Dresden Museum of Military History by Daniel Libeskind – more images

Dresden Museum of Military History by Daniel Libeskind

British photographers Hufton + Crow have sent us new images of the Dresden Museum of Military History, which reopened last month following an extension by New York architect Daniel Libeskind.

Dresden Museum of Military History by Daniel Libeskind

Libeskind drove a pointed steel and glass shard through the skin of the historic museum to create new galleries on five floors and a 30 metre-high rooftop viewing platform.

Dresden Museum of Military History by Daniel Libeskind

When we originally published the story, many readers were outraged with the design, with one commentor suggesting it to be like a giant axe cutting through the building.

Dresden Museum of Military History by Daniel Libeskind

Critics also had a lot to say. Architecture journalist Rowan Moore described the building as both “breathtaking” and “breathtakingly dumb”, while critic Mary Lane compared it to “a piece of shrapnel freshly fallen from the sky” – read more about the critics opinions here.

Dresden Museum of Military History by Daniel Libeskind

Daniel Libeskind also recently completed a media centre for the University of Hong Kong – see our earlier story here and see all our stories about Libeskind here.

Dresden Museum of Military History by Daniel Libeskind

Another controversial museum we’ve published recently is the heavily criticised Museum of Liverpool – read more about that project here.

Dresden Museum of Military History by Daniel Libeskind

See also: more stories about museums.

Dresden Museum of Military History by Daniel Libeskind

Photographers Hufton + Crow have shot a number of high-profile projects this year – see their photographs of the Serpentine Pavilion by Peter Zumthor and the Olympic Aquatics Centre by Zaha Hadid.

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

Dresden Museum of Military History by Daniel Libeskind

AIA’s Architecture Billings Index Inches Back Up

After the last few bouts of optimistic highs and crushing lows, the American Institute of ArchitectsArchitecture Billings Index still seems unable to make up its mind as to where it would like to land and settle for awhile. Last month, you might recall the that industry-gauging index took a tremendous dive, following its huge jump the month prior. Now the AIA reports that things are back up again, moving almost three full points from 46.9 to 49.4, taking it to near break-even levels (anything above or below 50 indicates increases and decreases in billings, respectively). After a summer of free fall and then this latest slew of ups and downs, it seems that few would be willing to make any assured predictions on what will happen next. Among that crowd would certainly be the AIA’s numbers expert, who remains as cautious and careful as ever:

“An increase in the billings index is always an encouraging sign,” said AIA Chief Economist, Kermit Baker, PhD, Hon. AIA. “We’re seeing some regions and some construction sectors move into positive territory. But there continues to be a high level of volatility in the marketplace with architecture firms reporting a wide range of conditions from improving to uncertain to poor. It’s likely we will see a similar state of affairs in the coming months.”

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Sunken Bridge by RO&AD

Sunken Bridge by RO&AD

This bridge across the moat of a historic Dutch fort leads visitors below the water’s surface without getting them wet.

Sunken Bridge by RO&AD

Designed by architects RO&AD of the Netherlands and Belgium, the Sunken Bridge is an access route to the Fort de Roovere, which is part of a line of 17th century defence structures.

Sunken Bridge by RO&AD

Unlike a conventional bridge, the structure is invisible from a distance and has little impact on surrounding views towards the fort.

Sunken Bridge by RO&AD

Processed timber retaining walls that will resist decay separate the walkway from the surrounding still waters.

Sunken Bridge by RO&AD

Another concealed walkway we’ve featured leads behind a mirror into a secret tunnel – readmore about that project here.

Sunken Bridge by RO&AD

Here’s some more text from timber supplier Accoya:


The West Brabant Water Line is a 17th century Dutch defensive line of earthen forts and walls that linked and protected a number of cities and villages during attacks from France and Spain; inundation zones were flooded with water too deep for enemy advance on foot but shallow enough to rule out use of boats.

Sunken Bridge by RO&AD

As part of a recent restoration project, RO&AD architects sought to build access to the line’s Fort de Roovere, the largest fortress surrounded by a moat, while still preserving the site’s aesthetic integrity and dramatic view.

Sunken Bridge by RO&AD

The team’s solution was a “sunken” bridge that sits within the water and slope. Following the line of the fort slope and sitting almost flush with the soil and the water level, the Moses Bridge is practically invisible as visitors approach and boasts a trench-like aesthetic.

Sunken Bridge by RO&AD

Built with Accsys Technologies’ Accoya wood sheet piling on either side with a hardwood deck and stairs in between, the Moses Bridge is not only visually striking and highly functional, but also durable and eco friendly.

Sunken Bridge by RO&AD

Accoya wood undergoes a nontoxic proprietary modification process called acetylation that renders it an unrecognizable wood source, preventing fungal decay while increasing its dimensional stability.

Sunken Bridge by RO&AD

Accoyawood is sourced from FSC- and PEFC-certified forests and is Cradle to Cradle Gold certified.

Sunken Bridge by RO&AD

Click above for larger image

Ty Hedfan House

Coup de coeur pour cette maison en bois située sur la rivière au Pays de Galles, avec un concept réussi du studio londonien Featherstone Young. La résidence est divisée en 2 ailes opposées : d’un coté surélevée au dessus de l’eau et l’autre aile immergée dans le sol.



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Protected Collective Houses in Toledo by TASH

Protected Collective Houses in Toledo by TASH

These four concrete apartment blocks by Spanish architects TASH were only completed last year, but they already look strangely abandoned in these photographs.

Protected Collective Houses in Toledo by TASH

The buildings are located in Toledo, central Spain, halfway between the historic city and the new town.

Protected Collective Houses in Toledo by TASH

The six-storey buildings sit above two brick-clad car parks, which are almost entirely buried underground.

Protected Collective Houses in Toledo by TASH

Balconies line the south elevations of each block, where walls of differently coloured brickwork walls create a pattern of vertical stripes.

Protected Collective Houses in Toledo by TASH

Some otherinteresting Spanish projects we’ve featured include a raised viewing platform around a Roman temple and a social housing towersee more stories about Spain here.

Protected Collective Houses in Toledo by TASH

Photography is by Miguel de Guzmán.

Protected Collective Houses in Toledo by TASH

The following text came from TASH:


144 Protected Collective Houses in Toledo, Spain.

Description:
The collective housing complex is located in the Ecobarrio, an ambitious project located in a very important area for the future development of Toledo because is called to become an union nexus between the old town and modern town of Toledo.

Protected Collective Houses in Toledo by TASH

Sustainability and optimal bioclimatic behaviour of the building are principles pursued all through the project design process and became, along with the public protection housing derived factors, such as areas optimization and minimal resources and a tight budget, the main criteria followed throughout the project development.

Protected Collective Houses in Toledo by Tash

According to the previously established criteria the dwellings are grouped in compact blocks whose shape favours a good bioclimatic behaviour. These blocks are placed following a North-South orientation, allowing to free as much surface in ground floor as possible for common and entertaining areas.

Protected Collective Houses in Toledo by TASH

The volumetric compacity and sobriety of the buildings makes a search for formal expressivity necessary by other means as different materials combinations or different scale-textures oppositions.

Protected Collective Houses in Toledo by TASH

The material combinations does not only mean great variety on their application but a careful study in other topics as constructive details and encounters between different materials for a better final result.

Protected Collective Houses in Toledo by TASH

As for the opposition of different scales-textures, it happens all over the different façades, confronting concepts as mass and simpicity of the concrete slabs on the East-West façades, as other concepts such as dynamism, lightness and complexity of the South façade, perceived as a continuous balcony front with mobile sliding elements that allow sunshade to the housings.

Protected Collective Houses in Toledo by TASH

Click above for larger image

In the North façade a more plain and enclosed composition prevails, following a rythm of vertical walls made of different kind of bricks.

Protected Collective Houses in Toledo by TASH

Data sheet:
Architects: TASH (Taller de Arquitectura Sánchez-Horneros)
Location: Toledo, Spain

Protected Collective Houses in Toledo by TASH

Team: Emilio Sánchez-Horneros, Antonio Sánchez-Horneros.
Collaborators: Javier Rodríguez, Emilio Gómez, Alberto Di Nunzio.

Protected Collective Houses in Toledo by TASH

Structural Engineering: Antonio García de Blas
Technical Engineering: Alberto de la Cal, Francisco Ruiz Guadamillas
Client: Servicaman

Protected Collective Houses in Toledo by TASH

Construction: FCC Fomento de Construcciones y contratas
Project Area: 21.484,95 m2
Project year: 2008-2010

Christopher Janney

A sound architect’s latest projects debut with musical fanfare at Miami’s Art Basel festivities

janney-book1.jpg janney-book-back.jpg

Artist Christopher Janney merges jazz and architecture with a rare balance of logic and imagination, describing his unique method as “painting with sound.” The trained composer is concerned with providing an emotional element to physical structures—to Janney, buildings are “urban musical instruments,” and over the past three decades he has built up an impressive array of site-specific works, from public installations in Miami to an 8,000-square-foot home in Kona according to the “cosmological principles and rhythms of Hawaii.”

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Janney’s pedigree boasts a degree in architecture from Princeton and a Masters in Environmental Art from MIT, but he maintains a southern charm reminiscent, in a way, of Bill Clinton when he describes his work as “a gas” and discusses musical tastes from Motown to Zappa. He dissects pieces of Mozart with the ease of a genius composer, but takes a leap from conventional musical expression by visualizing the notes as multi-colored glass installations that refract light in delirious, fantastical ways. In the recently published retrospective book on his work, Janney comments, “I am interested in creating a hyperreality—a place where a person is still aware of being in his normal environment, but elements of it have been heightened or altered—to invite a more interesting daily experience, as well as to push against the idea of urban alienation.”

janney-harmonic1.jpg

One of Janney’s most well-known projects to date is his 1995 installation at the Miami International Airport, a cornucopia of colored glass that lined the windows of the 180-foot moving walkway. Dubbed “Harmonic Runway,” the large-scale work was unfortunately removed due to new safety regulations following September 11, 2001.

Now, Janney has created a new light and sound installation at MIA that heralds the vibrant spirit found in Runway but packs an even bigger punch by using the innovative Vanceva glass system. “Harmonic Convergence” will project to travelers passing through a palette of more than 150 transparent colors alongside sounds recorded in Florida Everglades and on ocean SCUBA dives. The density of the sound score fluctuates in accordance to pedestrian activity, which is tracked via two video cameras installed in the ceiling. Topping off the experience is the rap of a short drum beat every hour to mark the time.

janney-harmonic-tunnel.jpg

The permanent installation, “Harmonic Convergence” is ready to view in Miami, where you can also check out an exhibition highlighting Janney’s three main areas of focus—”Urban Musical Instruments,” “Physical Music” and “Performance Architecture.” Taking the same name as his new book, “Architecture of Air,” the showcase will also be on view during Art Basel (29 November – 4 December 2011) at the Moore Building in the Miami Design District. Those in town for the art extravaganza will not want to miss his concert on 2 December at 9pm, where Janney will perform with The Persuasions in a show called “Disembodied Instruments (Dance Version).”

As a guy who still marvels, “Wow, I made that?” Janney is a driving force in advancing technology and experimenting with the way we react to the world around us, surprising even himself from time to time.


Developer Cancels Plans for Richard Rogers Skyscraper Atop the Port Authority Bus Terminal

Back in early 2009, when the financial tidal wave really started giving everyone a soaking, it seemed like we were reporting on a starchitect losing yet another massive multi-million dollar project, usually involving a skyscraper of some sort. Sure, there are still things happening like Frank Gehry‘s troubles with the Guggenheim Abu Dhabi and the perpetually-doomed fate of Norman Foster‘s Las Vegas hotel, but it doesn’t seem to carry the same “the sky is falling!” feeling that these sorts of things used to just two years ago. Whatever the case, we’re not sure whether to feel strangely fondly about this resembling the past, or view it as another loss for architecture (it’s an emotional roller coaster), so we’ll let you decide what to do with the information that Richard Rogers has seen his plans for a skyscraper above New York’s Port Authority Bus Terminal disappear. Though on and off again since 2007, the NY Times reports that the project seemed to be moving forward earlier this year, with developer Vornado saying it had put together a deal with a Chinese company that would give the building the $600 million it needed. Over the last couple of months, that plan seems to have now gone astray, with the investors having taken their money to Park Avenue Plaza instead. As the paper reports, this is the second attempt Vornado has tried putting a tower atop the busy bus terminal, the first in 2000 when it tried to “build a headquarters for Cisco Systems,” but was ultimately thwarted “with the collapse of the dot-com boom.” However, this may not mean that a tower will never find itself on top of the depot, as the Port Authority has said that it will continue to review the skyscraper idea.

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Pio Baroja Nursery by Rstudio

Pio Baroja Nursery by Rstudio

A series of circular apertures puncture the rectangular concrete buttresses of a nursery in Valencia by Spanish architects Rstudio.

Pio Baroja Nursery by Rstudio

These concrete supports double-up as chunky brise-soleils to shade the four classrooms inside the Pio Baroja Nursery.

Pio Baroja Nursery by Rstudio

Partitions between these rooms are also constructed from concrete and follow the positions of the exterior supports.

Pio Baroja Nursery by Rstudio

Flexible partitions allow the classrooms to be further divided when necessary and colourful bathrooms can be found at the rear.

Pio Baroja Nursery by Rstudio

Weathered metal columns surround the nursery’s perimeter, also enclosing an adjoining block where the dining room and reception are located.

Pio Baroja Nursery by Rstudio

Rstudio have completed another project near Valencia this year: see our earlier story about a combined metro station and park.

Pio Baroja Nursery by Rstudio

Photography is by Jose Marti.

Pio Baroja Nursery by Rstudio

Here’s a little more explanation from Rstudio:


Learning by Playing

The project consists of a one storey building at street level.

Pio Baroja Nursery by Rstudio

The site is influenced by two conditions that have been key aspects in the development of the project.

Pio Baroja Nursery by Rstudio

In the first place the closeness to a highspeed traffic way, in Pio Baroja Avenue, and in the second place the remarkable height of the surrounding buildings.

Pio Baroja Nursery by Rstudio

This took us to create a building focused on its inner court. The floor plan of the building is split into three different volumes.

Pio Baroja Nursery by Rstudio

Main issues developed in the project:

      • Double circulation: interior/exterior, taking advantage of the local climatology, going around the school playing
      • Good orientation aswell as cross ventilation in all rooms, which implies important energy savings.
      • Flexibility in the rooms in terms of mobile walls joining in packs of three units.
      • Constructive simplicity

Pio Baroja Nursery by Rstudio

Architect: Rstudio/ Jose Martí
Location: Valencia, Spain

Pio Baroja Nursery by Rstudio

Year: 2010
Developer: AYUNTAMIENTO DE VALENCIA.
SERVICIO DE EDUCACIÓN.

Pio Baroja Nursery by Rstudio

Click above for larger image 

Builder: LEVANTINA INGENIERÍA Y CONSTRUCCIÓN S.L.

Pio Baroja Nursery by Rstudio

Collaborations: DOLORS APARICI (architect)
ADYPAU (engineering project)
ASURINSA (architecture management)
RODRIGÁLVAREZ (engineering management)

Pio Baroja Nursery by Rstudio

Hansha Reflection House by Studio SKLIM

Hansha Reflection House by Studio SKLIM

A bevelled cantilever contains the living room of this house in Nagoya, Japan, by architects Studio SKLIM.

Hansha Reflection House by Studio SKLIM

Named the Hansha Reflection House, the two-storey house has an entrance beneath its projecting first floor.

Hansha Reflection House by Studio SKLIM

Shiny metal panels clad the indented face and underside of the cantilever, while a large window is positioned at its centre.

Hansha Reflection House by Studio SKLIM

A ground-floor courtyard is hidden behind the house’s exterior wall and a terrace is located on the roof.

Hansha Reflection House by Studio SKLIM

A study occupies a room beside the entrance and three bedrooms are split between the two floors.

Hansha Reflection House by Studio SKLIM

Studio SKLIM are based in both Singapore and Japan, and this is the first of their Japanese projects that we’ve published. You can see two Singapore projects by the architects here.

Hansha Reflection House by Studio SKLIM

Photography is by Jeremy San / Studio SKLIM.

Hansha Reflection House by Studio SKLIM

Here’s some more text from Studio SKLIM:


Hansha Reflection House @ Nagoya, Japan

In Greek mythology, Narcissus looked into the lake to admire his beauty. But what if the lake was animate and looking at its own reflection in Narcissus eyes?

Hansha Reflection House by Studio SKLIM

Situated at the entrance of Misakimizube Koen, one of the picturesque parks fronting a lake and flanked by Sakura trees, the house was conceived to be an object with the environment.

Hansha Reflection House by Studio SKLIM

The programmatic zones of Public, Service and Private spatially organised the house into 3 distinct zones with further punctuation of the main massing with the Landscape element; providing spaces for the courtyard and roof deck.

Hansha Reflection House by Studio SKLIM

This base form was further chiseled with structure, daylight/ventilation and viewpoint concerns.

Hansha Reflection House by Studio SKLIM

65% of low rise Japanese houses are constructed out of timber, a material that has the strongest weight to strength ratio amongst other building materials like concrete and steel.

Hansha Reflection House by Studio SKLIM

Using timber from a renewable source, coupled with building technology that utilised a hybrid of traditional mortise and tenon joint system with steel bracketing, this house was able to push the ubiquitous “boxed” building envelope for timber residential construction in Japan.  The solution to push the Public program to the upper level was obvious with the need to accommodate parking for 3 cars. In addition, this offered an elevated scenic view of the park by having living/dining/kitchen at the second level.

Hansha Reflection House by Studio SKLIM

The extensive 3.2 m wooden cantilever was unusual with the norm capped at 1.5 m. The initial structural concept of using a truss floor progressed to the final structural solution; using an elegant inspiration from bridge construction and book shelf bracketing. Further reinforcement of the structure was made in the courtyard wall to reduce eccentricity of built form and thus lateral movements during earthquakes.

Hansha Reflection House by Studio SKLIM

The idea of “Reflection” was multifarious and became a series of unfolded meanings; exterior reflection of surrounding, interior reflection of surroundings, introspective reflection spaces and reflection of the house structure.

Hansha Reflection House by Studio SKLIM

The landscape falls into three areas, the front yard, the courtyard and the roof deck. The front yard accommodates parking for three cars and becomes the entrance frame for the house.

Hansha Reflection House by Studio SKLIM

The connecting tissue to the park relies on the structurally evolved facade that visually associates with it and uses similar ground paving material.

Hansha Reflection House by Studio SKLIM

The courtyard, an intimate private garden forms part of the environmental funnel to dissipate hot air during summer.  This space further anchors the master bedroom, 1-tatami introspective room, and double volume library.

Hansha Reflection House by Studio SKLIM

The roof deck, the pinnacle of the house further heighten one’s sense of place with its surroundings and provides the perfect viewing platform for both Hanami (Sakura) and Hanabi (Fireworks) festivals.

Hansha Reflection House by Studio SKLIM

Hansha Reflection House condenses the energies on site to formulate a dwelling that looks back at the surroundings with a slight twist.

Hansha Reflection House by Studio SKLIM

CLIENT: Confidential
PROGRAM: 2 Storey Detached House with Courtyard and Roof Deck
AREA: 124m2
STATUS: Completed
DESIGN ARCHITECT: Studio SKLIM
KEY PERSONNEL: Kevin Lim
COLLABORATORS: Federico Mira (3D Visualization)
BUILDER: Sakae Advanced Housing Technology
STRUCTURE: KES System Headquarters Shelter
TIME PERIOD: 2010 – 2011

Will Alsop’s New Firm Goes International, Opens Offices in Canada and China

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It took just two months for the completely unfounded rumors that starchitect Will Alsop was leaving mega-firm RMJM to turn out to be absolutely true. From there, only around ten days before the news had come out that Alsop had founded a new, South London-based firm named All Design with his longtime business partner Scott Lawrie. And now, still just a couple of months out past that, the company has already gone international. Keen Alsop-watchers, Building Design, reports that All Design has just opened two new offices, one in Toronto and another in Chongqing in China, “the country’s fastest growing city.” The site makes note of how much sense this move makes, considering that Alsop himself has estimated that roughly three-quarters of the firm’s work won’t by in the UK, and that the architect has lots of experience in both locales, having designed a major transit station in Toronto and the World Twin Towers Complex in Chongqing.

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