A house in Singapore featuring a cantilevered concrete room was popular last week, so we’ve created a new Pinterest board that collects together staggering cantilevered buildings, walkways and structures. See our new Pinterest board»
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A cantilevered storey projects from the side of this house in Gifu, Japan, to create a sheltered alcove on the edge of the garden (+ slideshow).
Keitaro Muto Architects designed the family home for a 171 square metre plot in a residential neighbourhood of the city.
The cantilevered section is raised 1.4 metres above the ground, providing a sheltered space where the family’s children can play and from which a hammock has been slung.
A staircase leads from a paved parking area into an entrance hall in the cantilevered space, which also houses the master bedroom.
The floating theme continues inside the house, where a staircase with horizontal wooden treads that seems to hover in mid air descends into the open-plan kitchen and living space.
A flight of perforated metal stairs leads from the entrance to the upper storey, which houses two bedrooms, a toilet and a walk-in closet.
The garden is visible through windows below the level of the cantilever, while a void extends the living space to the height of the second storey.
Keitaro Muto Architects previously designed a house in Japan with outward-sloping walls covered in gravel.
We recently published a house in Pittsburgh, USA, with a 16 metre cantilever over the roof of a glass factory, and a wooden house in Japan with a tree growing through a hole in its cantilevered top floor.
Other Japanese houses we’ve featured recently include one with a floating staircase incorporating built-in wooden furniture and another shaped like a fairytale tower with five different staircases connecting its two floors.
See more cantilevers »
See more Japanese houses »
Photography is by Apertozero.
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American architect Eric Fisher claims to have built the world’s largest residential cantilever with this house in Pittsburgh that protrudes by 16 metres to hover over the roof of a glass factory (+ slideshow).
Designed to house the owners of the factory, the Corten steel-clad Emerald Glass House was completed by Fisher Architecture in 2011, but the studio recently submitted it for entry into the Guinness Book of World Records.
The impressive cantilever forms the uppermost floor of the four-storey residence, which is set into a hillside to the south of the city. “It floats above the owner’s glass manufacturing facility like a foreman’s shack,” said Fisher.
The architect used Corten steel, mesh and exposed steel columns to create an industrial aesthetic, then added large areas of glazing to recognise the trade of the house’s residents.
This includes a fully glazed facade, designed as a beacon for visitors to the factory. Behind the facade, a living room occupies the whole cantilevered space, allowing the structure to function as a giant viewfinder.
Glass also surrounds the interior surfaces of the house’s concrete block core and was used for staircase balustrades and a breakfast counter in the kitchen.
Other cantilevered houses we’ve featured on Dezeen include a Seattle house with a twisted top floor and a house that extends over a river in Wales.
See more cantilevered buildings »
See more American houses on Dezeen »
Photography is by the architect, apart from where otherwise indicated.
Here’s a project description from Eric Fisher:
Emerald Art Glass House
The Emerald Art Glass House is a site-sensitive, cantilevered home for the owners of a glass company. This is contextual design: Located on Pittsburgh’s South Side slopes, it floats above the owner’s glass manufacturing facility like a foreman’s shack.
The home’s industrial forms and Corten steel siding relate to the factory below while a living roof connects the house visually to the verdant slopes beyond. In a building this public, it’s possible to make larger references: Pittsburgh’s neighbourhoods are cut off from one another both geographically and culturally. The new horizontally massed house and the US Steel tower, Pittsburgh’s tallest building, are Corten steel peers. Together, they establish a small but meaningful new dialogue between the residential slopes and the commercial city centre.
Glass products are featured throughout, celebrating the owner’s craft: A radical, north-facing, butted, “Greenheat” radiant-heated glass facade functions from outside as a sign for the glass factory and from inside as a view catcher. A unique, glass rain-screen system clads a concrete block core. Inside the core, a glass stairway winds its way from the ground floor to the kitchen.
And it’s green: 21st century architects must learn to recycle space in the same way we recycle our garbage – finding value in waste. Here, we are putting to use the unused space above the owner’s warehouse in this dense urban neighbourhood. Recycled materials are used throughout. As well, geothermal well-generated forced air complements the radiant heated floors and glass.
Extending three times farther than nearby Falling Water, the Emerald Art Glass House may be the world’s longest residential cantilever. As Jean Paul Sartre once wrote, ‘The human body always extends across the tool that it utilises: it is at the end of the telescope, which shows me the stars; it is my adaptation to those tools. When a structure cantilevers in a daring way, we imagine ourselves leaning out over the space below, which explains why it moves us. This is the thing with feathers, an object that disrupts daily life just enough to make one believe that there is maybe more to life than the humdrum.
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by Fisher Architecture appeared first on Dezeen.
Dutch office MVRDV and French architects de Alzua+ have won a competition to re-masterplan the French town of Villeneuve d’Ascq and are proposing a building that cantilevers over a motorway.
As the first phase in a wider redevelopment programme, the mixed-use complex is intended to signify the presence of the town to passing drivers. At present a number of oversized shopping malls are the only thing visible from the motorway, so the architects wanted to create a visual reference for the town centre.
Buildings are to be arranged around a series of grassy courtyards and will contain shops, offices and a new hotel. Surface parking areas that currently occupy the site will be relocated underground, freeing up space for pedestrian pathways.
MVRDV and de Alzua+ are progressing the plans alongside development corporation ADIM Nord. Construction is scheduled to begin in 2015.
MVRDV has completed a number of projects in recent months, including a shop and office complex disguised as an old farmhouse and a public library inside a glass pyramid. See more architecture by MVRDV.
Here’s a project description from MVRDV:
MVRDV win Competition with ‘The Beam’, Marking the Urban Renewal of Villeneuve d’Ascq, France
Development corporation ADIM Nord with MVRDV and de Alzua+ have been announced the winners of an urban renewal competition in the French town of Villeneuve d’Ascq, beating four other entries. The masterplan for a crucial site in the town centre adjacent to an inner city motorway, is the starting point of a wider regeneration of the area’s public space. An iconic building, The Beam, will hover over the motorway signalling urban renewal and acting as visual reference point for the town’s centre. A hotel, offices and retail space, totalling 15.000 m2, will be built on the site of a former petrol station, with construction expected to start in 2015.
Villeneuve d’Ascq is a new town located near Lille in the very north of France. The Beam will be icon of a larger urban generation effort in the town centre which is currently characterised by parking lots, large volumes and undefined green spaces. On an urban level the masterplan aims at a more sustainable form of development by densifying the town centre and adding identity and diversity to the site. The creation of pedestrian zones, and the demarcation and connection of the existing green spaces together also form part of the plan.
The parking spaces on the main square will be relocated into a 274 space underground car park on the new site. The adjacent buildings, which face away from the site will be extended to form urban blocks; each with a green patio at its centre. At the corner of the inner city motorway and the service road leading towards the main square of Villeneuve d’Ascq, The Beam will create an address for the town centre on the motorway.
The site, one of the few places visible from this sunken dual-carriageway, allows the town centre to be visible to drivers passing by. The project is currently under development and will contain offices, a hotel and some retail space with a total area of around 15,000 m2, and the underground car park offering 274 parking spaces. The team ADIM with MVRDV and co-architect Jérôme de Alzua beat four competitors in a competition organised by Commune de Villeneuve d’Ascq.
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Korean architects AND imagined this hotel on Geoje Island as a hand of outstretched fingers, with rooms and balconies pointing out in different directions (+ slideshow).
Containing just five suites and a cafe, the small concrete hotel sits beside the seafront in the small fishing village and was designed to give each guest a different view of the surrounding archipelago.
“We planned the building to be recognised as a single mass as one approaches, yet we wanted the five units to be independent and private,” AND‘s senior researcher Lee, Kyoung Tae told Dezeen. “The intention has resulted in a building form that reminds you of fingers pointing at the archipelago, or a sea creature like an octopus.”
The entire structure appears as a solid mass of concrete, including the balconies. Windows sit in deep recesses, revealing the thickness of the walls.
“The monolithic quality of concrete reflects the architectural concept well,” said Lee. “Also, the pattern left on the surface after taking off the formwork gives the building an organic quality.”
Guest rooms inside the three-storey building are arranged over five split levels and each suite comes with a balcony and a small kitchen.
The hotel is one of several planned additions to the village intended to encourage tourism.
South Korean studio AND is based in Seoul. Past projects include the cedar-clad Villa Topoject and the Skinspace art studio with a wall of wooden scales.
See more architecture in South Korea »
Photography is by Kim, Yong Gwan.
Above: concept diagram
Here’s a project description from AND:
Aggrenad
Sea + Archipelago
The site sits in front of the sea where the famous sea battle between Korea and Japan took place in the 16th century, which caused the return of General Lee Sun Shin back to the Korean navy. There still are attempts to search the remains of the historic Turtle Ship in the sea.
Above: site plan
While listening to the famous story from the client, the winding coastline and the varying water level of the archipelago create the continuously changing landscape. The small islands are like buildings and the sea is like streets and squares.
Above: ground floor plan
Mass + Individual
Unlike other well-known beaches in the island, the site is located in a small fishing village slightly off from the major tourist area. The residents of the village mostly work in the fishing industry and have long been living in the area for generations. Recently, there have been changes in the village. The town plans to construct the Battle of Chilchunryang Memorial Park and a beach to attract more tourists.
Above: first floor plan
Within these changes the owner plans to build a small Guesthouse. Soon, the site will be a place where the public (mass) visits and the memories are accumulated. Isn’ it better to offer individual frames of the landscape for them rather than to offer a monotonous scene like a souvenir photograph? How shall we construct an architectural device that produces different images of the same place?
Above: second floor plan
Aggregation + Monad
The building is formed like how fingers are branched out from a hand forming different parts. It is the aggregation of unique rooms, yet at the same time, it is an organic monad. Each unit is cantilevered out towards the sea as if fingers are pointing at the nearby islands. This allows each unit to frame the surrounding landscape in a unique way. This three story building is consisted of five rooms and a small cafe, and the rooms stacked in five split levels. The floor and the ceiling of each unit are stretched out toward the different directions, and at the end of each unit is a small balcony, which opens up toward the sea and the sky.
Above: front elevation
Project Name: Aggrenad
Design: AND
Construction: Kim, Dong Shik
Location: Geojesi, Gyeongsangnamdo, Korea
Site: 433.00m2
Construction Area: 121.26m2
Gross Area: 198.55m2
Floors: 3
Structure: RC
Materials: Exposed Concrete
Above: north elevation
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The trend for extreme cantilevers continues with this house in Croatia by architect Idis Turato, where one floor dramatically overhangs the other.
Nest and Cave House overlooks the sea in the Opatija Riviera, where houses typically follow a vernacular style with gabled profiles and clay roof tiles, but Idis Turato wanted to create a building with more of a dominance over the hillside.
“The main question is how to control the space encompassed; and subsequently how to develop selective control of encompassed space,” Turato says, explaining his concept to frame parts of the landscape using architecture.
The irregular angle of the cantilever divides the two storeys of the house into two distinct volumes. The ground floor is a rugged concrete building set into the lawn, while the steel frame of the upper level is coated with white cladding panels that help to create a lightweight structure.
An angled chimney acts as a lightwell for a central staircase, which sits at the meeting point of the two floors and connects living and dining rooms on the top floor with bedrooms downstairs.
We recently published proposals for a wine museum that projects from the side of a mountain, which prompted a few readers to question if cantilevers are old news.
Other cantilevers we’ve featured include a periscope-like office building and a museum at a Celtic burial mound.
See all our stories about cantilevers »
Here’s a project description from architect Iva Marčetić:
Nest and Cave House
Idis Turato
The hinterland of the Opatija Riviera in Croatia is dotted with villas (built within a century and a half). Their upper, front side reveals nothing but entrances beyond which we can only imagine their spaciousness.
Their scale and relation to the bay are entirely dependent on the seafront slope (perhaps, it is the tension arising from the assumption of something hidden what gives the spatial frame of Opatija’s hinterland its appeal).
Although the Nest and Cave remains typologically and morphologically true to the surrounding space as a whole, it develops its “hidden” side through the dialectics of domination over and subordination to the landscape.
So, the house and the place it renders are not structured solely by the slope onto which they are built (as it is the case with most villas in Opatija). Instead, it actively constructs the landscape and intertwines with it by laying down the ground level (landscape) and by placing on it an upper object which hovers above as a displaced level.
Therefore, the house consists of an entrenched concrete bunker (the sleeping area) on which a steel spatial grid structure is placed and which elongates into a 17 meter long console.
Despite it being constructed within a reductive registry of functions, with only two structural elements and with its apparent division into the sleeping and living area, the house creates a wondrous, ever shifting experience and interspaces.
This is achieved by a simple dislocation of the upper segment in relation to the lower one and by inscribing it into the depth of the parcel.
Above: entrance axo diagrams – click above for larger image
The dislocated upper part and its hypertrophic console express, by alternating the shadow and the hidden with openness and hospitality, the quintessential tension of a Mediterranean house: the battle of the sun and the shadow. The Nest and Cave house becomes a reinterpretation of its heritage by achieving a full form via projecting the object (the shadow) and opening the void in the body (landscape).
Above: space usage plan diagrams – click above for larger image
The console leaves behind a shadow which (depending on the time of day) gives volume to the living area (“the heart of the house”, as the author calls it) and, by alternating the intersection of its axes (as much as the angle of the sun will allow it), it shifts around thus constantly creating yet another intimate area of the house.
Above: lower level plan – click above for larger image
Through its fenestration facing away from the road and surrounding structures and by carefully framing the landscape that penetrates and dictates the depth or flatness of the interior, the visually (and statically) dominant white shape (the aluminum covered steel grid) invites the Kvarner Bay inside.
Above: upper level plan – click above for larger image
Idis Turato, the architect, having to face such a dominant landscape, attempts to explain his raison d’être behind it in the words of Buckminster Fuller,: “(…) The main question is how to control the space compassed; and subsequently how to develop selective control of compassed space (…)” How to simultaneously capture broadness, enable intimacy, while continuously standing on the edge in front of unobstructed views?
Above: roo plan – click above for larger image
Above: section – click above for larger image
The view of the house and the view from the house are in a constant clash of inclusion and exclusion. Beneath someone’s nest and cave we are able to observe the sculptural relationship between the landscape and the house (the other place).
Above: section – click above for larger image
On the other hand, when being inside it, we become beneficiaries of witnessing the subliminal beauty enabled by the controlled landscape frames – carefully planned axes and angles successfully separate the “initial resources from the final product” *.
Above: section – click above for larger image
The control over a spatial frame allows for “passionate uncertainties of thought”, regardless of whether we are the observers or the users and of which story we are telling.
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Swiss studio Mauro Turin Architectes wants to celebrate the history of the Lavaux wine-making region in Switzerland by cantilevering a museum from the side of a mountain (+ slideshow).
Architect Mauro Turin initially came up with the designs as an imaginary project for a page in Swiss design magazine Hochparterre. “The space is given to architects for a dream of something that could be interesting, or could reveal some parts of an area or idea,” said Turin’s collaborator Martine Laprise.
Turin chose to design a wine museum dedicated to the historic vineyard terraces, which date back to the eleventh century and step down the side of the landscape to meet Lake Geneva on the western border of the country.
The architect explains how he wanted to create something that would not only tell the story of the World Heritage Site, but also create a landmark that would attract tourists from all around the world. A museum that “offers a walk in the air, allowing an unforgettable experience of Lavaux, Lake Geneva and the Alps could be the answer,” he says.
After capturing the attention of the local press and politicians, the architects are now in discussions to develop the building for construction.
Other extreme cantilevers on Dezeen include a glass viewing platform over a glacial valley in Canada and a ski jump in Norway.
Above: site plan – click above for larger image
See all our stories about cantilevers »
See all our stories about museums »
Above: section – click above for larger image
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Architects Coop Himmelb(l)au have completed a film and theatre centre in South Korea with a steel and glass cantilever that’s wider than the wings of an Airbus A380 (+ slideshow).
As the home to the Busan International Film Festival (BIFF), the Busan Cinema Centre sandwiches a 4000-seat outdoor cinema between the two halves of the building, while the column-free roof measures 85 metres from end to end.
“Once we build architecture like aircraft wings we will no longer need columns,” Coop Himmelb(l)au Principal Wolf D.Prix told Dezeen. ”The cantilevered part of the roof with its 85 meters is twice as long as one wing of the Airbus 380.”
LED lights glow from behind the canopy’s glass underside, creating a rainbow of colours over the heads of visitors and guests arriving across the public square at the front of the complex.
A funnel-like structure punctures the roof on one side, while a ramp spirals around it to create a red carpet route into the reception hall in the south-eastern block.
A triangulated metal lattice clads this column, concealing a cafe at ground floor level and a staircase leading to a bar and restaurant above.
An indoor cinema and theatre are contained within the north-western block and are stacked on top of one another.
“The basic concept of this project was the discourse about the overlapping of open and closed spaces and of public and private areas,” said Prix. ”While the movie theatres are located in a mountain-like building, the centre’s public space is shared between an outdoor cinema and a huge reception area.”
Prix recently caused a stir by launching an attack on this year’s Venice Architecture Biennale, claiming it’s “no longer about lively discussion and criticism of topics in contemporary architecture.”
See all our stories about Coop Himmelb(l)au »
Photography is by Duccio Malagamba.
Here’s a project description from Coop Himmelb(l)au:
Busan Cinema Center / Busan International Film Festival, Busan, South Korea (2005 – 2012)
The Busan Cinema Center – A multifunctional urban plaza
COOP HIMMELB(L)AU’s design for the Busan Cinema Center and home of the Busan International Film Festival (BIFF) provides a new intersection between public space, cultural programs, entertainment, technology and architecture creating a vibrant landmark within the urban landscape.
LED saturated outdoor roof elements acting as a virtual sky connect building-objects and plaza-zones into a continuous, multifunctional public urban space.
Media, technology, entertainment and leisure are merged in an open-architecture of changeable and tailored event experiences. The result is a responsive and changing space of flows acting as an urban catalyst for cultural exchange and transformation.
Project Description
The concept envisions an urban plaza of overlapping zones including an Urban Valley, a Red Carpet Zone, a Walk of Fame and the BIFF Canal Park. The urban plaza is formed by building and plaza elements sheltered by two large roofs that are enabled with computer programmed LED outdoor ceiling surfaces. The larger of the roofs includes a column-free cantilever of 85 meters over a multifunctional Memorial Court event plaza. The urban zones of the complex are formed by individual and recognizable building objects placed below the outdoor roofs. The building objects contain theater, indoor and outdoor cinemas, convention halls, office spaces, creative studios and dining areas in a mixture of sheltered and linked indoor and outdoor public spaces. The design of these spaces supports flexible, hybrid functionality that can be used both during the annual festival period and day-to-day use without interruption.
The urban zones defined by functional surfaces in plan are further articulated in a sectional dialogue between stone-clad “ground” forms of the Cinema Mountain and BIFF Hill, and the metal and LED clad “sky” elements of the roofs. The materiality of the building objects differentiates the spaces and articulates the architectural concept. Through their shape, placement and materiality, the various parts create a dynamic and informal tension between the ground and the roof.
Architecture and Cinema – the Main Roof
The dynamic LED lighting surface covering the undulating ceilings of the outdoor roof canopies gives the Busan Cinema Center its symbolic and representative iconographic feature. Artistic lighting programs tailored to events of the BIFF or the Municipality of Busan can be created by visual artists and displayed across the ceiling in full motion graphics, creating a lively urban situation at night, but also visible during the day.
Imbedded in the architecture the lighting surfaces serve as a communication platform for the content of the Busan Cinema Center. Light as art, which is at the very nature of cinema, creates a unique and memorable atmosphere for the public urban plaza and architecture of the BCC.
Double Cone, Café and Roof Restaurant
The Double Cone is the symbolic landmark entrance element to the Busan Cinema Center and serves as the connective element between the Cinema Mountain and the BIFF Hill. Designed as a steel web drum on top of a series of radial concrete fin walls, the Double Cone also is the only vertical structural support for the large cantilevered roof acting as a large, singular column.
During day-to-day use, the ground level of the Double Cone contains a public café with outdoor seating, and the upper level links to a world-class restaurant, bar and lounge within the roof volume with views overlooking the APEC park and river beyond.
During the festival the Double Cone marks the Red Carpet Zone and VIP entrance to the “Busan Cinema Center”, and can be used as a pre-event space for VIP’s on the ground level, or as a pre-staging area for transfer to the Red Carpet procession to the outdoor cinema stage, or to the upper levels of the Cinema Mountain or BIFF Hill foyers via the red carpet spiralling ramp and bridges suspended from the roof.
Ground floor plan – click above for larger image
Cinema Mountain
The Cinema Mountain is a multifunctional building containing both a 1,000 seat multifunctional theater with fly-tower and full backstage support, and a three-screen multiplex comprised of a 400-seat and two 200-seat Cinemas. Separate entrances and foyers are provided for theater and cinema respectively, however the foyers and circulation are designed so that they can be combined depending on operational preferences.
Complete structural separation between the theater and the cinemas ensures optimal noise isolation for the theater space, which is designed as a first-class, flexible hall with seating on two levels and optimal sight lines and adjustable acoustics. A flexible proscenium type stage with side stages and fly-tower accommodates movable acoustical towers used to close down the stage volume for concerts and operatic theater, but can be easily moved for theater, musicals and other staged events. The stage includes a fore-stage lift that can provide additional seating, an orchestra pit or stage extension as preferred. Horizontally tracking curtains along the walls of the audience chamber can be hidden or deployed to adjust the acoustics of the space.
Second floor plan – click above for larger image
Urban Valley / Outdoor Cinema
The Urban Valley combines a flexible flat ground surface and large stepped tribunes of the BIFF Hill as seating for a 4,000 seat Outdoor Cinema. The Valley is sheltered by a large sculpted outdoor roof with an LED ceiling surface and is oriented towards a flexible stage and screen area on the outside of the Eastern façade of the Cinema Mountain. Accommodation for purpose built projection screens, stages, loudspeaker and lighting arrays are provided allowing for exterior performances to share the interior theater’s backstage facilities.
Third floor plan – click above for larger image
BIFF Hill
The BIFF Hill is a ground surface formation creating the tribune seating space of the outdoor cinema and accommodating the concourse, the convention hall, the BIFF-center, the BIFF-offices and the visual media center. Given the flexible organization of the ground plan, it can be easily adapted to the different requirements during festival and day-to-day usage.
Fifth floor plan – click above for larger image
Red Carpet Zone
During the BIFF festival, or for other special events, the Red Carpet Zone is created by a special drop-off and media-event processional entrance at the Double Cone entrance element. A red carpet can be extended from the Double Cone event space and photo position to the south through the park and along a pier. VIP’s can enter from limousines along the street edge, or arrive by boat from the pier. Various options are provided for the red carpet circulation from the Double Cone to the different event and performance spaces depending on the scenario preferred, including a vibrant spiralling ramp from the staging level of the event space to the VIP restaurant lounge of the upper roof or to the BIFF Hill and Cinema Mountain on upper levels of the foyers. During non-event periods the Red Carpet Zone acts as the symbolic entryway into the Busan Cinema Center complex.
Seventh floor plan – click above for larger image
Memorial Court & Walk of Fame
The Walk of Fame contains the Memorial Court as a public plaza. Our proposal is to imbed sources in the ground surface projecting holographic images of the stars, directors, producers and the like who have been made a part of the Walk of Fame. Their avatars inhabit the memorial court as permanent residents; however their programs can be changed to show variable aspects of information over time or in relation to specific BIFF- events.
During non-event times the Memorial Court is used as a grand entryway to the Cinema Mountain and contains an outdoor dining area of the Double Cone Café overlooking the park and water beyond.
Due to the column-free sheltered roof above, the public plaza of the Memorial Court is a multi-functional event space that can be utilized for BIFF- or Busan City- events without interrupting the day-to-day activities of the Busan Cinema Center, or simultaneously with other events in the additional spaces.
Long section 1 – click above for larger image
BIFF Canal Park
The BIFF Canal Park is proposed as an extension of the open network of public programs into the planned riverside park, and as a linking element between the river and the cinema complex. A new pedestrian footbridge is proposed to connect the Busan Cinema Center site with the park across the Boulevard to the South connecting the Double Cone with the APEC Park. An additional outdoor event ‘bowl’ is proposed surrounded by canals that can provide public and private boat access to the project site. Space for a future extension of the Busan Cinema Center project is proposed as an island among the canals, further integrating the cultural functions of the Busan Cinema Center project with the surrounding public space and landscape environment.
Long section 2 – click above for larger image
Competition (1st Prize): 11/2005
Start of Planning: 01/2007
Start of Construction: 10/2008
Opening: 29/09/2011
Completion: 2012
Cross section 1 – click above for larger image
Site Area: 32,100 m²
Net Floor Area (interior spaces): 51,067 m²
Gross Floor Area (interior spaces): 57,981 m²
Built-up Area: 10,005 m² (without roofs)
Cubage: 349,708 m³
Cross section 2 – click above for larger image
Building Costs: about EUR 100 Mio
Costs per m²: 1.725 EUR/m² (excl. exterior spaces)
Cross section 3 – click above for larger image
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by Coop Himmelb(l)au appeared first on Dezeen.
German architects HENN have created a streamlined pavilion with a curled-over steel roof for car brand Porsche at the Autostadt theme park in Wolfsburg.
The structure is located in the south-eastern corner of the park, which is dedicated to the exhibition of cars and is located beside the Volkswagen factory in the north of the city.
The curved roof of the pavilion shelters two doorways and cantilevers out towards a pool of water that winds around the park.
Inside the pavilion, a ramp linking the upper and lower doors spirals round an exhibition hall where some of Porsche’s cars are on show beside 25 silver miniatures.
A Porsche museum was also completed a few years ago in Stuttgart-Zuffenhausen – see it here – and read more about a permanent exhibition on sustainability designed by J. Mayer H. for the Autostadt park here.
See all our stories about Porsche »
Photography is by HG Esch.
Here’s some text from HENN:
Porsche Pavilion at the Autostadt in Wolfsburg
Architecture, landscape design and exhibition concept
A few weeks ago the Dr .Ing. h. c. F. Porsche AG celebrated the opening of their Porsche Pavilion at the Autostadt in Wolfsburg in the presence of 200 guests of honor.
For the first time since its opening in 2000, the theme park receives another building structure in the form of the new Porsche Pavilion, which expresses the importance of Porsche within the Volkswagen Group family.
‘The building is unique and its construction is extraordinary. This pavilion also has a symbolic and historical dimension, as it hints at the common roots through which Porsche and Volkswagen have been connected from the very beginning and will continue to be connected also in future’, says Matthias Müller, CEO of Porsche AG. ‘As a worldwide leading automobile destination and communication platform for Volkswagen, we provide insights into our brands, values and philosophy for our guests. With the Porsche Pavilion we start a new chapter in the history of the Autostadt’, adds Otto F. Wachs, Director of the Autostadt.
The organically shaped building is sitting – in mirrored location to the Volkswagen Pavilion- at the central axis of the theme park and offers 400 m2 of space for exhibitions and presentations. Its characteristic silhouette will become a distinctive icon amid the lagoon landscape of the Autostadt.
Curving lines and exciting bends make the Pavilion a dynamic yet reduced sculpture with its characteristics derived from the Porsche brand image. As designed by HENN, the structure captures the dynamic flow of driving with a seamless building skin. Its lines pick up speed and slow down just to plunge forward in large curves with ever-changing radii.
A matte-finished stainless steel cladding forms the flush envelope of this vibrant structure, creating the impression of a homogeneous unity, whilst creating a continuously changing appearance depending on light and weather conditions. At the entrance the pavilion cantilevers 25m over the lagoon’s water surface in front.
Below the cantilever of the large asymmetrical roof, a sheltered external space opens up. This space is visually connected to the surrounding landscape, but forms its own acoustic enclosure, providing seating for a few hundred guests.
Architecture and landscape, interior and exterior as well as roof and facade are brought together by HENN in their architectural concept of a coherent, flowing continuum. The external area around the pavilion was designed by landscape architects WES and integrated into the overall concept of the theme park.
This is how the new piazzetta creates a connection between the Porsche Pavilion and the adjacent Volkswagen Commercial Vehicles Pavilion by means of water features and trees. By walking around the sculptural Porsche Pavilion, further highlights of the Autostadt can be discovered.
Similar to the monocoque construction technology used for lightweight structures in the automotive and aerospace industries, the building envelope forms a spatial enclosure whilst at the same time acting as load-bearing structure. A total of 620 sheets of stainless steel cladding with welded ribs were prefabricated in a ship-yard in Stralsund and assembled on site.
Inside the pavilion a concentrated space opens up, allowing visitors to experience the sports car brand Porsche and its history, yet, casting aside the conventional limits and restraints to perception. The elliptically curved ramp embraces the dynamic principle of the architecture and leads the visitor to the lower exhibition stage areas. The exhibition and staging concept created by hg merz architekten museumsgestalter and jangled nerves combines evolution, engineering and the fascination of Porsche into an impressive image of future-oriented tradition. The Original Porsche – a 356 No.1 built in 1948 – is the starting point for a swarm of 25 silver coloured vehicle models at the scale of 1:3, on show in the main exhibition area.
Tradition and innovation, performance and day-to-day-practicality, design and functionality, exclusiveness and social acceptance: These four antagonistic terms characterise Porsche’s values and philosophy. They are also picked up as themes in short films. A film about the company history, sound stories about selected Porsche models as well as tablet PCs with further information about the exhibited vehicles make this visit’s experience perfect.
Site plan – click above for larger image
CLIENT: Dr. Ing. h.c. F. Porsche AG / Autostadt GmbH
ARCHITECTS AND LEAD CONSULTANT: HENN
Principal: Prof. Dr. Gunter Henn
Programming: Andreas Fuchs, Martin Rath
Design: Martin Henn, Klaus Ransmayr Paul Langley
Planning: Georg Pichler, Hans Funk, Florian Goscheff, Katrin Lind, Birgit Schönbrodt, Yves Six, Wolfram Schneider, Sebastian Schuttwolf, Maximilian Thumfart
Quantity Surveying: Paul Lawrence, Lars Becker, Wolfgang Malisius
Construction Management: Wolfgang Wrba, Siegfried Kruse, Hendrik Noack, Karl Rosebrock
Lower floor exhibition level – click above for larger image
STRUCTURAL ENGINEERS: Schlaich Bergermann und Partner, Prof. Dr. Mike Schlaich, Achim Bleicher, Thomas Schoknecht, Sebastian Linden
TECHNICAL BUILDING SERVICES: ZWP Ingenieur-AG
LIGHTING: Kardorff Ingenieure Lichtplanung GmbH
INFRASTRUCTURE DESIGN: Niermann Consult
Upper floor entrance level – click above for larger image
LANDSCAPE DESIGN: WES Landschaftsarchitekten, Prof. Hinnerk Wehberg, Michael Kaschke, Maxie Strauch
Coordination/Costing: Claus Rödding
Project Team: Thomas Bohr, Frank Fischer, Rainer König, Axel Koch, Yushu Liu, Walter Maas, Barbara Tieke
Tendering, construction management: Klaus Werner Rose, Frank Bolle, Werner Hüsing, Thorsten Heitmann, Robert Holldorf
Click above for larger image
STAGE DESIGN AND MEDIA: hg merz architekten museumsgestalter and jangled nerves
Principals: Prof. HG Merz, Ingo Zirngibl
Project management: Markus Betz, Jochen Zink
Team: Johannes Brommer, Alexander Franzem, Heiko Geiger, Stefanie Heinecke, Bjørn Kantereit, Fabiola Maldonado, Marcel Michalski, Marc Schleiss, Jörg Stierle, Christian Stindl, Sylvia Stoll, Patrick Wais
Acoustic space design: Klangerfinder
Click above for larger image
DESIGN PERIOD: March 2011 to February 2012
CONSTRUCTION PERIOD: August 2011 to May 2012
Gross floor area: 1,400 m2
Net floor area: 1,045 m2
Roofed, paved outdoor area: 290 m2
Exhibition area: 400 m2
Monocoque: 2,550 m2
Weight: 425 t
Material: Stainless steel plate 10-30 mm
Envelope Contractor: Centraalstaal B.V., Groningen
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by HENN appeared first on Dezeen.
One storey hangs precariously over the other at this isolated hilltop house in Australia by architects Denton Corker Marshall.
The dramatic cantilever defines the silhouette of View Hill House, which looks out over the Yarra Valley winemaking region of Victoria.
The exterior of the lower storey is clad in pre-rusted steel and the upper storey has walls of black aluminium.
Chunky chipboard lines the interior walls and ceilings of both levels and the floor of the upper storey, while the lower storey features a polished concrete floor.
Denton Corker Marshall also recently unveiled proposals for a visitor centre at Stonehenge in England.
See all our stories about Australian houses »
Photographs are by Tim Griffith.
Here’s some more information from Denton Corker Marshall:
The Yarra Valley was originally settled as a series of farms strung out along the tracks through the valley on either side of the river. Yering Station and Gulf Station, for example, still exist as heritage buildings, but View Hill is identifiable only as an isolated hill abutting the historic Yarra Track with magnificent views of the whole valley.
The 60-hectare site was progressively developed as a premium cool climate vineyard from 1996 to 2004 and now has around 32 hectares of vines. A site for a house was identified at the top of the hill looking north over the vineyard but also taking in view all around.
Click above for larger image
Denton Corker Marshall have completed six houses over the last 20 years, a sideline to their larger building work but seen as an important part of their exploration of ideas about architecture. There were also opportunities to consider the isolated building in the landscape as ‘land art’. Here on the top of the hill the house is reduced to two sticks placed one on top of the other ‘dropped’ onto the landscape. It is a counterpoint to their Phillip Island house of 20 years ago where the house is buried in the sand dunes.
The stick sitting on the ground is made of rusting steel whilst the stick sitting on right angles on top and cantilevering impossibly is made from black aluminium. The sticks read as very thin metal tubes with glass inset at each end. The reading of the tubes is reinforced inside by their lining with a grey green stained OSB board – on the upper level its walls, ceilings and even the floor is lined – at ground level the floor is charcoal polished concrete. The ground level tube is 6m x 4m in cross-section so that the ceiling heights are 3.2m, the upper tube is 4m x 3m with 2.4m ceilings.
Click above for larger image
Ground floor uses are centred around a living, dining, kitchen space – with bedrooms at either end. Upstairs two offices and another guest bedroom complete the primary spaces. Planning is therefore very simple – presenting controlled views out from each end of the tubes and then by raising three panels on the side of the lower tube so that the living area looks out over the vineyard. The mountains containing the valley on all sides offer a dramatic backdrop.
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Denton Corker Marshall appeared first on Dezeen.
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