right on the edge of the borough on the aptly named Boundary Street.
Key:
Blue = designers
Red = architects
Yellow = brands
See a larger version of this map
Designed in Hackney is a Dezeen initiative to showcase world-class architecture and design created in the borough, which is one of the five host boroughs for the London 2012 Olympic Games as well as being home to Dezeen’s offices. We’ll publish buildings, interiors and objects that have been designed in Hackney each day until the games this summer.
More information and details of how to get involved can be found at www.designedinhackney.com.
Steel crossbeams divide the triple-height living room of this Tokyo townhouse into modular sections.
Designed by Japanese architects Junpei Nousaku, the small house in Shinjuku has a large set of windows stretched across its street-facing west elevation.
The roof pitches sharply away from this facade to create clerestory windows on the opposite wall that are a storey in height.
A kitchen, utilities room and bedroom are stacked up at the southern end of the house and overlook the living room like balconies.
Other recent houses we’ve published in Tokyo include one with a secret balcony and one with a seamless frosted facade. See all our stories about Tokyo by clicking here.
The text below is from Junpei Nousaku Architects:
We all want to create as wide and open a space as possible, even in a small house. However, city housing is often very closed to the city in Tokyo’s high-density districts.
In Tokyo, real estate has been fragmented by a rapidly increasing population density. 70 years from the end of World War 2, and the small houses were built crowded. Usually in such high-density districts, the small houses occupy the site maximum, and by stacking the floor vertically, in order to ensure the living area. But the internal space becomes divided by the stacked floors, resulting in the lower floor becoming darker than the upper floor.
In addition they tend to close by the wall because of the worry about the public gaze. It is cause by the building is not enough set back from the street. So in many cases, the ground floor is assigned to the entrance, vehicle parking and closed bathroom. That makes the residential districts feel like a lifeless, deserted place to someone on the street.
This problem is serious in Tokyo’s high-density districts. Therefore, I have put the main family space, on the ground floor, and made it an open atrium-like space connecting the ground to the roof directly without enclosing the space with the floor above, resulting in a feeling of internal space beyond the scale of the housing. On the other hand, the beams run over in that space to allow for future expansion of the floor to match the change of the occupants’ life style.
In addition by taking off the majority of the exterior walls, this house becomes look like the three-story house was peeled off the floor and the walls. From behind the large windows, the occupants can expect to see various aspects of the neighborhood such as developing plant life, high-rise buildings and the occasional passer-by who has stopped to gaze at this unique and strange house.
This space is not complete and not stable, rather than complete as the safe house. But I believe that direct involvement and clash with the city by this non-completion and unstable makes human life open to the city environment.
Architect David Adjaye has revealed plans to group nine of Frankfurt’s existing cultural institutions onto a combined campus in the heart of the city.
The 16.5 hectare site is currently occupied by Frankfurt University but will be vacant by 2014.
Adjaye Associates are proposing to create a single shared foyer, which will connect each of the nine organisations.
Apartments, offices and shops will also be included, creating a mix of uses across the site.
We recently featured David Adjaye’s 2002 project Dirty House as part of our celebration of design in the London borough of Hackney. See the project here.
Here are some more details from Adjaye Associates:
Cultural Campus Frankfurt – Adjaye Associates
Architectural concept: “micro city”
The design concept rests on the extraction of the essential components of a city, which are then compressed to establish a mixture of different uses. The single ingredients become a city in microcosm, or a “micro city”. Within the composition, there are possibilities for people from the cultural industries, academics, residents and office workers to encounter one another within a rich, creative atmosphere. The design fosters interaction and animation thus resulting in new synergies between different creative disciplines.
The “micro city” comprises a central, public and multi-functional space, which combines the main performing spaces of the cultural institutions, retail, cafes and the market hall in an interesting juxtaposition within the main foyer. Forecourts on the perimeter accentuate access points to the main foyer also enabling circulation through the cultural campus, which is porous and open to the city. The different uses are also layered vertically, thus allowing the mix of uses to be carried into the topography.
Client: Forum Kulturcampus Frankfurt e.V.
Programme: urban concept study for a cultural campus which includes 9 cultural institutions and their main performing spaces and a mixture of other uses (retail, cafes, offices, residential)
Appointment: feasibility study
Site Area: masterplan site in total 16,5 hectares
Building Height: foyer 9m and main performing spaces 17m, higher buildings 25-54m
Number of storeys: foyer and main performing spaces I, higher buildings VI – XIII
No. of Offices: 13,0%
No. of Apartments: 33,7%
No. of Retail: 8,6%
No. of Cultural Use: 44,7%
Cladding – materials: glass/ stone
Slideshow: the cantilevered upper storeys of this house in Osaka by Japanese architect Shogo Iwata hover above a driveway.
Completed in 2010, the three-storey-high House in Senri contains a total of eight tiered floors, connected to one another by sets of four or five stairs at a time.
The uppermost floor is a roof terrace, which is tucked down behind a parapet wall at the top of the grey-rendered facade.
The entrance is located on the side of the building, sheltered by a cantilevered canopy.
You can see more cantilevered buildings here, including a hotel with a mirrored underside.
Photography is by Nagaishi Hidehiko.
Here’s a little more from Shogo Iwata:
House in Senri
This house is planned for a family, husband, wife and their son.
This small house has 8 levels of floor between entrance in the basement to the roof terrace in order to constitute every space not in concentrated way by big void but reciprocal relation of each space.
This arrangement makes the notion of floor ambiguous and the continuity of space compatible with the hierarchy of space.
In order to realize this spatial constitution with small gap we adopt steel structure.
We use visible steel frame in 40mmx125mm flat bar that allow us to make each space flow without gravity.
Project title: House in Senri
Location: Suita, Osaka, Japan
Architect: Shogo Iwata
Main use: Residence
Site area: 244.3㎡
Building area:83.78㎡
Total floor area: 156.50㎡
B 1st floor: 6.30㎡
1st floor: 79.20㎡
2nd floor: 71.00㎡
Building area: 83.78㎡
Structure: Steel
Date of completion: 2010/06
It’s been a while since we last checked in with the Tiny House movement and we’re happy to see it’s still going strong. To refresh your memory, Tiny Houses—as little as 89 square feet—are designed by company founder Jay Shafer to reduce your carbon footprint to its absolute minimum.
The latest development is Tiny – A Story About Living Small, a film documenting Christopher Smith’s conversion from ordinary life into Tiny House living. Smith is a bit unusual in that he’s young (just 30) and has no building experience, yet purchased five acres in Colorado and is determined to build his own home with his bare hands. (Check the video preview after the jump.)
Designed in Hackney: London borough of Hackney architects Liddicoat & Goldhill have completed a garden cabin with a zigzagging facade that angles south towards the sun.
Located in the garden of a north London townhouse, the wooden pavilion has brick walls surrounding three of its sides.
The saw-toothed front elevation creates one large south-facing window, which maximises natural daylight and passive solar heating to the interior.
As well as the garden room, which the client uses as a space for both work and entertaining, the cabin accommodates a shower room and a storage shed.
David Liddicoat and Sophie Goldhill founded their studio on Ramsgate Street, Dalston, in 2009. We first featured them on Dezeen shortly after, as they completed a glazed addition to a 17th Century house, then again when they designed and built their own home.
Key:
Blue = designers
Red = architects
Yellow = brands
See a larger version of this map
Designed in Hackney is a Dezeen initiative to showcase world-class architecture and design created in the borough, which is one of the five host boroughs for the London 2012 Olympic Games as well as being home to Dezeen’s offices. We’ll publish buildings, interiors and objects that have been designed in Hackney each day until the games this summer.
More information and details of how to get involved can be found at www.designedinhackney.com.
Photography is by Tom Gildon.
Dezeen Wire: the fifth annual World Architecture Festival (WAF) will take place this year from 3-5 October at the Moshe Safdie-designed Marina Bay Sands resort in Singapore.
The event will include a programme of presentations, seminars and exhibitions, as well as awards for the most successful architectural projects of the last year.
The overall winner from the 2011 festival was the the Media-ICT office building by Cloud 9 Architects, which you can see here.
Here’s some more text from the festival organisers:
World Architecture Festival sets sail for Singapore
New venue as Festival returns for fifth successive year
The World Architecture Festival (WAF), the world’s largest, live, inclusive and interactive global architecture event, is returning for its fifth successive year. To celebrate this milestone, and to signal the evolution of the Festival as the world’s leading architectural event, this year’s Festival will be held in a new destination, taking place in Singapore from 3rd to 5th October 2012. Entries to the Festival awards open on May 1st.
Featuring an eclectic mix of architectural styles, from British colonial civic buildings to Art Deco office blocks, Singapore has a rich architectural heritage which it is recognising to an ever greater extent. Through the President’s Design Awards with its multiple international juries, and through the Lee Kuan Yew World City Prize now in its third iteration, Singapore has demonstrated a real belief in the power of design to transform people and places for the better and as country which has a real interest in design quality in many fields. This year’s Festival will be held at the spectacular Marina Bay Sands resort, designed by Moshe Safdie, itself a WAF Award winner in 2010.
The Festival will include a comprehensive programme of presentations, seminars, exhibitions, and keynote addresses from international participants. The WAF Awards, the largest architectural awards programme in the world, will again be a focal point of the Festival. Previous entrants have ranged from renowned global architectural firms to small local practices. All entrants go head-to-head as equals in presenting their designs on a global stage. The interactive format involves shortlisted entrants presenting their projects live to international judging panels and Festival delegates.
The Festival’s organisers, i2i Events Group, have today unveiled a jury comprising of a selection of the world’s leading architects and designers, who will decide which projects will be rewarded with a WAF yellow W trophy live at the Festival.
This year’s jury includes Ben van Berkel, UNStudio; Juergen Mayer H., J. Mayer H Architecture Design Research; Mok Wei Wei, W Architects; Kongjian Yu, Turenscape; Marcio Kogan, Studio MK27; Kerry Hill, Kerry Hill Architects; Tang Guan Bee, Tangguanbee Architects; Edouard Francois, Maison d’Architecture Edouard Francois; Ivan Harbour, Rogers Stirk Harbour + Partners; Ole Scheeren, Buro Ole Scheeren; Richard Hassell and Wong Mun Summ, WOHA and Sanjay Puri, Sanjay Puri Architects.
Paul Finch, WAF Programme Director said: “Since our inaugural Festival in 2008, WAF has evolved into a truly global event, annually attracting thousands of architects and designers from across the world. Following four fantastic years in Barcelona we feel the time is right to move the Festival to a new location, and where better to celebrate our fifth birthday than at Moshe Safdie’s award winning Marina Bay Sands in Singapore.
“The Festival represents an exclusive forum for the architectural community to showcase projects, debate and discuss current trends and learn from some of the world’s most inspirational designers.
“This year’s jury features some of the industry’s leading minds and most-respected thinkers, who are each individually at the very forefront of their respective fields. We’re looking forward to seeing the quality of this panel matched by the creativity and ingenuity of the projects that they will be judging.”
Slideshow: a bronzed box window peers out like a periscope from the auditorium of this cathedral visitor’s centre in Lund, Sweden, by architect Carmen Izquierdo.
Located opposite the cathedral, the two-storey Domkyrkoforum building is clad entirely in the bronze-coloured brass alloy, which will continually darken with age.
Entrances lead into a double-height atrium from both a public plaza at the front of the building and from Kyrkogatan Street, the road that runs alongside.
This reception lobby accommodates temporary exhibition spaces and a cafe, while the auditorium is located just beyond and a series of offices and meeting rooms occupy the floor above.
Walls inside the building are of exposed concrete and reveal the grain of the wood used to form them.
Carmen Izquierdo previously designed the perforated orange facade for Tham & Videgård Arkitekter’s Moderna Museet Malmö – see it here.
Photography is by Åke E:son Lindman.
Here’s some more information from Carmen Izquierdo:
Domkyrkoforum – Cathedral Forum
The site of the new cathedral forum is central Lund, in direct connection to the cathedral itself. On the site is situated the existing “Arken” house, which is a building of historical value.
The new building aims to integrate itself in the urban fabric in a natural way, by adapting to the scale and lines of the surrounding cityscape.
At the same time our vision has been to create a contemporary building that adds a new layer to the many historic layers that characterize the urban environment of central Lund.
The shape of the building creates new adjacent public spaces: The entrance plaza towards Kyrkogatan street, the entrance passage facing the cathedral, and a triangular square towards Kungsgatan street.
In addition to the welcoming exterior spaces an internal atrium is created, as well as an interior courtyard, shaped by the existing and the new building.
The central public space in the building is the entrance hall that is reached from both entrances. The entrance hall is formed as a meeting space; a general and generous which can hold various activities like reception, exhibitions and a cafe.
A two-storey atrium allows daylight to enter from above, while visually integrating the public spaces with the congregational facilities on the second storey. The auditorium is conceived as a unique space, with its skylight pointing up towards the cathedral towers.
The exterior is a simple yet characteristic volumes, its lines playing with the surrounding buildings.
Towards Kyrkogatan street the roof lines of the Arken house are continued over the entrance plaza.
Towards the cathedral the entrance is signaled by the characteristic skylight.
The facade of the building is made of a brass alloy, a natural material that ages with a rich and living texture, allowing the building to age into its surroundings; at the inauguration it shimmers like gold, but in a couple of years it will have oxidized into a deep and matte bronze color.
The interior of the building is cast in concrete with form of wooden boards.
The massive and heavy character of the material is balanced by the play of light in the interior spaces.
Name of project: Domkyrkoforum
Address: Domkyrkoplan i Lund / Domkyrkoplan in Lund
Architect: Carmen Izquierdo Arkitektkontor AB
Project managers: Carmen Izquierdo & Andreas Hiller
Collaborating architects: Andreas Hermansson, Erik Törnkvist, Isabel Gonzaga, Malin Belfrage
Landscape:
Domkyrkoforum: Carmen Izquierdo Arkitektkontor AB
Domkyrkoplan: Ateljé Landskap
Other consultants:
Project leader: Lars G Gustafsson
Structural engineer: Jan Lövgren
Mechanical engineer: Patrik Holmquist
Electrical engineer: Ronny Sjöholm
Acoustics: Anna Swanberg, Maria Carlsson
Artwork in the lecturehall: Anita Christoffersson
Client: Domkyrkrådet i Lund
Construction form: Partnering- General entreprenad
Building Contractor: PSG
Gross Area sq.m:
New buiding: 1617kvm
Rebuilding: 883kvm
Year of construction: 2010-2011
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