Pensé par les architectes de Tokyo Sako Architects, ce projet “Cube Tube” est un batiment impressionnant construit en Chine dans la zone de développement économique de Jinhua. Avec des nombreux couloirs et des espaces lumineux, il est à découvrir dans la suite.
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Slideshow: this museum in Xinjin, China, by Japanese architects Kengo Kuma and Associates appears to be screened by rows of floating tiles.
The traditional local tiles are in fact stretched tautly around the building on wire strings, shading the glazed exterior from direct sunlight.
Located at the entrance to a holy Taoist site, the Xinjin Zhi Museum accommodates religious exhibitions within a continuous gallery that spirals up through three floors.
The building’s staggered frame is constructed from concrete and angles in different directions to create a series of pointed edges and cantilevers.
Pools of water surround the museum, some of which are contained behind the tiled screens.
Other recent projects by Kengo Kuma and Associates include a ceramics showroom and a Starbucks coffee shop – see them both and more here.
Here’s some more text from the architects:
Xinjin Zhi Museum
This pavilion is located at the foot of Laojunshan mountain in Xinjin, to usher in the people to the holy place of Taoism, while the building itself shows the essence of Taoism through its space and exhibitions.
The tile used for façade is made of local material and worked on in a traditional method of this region, to pay tribute to Taoism that emphasizes on nature and balance. Tile is hung and floated in the air by wire to be released from its weight (and gain lightness). Clad in breathing façade of particles, the architecture is merged into its surrounding nature.
The façade for the south is divided into top and bottom and staggered in different angles. This idea is to respond to two different levels of the pond in front and the street at the back, and avoid direct confrontation with the massive building in the south.
For the east side, a large single tile screen is vertically twisted to correspond with the dynamism of the road in front. The façade for the north side is static and flat, which faces the pedestrians’ square. Thus the tile screen transforms itself from face to face, and wraps up the building like a single cloth.
Taking advantage of the varied levels in the architecture’s surroundings, the flow is planned to lead people from the front to the back, motion to stillness, like a stroll type of garden.
The exhibition space inside is planned spiral moving from darkness to light. From the upper floor a paramount view of Laoujunshan can be enjoyed. Direct sunlight is blocked by the tile, and the interior of the building is covered with gentle light with beautiful particle-like shade.
Project name: Xinjin Zhi Museum
Client: Fantasia group
Location: Cheng du, china
Principal use: Museum
Site area: 2,580 sqm
Building Area: 787 sqm
Total floor area: 2,353 sqm
Stories: 3 stories, 1 basement
Design: Kengo Kuma & Associates
Structural engineers: Oak Structural Design Office
Mechanical engineers: P.T.Morimura & Associates,LTD
Design period: 2008 October – 2009 December
Construction period: 2010 January – 2011 December
Structural: Reinforced concrete, partly steel flame
The sight of crumbling modern architecture—buildings often conceived and built in a flurry of systematic optimism, zippy colors (or pure, grime-magnet white), and, less than enduring materials—can be soul-crushing, as can the laborious and costly process of restoring a modern marvel to its former glory. The Getty Conservation Institute (GCI) in Los Angeles has committed to aid in this cause through the Conserving Modern Architecture Initiative, an international program announced this week. “This research-based initiative will increase knowledge for the field and develop new tools to assist practitioners to conserve the architecture of the modern era,” said GCI director Tim Whalen in a statement issue by the The J. Paul Getty Trust. They didn’t have to look far for the first project: the Eames House in Pacific Palisades. A GCI team will undertake investigative work and analysis to understand the current condition of the house, built in 1949 by Charles and Ray, along with its contents and setting. They’ll also assist the Eames Foundation in developing a plan for the house’s long-term conservation and care. Architect Kyle Normandin, formerly of NYC-based Wiss, Janney, Elstner Associates, has joined the GCI to manage the new initiative, which is overseen by Susan Macdonald.
And speaking of valiant efforts to thwart the growing threats to modern architecture, our sharp-eyed friends at the World Monuments Fund are now accepting nominations for the 2012 World Monuments Fund/Knoll Modernism Prize. The $10,000 prize will be awarded this fall to a design professional or firm in recognition of “innovative design solutions that preserved or saved a modern landmark at risk.” The deadline for nominations is July 31. Click here for full details.
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Designed in Hackney: today’s featured designers in our London borough of Hackney showcase are Archer Architects, who inserted a Corten steel-clad hotel behind the facade of a derelict pub in Shoreditch.
The 26-room boutique hotel is part of the Shoreditch House private members club, located on Ebor Street just outside the southwest corner of the borough.
Completed in 2012, the Corten steel extension adds an extra three storeys onto the roof of the old pub to bring the height of the building up to match that of its neighbours.
Guests enter the hotel through a ground floor reception that leads to rooms upstairs as well as to a garden on the roof.
The renovated building also includes a day spa called the Cowshed, which occupies the old bar area and the basement.
Archer Architects comprises a team of architects and designers, led by director Stephen Archer. Their studios are located in the Tea Building on the corner of Shoreditch High Street and Bethnal Green Road, almost next door to this project.
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 Tim Soar.
By our count, we’re now in our fourth straight month of being in the black when it comes to the American Institute of Architects‘ monthly Architecture Billings Index. Our minds are always relatively cloudy, but we can’t even remember the last time that was the case. Looking back through our archives (which is chock full of repeated phrases like “inches up ever so slightly” and “takes another dive”), we see the last time we came close was the summer of 2010, when after three months of growth, you guessed it, the ABI “took another dive.” This month, like those preceding it, haven’t been giant leaps, but we’ve landed at 51.0, up from 50.9 the month prior (anything above 50 indicates an increase in billings and a general look at the health and wellness of the industry). So while not huge growth, we’ll certainly take four months of good news over the alternative. Here’s the AIA’s chief digit bearer:
“This is more good news for the design and construction industry that continues to see improving business conditions,” said AIA Chief Economist, Kermit Baker, PhD, Hon. AIA. “The factors that are preventing a more accelerated recovery are persistent caution from clients to move ahead with new projects, and a continued difficulty in accessing financing for projects that developers have decided to pursue.”
New Career Opportunities Daily: The best jobs in media.
Apparently the city of Berlin isn’t as welcoming of branded art projects as New York is. The BMW Guggenheim Lab, which was met with relatively positive marks when it premiered this past August in the East Village, was expected to next move to Germany, where all 2,200 square feet of the mobile structure, designed by Tokyo’s Atelier Bow-Wow, would set up shop beginning in mid-May and run through the summer. As announced back in January, the site selected to host the next stop on a planned world tour was the Berlin neighborhood of Kreuzberg, “known for its engagement with social action and public art” and “centrally located.” Unfortunately for the traveling exhibition, they didn’t expect massive push back from left-wing activists. Bloomberg reports that due to numerous threats, “elevated risk,” and planned protests, the Lab has decided to cancel its plans and move elsewhere. Where that “elsewhere” might be (somewhere in Germany? Or moving out of the country entirely?) hasn’t been announced yet.
New Career Opportunities Daily: The best jobs in media.
Architects Sharon Neuman and Oded Stern-Meiraz have concealed a modern rectangular residence near Tel Aviv behind a brick wall shaped like a vernacular house with a chimney.
A wooden bridge connects the building’s top floor with a balcony that cantilevers through this grey-painted wall.
A recessed door underneath the balcony leads through to an entrance courtyard behind, where the base of the chimney is revealed to be an outdoor fireplace and barbeque.
Inside the house, polished concrete stairs connect the two upper floors with the basement, while bricks walls are painted in the same colour as the facade.
You can see more projects in Israel by clicking here.
Photography is by Elad Sarig.
Here’s some text from the architects:
260sq m modern minimalist house is located in the unlikely setting of the rural town of even Yehuda, 20 minutes drive from Tel Aviv.
The concept for the house was inspired by the work of minimalist artist Walter De Maria- Gothic Shaped Drawing that’s is showing a basic one line 2 dimensional shape of a house, almost as is drawn by a child.
A tall brick painted wall in a traditional shape of a house, together with an attached outdoor chimney, provide the needed privacy the clients requested towards the front, and contrasting with the rear of the house which is made completely of glass and is open to the back – facing north.
A floating open bridge/balcony on the first floor also acts as a canopy for the main entrance underneath and leads visitors through a long gap in the external wall to the main entrance of the house.
The house is on 3 floors: Basement with a shelter, a cinema and a play room, ground floor with a lounge, kitchen, and a tv room, first floor with a main bedroom suit, children rooms and work areas.
Architects- Sharon Neuman and Oded Stern-Meiraz
Plot 500sqm
Built area 260 Sqm
Located in Even Yehuda, Israel
This asymmetric white building bridges the two existing halves of a town hall in the Belgian municipality of Harelbeke.
Local architects Dehullu & Partners designed the structure to provide an entrance reception for the hall, as well as new meeting rooms and a tourist information centre.
The white panels that clad the facade are made from Corian and they skew upwards to partially screen a balcony on the second floor.
Grey and white tiles create chequered floors inside meeting rooms and offices, while suspended rectangular lights illuminate a desk in the reception area.
Staircases and lifts are strategically located to overcome the issue that floor heights in the two existing buildings do not correspond.
Another unusual town hall from the Dezeen archive is composed of overlapping cylinders – see it here.
Photography is by Tim Van de Velde.
Here’s some more information from Bert Dehullu:
The Town Hall of Harelbeke, Belgium by Dehullu-Architects (text 21/03/2012).
The works that have been conducted are part of a masterplan that was developped in 2007. Due to the growing needs of the city services, the Town Hall was looking for an extension of their site.
In order to anticipate these growing needs a masterplan was developped. In this plan the historic site of a 19th century flax-factory was incorporated in the new site of the Town Hall.
Redevelopping the new site, a new entrance building was designed, centrally located between two existing historically valuable buildings.
The new entrance building links it’s adjacent buildings. None of the floors of these neighbouring buildings were corresponding.
The challenge was to make all of the floors accessible for wheelchair users. Therefore the location of elevators and staircases was very carefully thought of.
Since it’s central location in the city, the new entrance building was designed to be a contemporary ‘landmark’ on the main road of Harelbeke. Therefore the cladding of the facade and the roof was executed in a dirt repelling white material.
The material is a mineral substance of the brand Corian. It is the first time in Belgium that this material is used as exterior cladding.
Furthermore, part of the historical flax-factory was renovated. The walls and roof of this part were carefully preserved and restored according to the recommendations of the institute of cultural heritage.
On the inside of this historical part, the pattern of the tiled floors refer to a weaving technique, to make the link with the history of this building.
Click above for larger image
Sustainability was an important aspect in the building process.
Click above for larger image
No cooling was installed in this office building. Due to the high degree of isolation, the use of windowblinds and the white colour of the cladding, overheating of the building can be avoided for the Belgian mild summer climate.
Click above for larger image
In a next phase the central spot in the site will be transformed into an atrium, in order to centralise all of the city services so the current and future needs of the civilians can easily be satisfied.
Some call it “March,” but to us, it’s Santiago Calatrava Bridge Month! A couple of weeks ago, the architect was in Dallas to unveil the Margaret Hunt Hill Bridge, his first vehicular bridge in the United States. The gleaming white parabola, which according to the Dallas Morning News cost a total of $182 million, is the first of a series of bridges designed by Calatrava’s office to span the Trinity River. Calatrava can keep on his cowboy hat for the next gala bridge inauguration, because it’s up in Calgary, Alberta. On Saturday, the city will celebrate the opening of his twisty, red Peace Bridge (pictured), a tubular steel truss creation that traverses the Bow River without supporting piers in the riverbed so as to minimize environmental impacts. Geometrical constraints led Calatrava to defy his taste for swooping verticals in favor of a low single-span design that will offer pedestrians protection during harsh Calgary winters. “Although the design concept for the Peace Bridge is very challenging, it is one that I am extremely proud of,” said the architect in a statement issued by his office.
New Career Opportunities Daily: The best jobs in media.
Slideshow: dozens of square windows are scattered across the facade of this crematorium in Lithuania with fortress-like concrete walls.
Designed by Lithuanian studio Architektu Biuras G.Natkevicius ir Partneriai, the single-storey building is located on an industrial site alongside sugar mills and fertiliser factories.
One cluster of windows reveals the location of a private courtyard behind the perimeter wall, which also parts in two places to create entrances.
Interior surfaces are finished in materials with muted colours including concrete, glass and white plaster to maintain a sombre mood.
See more stories relating to funerals and memorials here.
Photography is by G.Česonis.
Here’s some more information from the architects:
Crematorium in Kėdainiai
This is the first crematorium in Lithuania. The idea to build a crematorium was born in the interwar period, but at that time only furnace to reduce medical waste in Kaunas hospital was built. Increasing cremation traditions Lithunians use cremation services in Latvia and Poland.
To make a path for the first crematorium in Lithuania wasn’t easy. Despite the big enthusiasm, the catholic mind and political hypocrisy, the lack and imperfections of environmental and other laws were overcome only in 2011. The owners of Kedainiai crematorium, doctor and environmentalist, showed the strength.
Building site- industrial town Kėdainiai with 31000 inhabitants in the center of Lithuania. The area for the building was chosen in industrial park. New building is surrounded by a chaotic, unaesthetical industry: sugar mills, fertilizer factories with smoky chimneys. So the surroundings don’t even have a smell of sacred place.
At the beginning of design process we analyzed the experience of other countries: inspiring examples of crematoriums such as Treptow crematorium in Berlin, Dresden crematorium and crematorium designed by Toyo Ito in Japan, Gifu. These examples were impressive, large monumental buildings with inspiring scenario however crematorium in Kedainiai- small building of 770 m2 and there were almost no place to create sacred script.
Unaesthetical industrial environment provoked to create minimalistic and even ascetic scenario. It is one storey concrete building which external and internal quality and unity was created with concrete surfaces. In order to distance itself from the industrial environment the building was designed closed like a human introvert. Even the chimney, which cause bad feelings, is hidden in the volume of building. The main goal of the script- to create the inner Japanese style courtyard with a growing pendulum elm before the main entrance. Yard creates an intimate space, the accumulation zone before entering the building. Being inside the yard visually expands the space. It creates like an emotional filter to reduce human’s experience of stress.
Crematorium interior scenario: courtyard- lobby with resting area- two final disposition halls- cremation hall, cremation equipment room with chimney. The interior is created with four surfaces: concrete, wood veneer, glass with aluminum and white plaster. The ascetic inside allows families to concentrate on a solemnly sad hour with no interference of a colors and details. Every man and his face become very important part of the interior.
Three levels of modern cremation and exhaust air cleaning equipment, conforming to the strictest environments requirements was produced by known German firm IFZW. The building is fully equipped for two line cremation.
Location: Metalistų st., Kėdainiai, Lithuania
Completed: 2011
Building area: 775 m2
Architects: G.Natkevičius, A.Rimšelis
Structural engineering: JSC CONSTR, Adomas Sabaliauskas/ JSC KONSTRUKTORIŲ CECHAS, Kęstutis Matijošaitis
Lighting: PROMODUS IO
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