Buddhist Meditation Centre Metta Vihara by Bureau SLA

Dozens of square windows puncture the corrugated steel shell of this barn-like Buddhist meditation centre in a rural part of the Netherlands by Dutch architects Bureau SLA (+ slideshow).

Buddhist Meditation Centre Metta Vihara by Bureau SLA

The Buddhist organisation Metta Vihara asked the architects to create as much space as possible within the modest budget.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

“What we wanted was an aesthetic that was beautiful but not too comfortable,” architect Peter van Assche told Dezeen. “The reason people go to the meditation centre is not to feel cosy – they want to go deeper, to sense something that is not too obvious. The feeling of the building should express this.”

Buddhist Meditation Centre Metta Vihara by Bureau SLA

The resulting building provides beds for 26 people in 13 bedrooms as well as a meditation hall, library and dining hall.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

A mansard roof was chosen as a cost-effective way of providing extra living space while also borrowing from the vernacular architecture of Zeeland, which is near the Belgian border.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Three colours of corrugated steel have been used for the facades and roof, with red cedar beams marking the top and bottom edges of each steel sheet.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

The square Velux windows have been fitted inside white wooden frames to disguise ugly joints with the steel.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

The end walls are clad in wood salvaged from scaffolding left over by the builders.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

At one end of the building is a large meditation room with glazed walls and corrugated steel shutters, which open out onto a view of the rural landscape.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Inside, bare limestone has been used for the load-bearing walls while the other walls are made from environmentally certified MDF.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Polished concrete has been used on all the floors with the exception of the meditation hall, which is covered with black bamboo.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

The architects added: “The building has been warmly received by local residents, as evident in a conversation we heard between two passing cyclists: ‘This new cowshed looks really good, but why does it have so many windows?’”

Buddhist Meditation Centre Metta Vihara by Bureau SLA

We’ve featured two other Buddhist buildings on Dezeen – a house for a priest along the Shikoku pilgrimage route in Japan and a priest’s quarters in the Japanese Alps.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Site plan – click above for larger image

We previously published Bureau SLA’s National Glass Museum Holland in Leerdam, which saw two houses connected by four overlapping bridges wrapped in aluminium mesh.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Ground floor plan – click above for larger image

See all our stories from the Netherlands »
See all our stories about Bureau SLA »
See all our stories about places of worship »

Buddhist Meditation Centre Metta Vihara by Bureau SLA

First floor plan – click above for larger image

Photographs are by Jeroen Musch.

Here’s some further information from the architects:


The Buddhist Meditation Centre Metta Vihara is located in Hengstdijk – a small village near the Belgian border – in a remote area of the Netherlands. The inhabitants of Metta Vihara (defined as ‘community of loving kindness’ in the Pali language) are members of the Triratna Community, a Buddhist movement not aligned to one traditional school, but one that draws on the whole stream of Buddhist inspiration.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Long section – click above for larger image

The new accommodation provides 26 beds in 13 one- and two-person bedrooms, a meditation hall, library and dining hall. Form and materials used in the centre relate to the rural vernacular building, but used in a new and fresh way.

As the centre is financed mainly by gifts from community members and friends, one of the design briefs was to maximise the the space while minimising the cost. Our overall design concept was to design a building that, while beautiful, wasn’t overly comforting. This is in line with the philosophy that, while on retreat, one should feel relaxed but not necessarily ‘at home’. As a result, Metta Vihara has strong aesthetics that feature robust and raw materials.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Long section – click above for larger image

The overall form of the meditation centre is an interpretation of the so-called Mansard roof, also known as the French roof. Used throughout the area (mainly because of its low cost), the Mansard roof is found widely on houses and barns. The facade of the centre – along with the cladding of the roof – is made of corrugated steel, a material popular for its low cost, strength, and long life. Typically, the drawback of using corrugated steel is in the ungraceful way it joins with other materials, specifically at the corners and in the overlays. At Metta Vihara, however, it has been used ‘as is’: no joints and no connections. Western red cedar beams and white wood window frames mark the transitions from one steel sheet to the next, with the horizontal lines of the beams giving the building depth and profile. Three different colors of steel are used, and in three different wavelengths. Indeed at first sight, it is not at all clear what the scale of the building is: does it have five floors? Three? Two?

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Cross section A

The same approach of using raw materials in this new way is also used in the design of the windows. The windows in the steel skin – in facade and roof – are standard Velux windows, which are technically superb and relatively inexpensive. As with the corrugated steel, however, there is often an aesthetic compromise in the joints with other materials. In the case of Metta Vihara, though, they are framed with white painted wood, giving them a distinctive look.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Cross section B

As a contrast to the more industrial looks of the steel, the short sides of the building and the terrace walls are cladded with wood, a robust but also warm material. For this, wood already available on site was used: the leftovers of the scaffolding wood used by the builders. The structure’s interior consists of unfinished building materials, albeit used in a considerate – even delicate – way.

Structural walls are bare unplastered lime stone. Floors are raw concrete, polished and uncovered, with the exception of the meditation hall, which features black bamboo flooring. Non-loadbearing walls are made of ecologically manufactured MDF sheets and are coated with transparent colours, in order that the structure of the material remains visible.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Cross section C

In the meditation hall, doors open to the outside, allowing open air meditation. When closed, these doors – made of perforated corrugated steel – serve to filter the sunlight. This gives the space an intimate atmosphere, providing optimal conditions for meditation. The building has been warmly received by local residents, as evident in a conversation we heard between two passing cyclists: “This new cowshed looks really good, but why does it have so many windows?” The Metta Vihara building is the first newly built meditation centre in the Netherlands.

Buddhist Meditation Centre Metta Vihara by Bureau SLA

Cross section D

Project: Buddhist Meditation Centre Metta Vihara
Start design: 2009
Start building: 9/2011
Opening: 6/2012
Gross Area: 465 m2
Building costs: ca. €650,000 ex. VAT
Design: bureau SLA
Client: Metta Vihara
Address: Hengstdijkse Kerkstraat 36, Hengstdijk, The Netherlands
Program: 13 bedrooms, meditation hall, library and dining hall
Contractor: Van Kerckhoven Bouw, Kloosterzande
Structural Engineer: Sineth Engineering, Schiphol
Sustainability: Sunraytec, Woerden
Project team: Peter van Assche, Hiske van der Meer, Gonçalo Moreira, Charlotte Vermaning, Justyna Osiecka

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Garage Centre for Contemporary Culture by Shigeru Ban

While OMA is busy finalising designs for a new home for the Garage Centre for Contemporary Culture in Moscow, the arts organisation has temporarily moved into a pavilion with cardboard columns by Japanese architect Shigeru Ban (+ slideshow).

Garage Centre for Contemporary Culture by Shigeru Ban

Garage will occupy the pavilion during the entire construction period, which will see a 1960s building in Stalinist-era Gorky Park renovated into an exhibition centre with moving walls and floors.

Garage Centre for Contemporary Culture by Shigeru Ban

Ban’s oval-shaped pavilion is located in the same park and has chunky cardboard columns surrounding its entire perimeter.

Garage Centre for Contemporary Culture by Shigeru Ban

A single rectangular exhibition space is contained inside, alongside a bookshop and cafe.

Garage Centre for Contemporary Culture by Shigeru Ban

In late 2013 Garage will relocate to their new building and the pavilion will then be used for experimental projects.

Garage Centre for Contemporary Culture by Shigeru Ban

The inaugural exhibition, entitled Temporary Structures in Gorky Park: From Melnikov to Ban, focusses on the history of temporary pavilions in the park, which was planned in the 1920′s by Konstantin Melnikov.

Garage Centre for Contemporary Culture by Shigeru Ban

Find out more about OMA’s design for the Garage Centre for Contemporary Culture in our earlier story, or hear about it in our interview with Rem Koolhaas.

Garage Centre for Contemporary Culture by Shigeru Ban

Shigeru Ban has created a few structures using cardboard, including a temporary tower and a tea house.

See all our stories about Shigeru Ban »

Here’s some more information about the exhibition:


Garage Center for Contemporary Culture will present a new exhibition entitled Temporary Structures in Gorky Park: From Melnikov to Ban from 20 October to 9 December 2012 in a newly created temporary pavilion in Moscow’s Gorky Park, designed by Japanese architect Shigeru Ban. Showing rare archival drawings –many of which have never been seen before – the exhibition will begin by revealing the profound history of structures created in the park since the site was first developed in 1923, before moving through the Russian avant-garde period to finish with some of the most interesting contemporary unrealized designs created by Russian architects today.

By their nature, temporary structures erected for a specific event or happening have always encouraged indulgent experimentation, and sometimes this has resulted in ground-breaking progressive design. This exhibition recognizes such experimentation and positions the pavilion or temporary structure as an architectural typology that oscillates between art object and architectural prototype. In Russia, these structures or pavilions – often constructed of insubstantial materials – allowed Soviet architects the ability to express the aspirations of the revolution. They frequently became vehicles for new architectural and political ideas, and they were extremely influential within Russian architectural history.

This exhibition reveals the rich history of realized and unrealized temporary structures within Moscow’s Gorky Park and demonstrates important stylistic advancements within Russian architecture. Temporary Structures also reveals the evolution of a uniquely Russian ‘identity’ within architecture and the international context, which has developed since the 1920s and continues today.

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Dadong Art Centre by MAYU Architects

MAYU Architects designed eleven huge funnels to protect visitors from extreme weather conditions in the outdoor spaces of this cultural centre in Taiwan (+ slideshow).

Dadong Art Centre by MAYU Architects

Located in Kaohsiung, the Dadong Art Centre sits between the park and the historic Fengshan city and comprises four buildings – a theatre, an exhibition centre, a library and an education centre.

Dadong Art Centre by MAYU Architects

The shelter folds around the edges of the theatre and exhibition centre to create public spaces that can also be used for dance, Tai-Chi and other games, which the architects say occur frequently on the city streets.

Dadong Art Centre by MAYU Architects

“The roof shape prevents against extreme climatic conditions such as typhoons, periodically strong rain and high summer temperature,” they explain.

Dadong Art Centre by MAYU Architects

During heavy rain, some of the downward pointing funnels channel water down into concealed springs, letting it drain away naturally.

Dadong Art Centre by MAYU Architects

When the temperature is high, hot air is drawn up though the funnels, keeping the spaces naturally ventilated.

Dadong Art Centre by MAYU Architects

Glass diamonds create criss-crossing patterns across the concrete exterior walls.

Dadong Art Centre by MAYU Architects

The theatre is the largest of the four buildings and contains a timber-clad auditorium and a rehearsal hall.

Dadong Art Centre by MAYU Architects

“In order to achieve optimal acoustics in both music and theater use, the ceiling of the auditorium is adjustable,” say the architects.

Dadong Art Centre by MAYU Architects

We’ve also featured a school in Vietnam designed around the weather and a Japanese house with a protective shield for typhoons.

Dadong Art Centre by MAYU Architects

See more projects in Taiwan »

Dadong Art Centre by MAYU Architects

Here’s some project details from the architects:


Architect: MAYU architects (Malone Chang & Yu-lin Chen) + de Architekten Cie
Client: Kaohsiung City Government
Location: Kaohsiung, Taiwan

Dadong Art Centre by MAYU Architects

Project Team: MAYU: Malone Chang & Yu-lin Chen (Architects), Kwantak AUYEUNG, Yachih KUO, Fenlan CHEN, Mavis LIU, Yayun WANG, J. Hsiu, J. Yang, W. Lo, Y. Mai, C. Chen, Y. Lee, H. Shen, I. Shr, Y. Huang, R. Huang, B. Guo, S. Wang (Project team), Wei Cheng LI, Yonghao CHEN, Chih-Hung WANG, Wanzhen CHEN, Qi Yang HUANG, Binghong MA (Construction supervision)
CIE: Branimir Medić & Pero Puljiz (Architects), V. Ulrich, T. Cheng, L. Cvetko, H. Gladys, C. Eickelberg, M. A. Rival (Project team)

Dadong Art Centre by MAYU Architects

Program: 800-seat multi-purpose theater, 150-seat rehearsal hall, 4,000 m2 art education centre, 1,900 m2 administation office, 4,800 m2 exhibition hall, 1,600 m2 outdoor activity space, 3,600 m2 library

Dadong Art Centre by MAYU Architects

Structural Engineer: Arup Amsterdam + Tien-Hun Engineering Consultant Inc.
Acoustics Consultant: Peutz & Associates + Gade & Mortensen Akustikk + Prof. Wei-Hwa Chiang NTUST
Environment Technology Consultant: Hander Engineering & Construction Inc. + I. S. Lin & Associates

Dadong Art Centre by MAYU Architects

Competition: 01/2007
Construction Start: 09/2008
Completion: 03/2012
Building Surface: 36,470 sq m

Dadong Art Centre by MAYU Architects

Ground floor plan – click above for larger image

Dadong Art Centre by MAYU Architects

First floor plan – click above for larger image

Dadong Art Centre by MAYU Architects

Second floor plan – click above for larger image

Dadong Art Centre by MAYU Architects

Third floor plan – click above for larger image

Dadong Art Centre by MAYU Architects

Basement floor – click above for larger image

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Snøhetta wins competition to design Busan Opera House

News: Norwegian studio Snøhetta has won a competition to design a waterside opera house in Busan, South Korea.

Busan Opera House by Snøhetta

Just like the celebrated opera house the architects designed in Oslo, the proposed building will have a slanted roof that extends down to meet the ground, allowing visitors to climb up to a rooftop public square. Here, marble panels will cover the ground surface and a rooftop restaurant will offer a view towards the mountains.

Busan Opera House by Snøhetta

The curved walls of the building will be glazed and lifted at two corners to create entrances on opposite sides.

Busan Opera House by Snøhetta

The auditorium will be positioned at the heart of the building and will be lined with sound-absorbing cherry to enhance acoustics. Other proposed spaces include a foyer, a function room, a VIP room, rehearsal rooms, a restaurant and a staff canteen.

The Busan Opera House is set to open in 2018.

Read about the Oslo Opera House by Snøhetta in our earlier story or see all our stories about Snøhetta.

Here’s some more detailed information from Snøhetta:


Busan Opera House

The Opera today not only represents our cultural identity, much more than that, it is there to form, shape and create our growing cultural awareness and manifestation. We set increasingly stronger demands to the institution; it is no longer just a passive playground for the elite but can become interactive, democratic, giving as much as it takes, responding to our ambitions and expectations. The Opera house can become the most essential cultural expression that we have in our developed urban societies.
The Opera in Busan is a place to meet, a place to be together in our common cultural context.

The Busan Opera house relies on our current experience of contemporary opera buildings, including the interactive attraction of an open and inviting typology.

Some of the functions, especially its one level and horizontal functional layout is based on Snøhettas experience of designing easy flow and communications within such a building.

The form of the Busan Opera house is derived from its own context and culture.

The basis for the lay-out refers to Kun (Heaven) meeting Kon (Earth) which again meet Kam (Water). The classical trigrams of these elements both describe this site exceptionally well, whilst they refer to the historical and philosophical relationships that are of great importance to Korean culture. The slight bending of the surfaces in Snøhetta’s design are the bars of the trigrams slightly deformed to touch and meet each other in a subtle manner.

The geometry of the building consists of two opposing curves. The lower arching curve bridges the site and anchors the project in the ground. The upper embraces the sky and the Opera is created within the interplay of these surfaces, where the earth touches the sky and the mountains touch the sea. The four corners of the building connect the city and the cultural landmark to the sea. Two of these corners are lifted to form an entrance from the city and an entrance from the sea. These entrances are linked in a continuous public space, flowing around the Opera house and out into the public plaza. The upper plane is lifted on the opposite diagonal to accommodate the programmatic volume and to create an exterior plane that both arches down to the City and the sea at the same time as it peels upwards to meet the sea and the sky.

The compactness and sustainable elements of the project have great importance on economy, sustainability and long-term maintenance of the building.

Building upon the typologies we have previously developed in Oslo the Opera in Busan is changing earlier perceptions of the relationship between opera institutions and its users and the public. By designing an open, inviting and participative building typology, Busan will mark the entrance into a new era of global contemporary architecture reflecting today’s values of equality and democracies, effectively contributing to civic and cultural life on a broad level.

Snøhetta will remain loyal to our contextual and landscape oriented designs also in the future, because we believe this typology to be the most relevant connector between a contemporary public and a contemporary architecture.

Details – unpacking the box:

Soft wrapping: Spanning between the two public planes and enveloping the public functions is the soft flowing skin, offering protection and transparency to the foyer within and linking the ground plane to the roof plane in an unbroken movement. The facade is constructed of panels of glass and marble supported on a two way system of cables spanning between the upper and lower surface. The glazed panels allow for transparency and view in the more vertical sections. The Marble panels form the pedestrian surface rising to meet the roofscape above.

Auditorium: The Opera hall is conceived as a musical instrument. Precisely formed to resonate with the operatic acoustics and resonance. As with the foyer wall the auditorium is to be constructed from solid panels of Cherry wood. The less reflective and with deeper tones, these continuous surfaces envelope and surround the public in an ever changing weave of surfaces, designed precisely to reflect and resonate with the performance on stage. The choice is made for solid materials to maximise the acoustic performance. Particularly the side walls and balcony fronts change in profile and angle to best reflect and resonate with music and performance. Centrally placed above the Parterre is the main lantern. Not in use during performances, this provides an ambient light before and after performances.

Roof Level: The upper surface is a plane of reflection and contemplation set apart from the bustle of the ground. Open and accessible to all, the roof level enjoys un-rivalled views to the mountains and the ocean. This marble surface, punctuated by a grove of flowering trees is the setting for the Fly Tower Restaurant.

Level 4: The top level is dedicated to the administration. These areas enjoy views out to the rooftop atrium garden and direct vertical communication to both the Front and Back of house areas. In front of house there is a public access to the second balcony at this level.

Level 3: This level houses the Academy, rehearsal rooms and staff canteen. This allows for the contact and synergies between the rehearsals areas and the Academy. Direct vertical communication links these areas with the performance space, support areas and changing facilities.

Level 2: Here you find the VIP room. This level provides public access to the first balcony and is the location of the balcony restaurant and bar.

Level 1: This level is the location for the Function room. These facilities enjoy the views out over the foyer and direct access to the first balcony seats.

Level 0: This level is the location for main front of house foyer, restaurant and public entrance to the Parterre. The foyer space wraps around two sides of the building towards the sea. The foyer is entered either from the city side drop off, Parkside or from the Seaside board walk. The foyer provides entrance to all the main public facilities. The main conference hall provides a flexible space that can be utilised for all conference and banquet activities, as well as providing a 2nd stage option with flexible seating and stage possibilities. At level 0 Back of house contains the large rehearsal rooms, performance support, stage, stage making areas. All areas are connected to the main back of house corridor, loading dock and staff entrance.

Level -1: Back of house these levels are the location for the dressing rooms and orchestra rehearsals room. All areas connect directly by vertical communication to the stage and performance areas above. The Exhibition centre is located on this level with a direct entrance to the main foyer above. The public cloakrooms and toilets are located at this lower level.

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If China doesn’t go green “it’s the end of the world” – Li Xiaodong on Liyuan Library

World Architecture Festival 2012: in this movie we filmed at the World Architecture Festival, Chinese architect Li Xiaodong tells Dezeen editor-in-chief Marcus Fairs how ”sustainability is a must” for new buildings in China, because if the country doesn’t get it right it’s ”the end of the world”.

Liyuan Library by Li Xiaodong

The architect stresses that now China’s population is approaching 1.4 billion, that the country needs to ”really reconsider the way we construct and we think about our society.”

Liyuan Library by Li Xiaodong

Xiaodong won the award in the culture category with his design for the Liyuan Library clad in firewood in a small village outside Beijing and he describes how technology was an important aspect of the project. Although the building looks “untechnologically expressive,” it features an integrated cooling system that draws cold air from the surface of a lake in summer and pulls it up through the building.

Liyuan Library by Li Xiaodong

The frame of the library is made from chunky timber beams, while the cladding is wooden sticks. “I tried to go back to nature, said Xiaodong. “Around 99 percent of the materials can be recycled and this is part of the concept we need to promote.”

Liyuan Library by Li Xiaodong

Read more about the Liyuan Library in our earlier story.

We’ve filmed a series of interviews with award winners at the World Architecture Festival. See all the movies we’ve published so far, including our interview with architect Chris Wilkinson about the World Building of the Year.

See all our stories about WAF 2012 »

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El Greco Museum restoration and extension by Pardo + Tapia Arquitectos

Renaissance artist El Greco lived and worked in the Spanish city of Toledo and Pardo + Tapia Arquitectos has refurbished and added a glazed entrance pavilion to the small museum that houses some of his most important paintings (+ slideshow).

El Greco Museum by Pardo + Tapia Arquitectos

Located in the city’s Jewish quarter, the El Greco Museum comprises two buildings; a 16th century house designed as a recreation of the artist’s home and a 20th century extension.

El Greco Museum by Pardo + Tapia Arquitectos

Architect Fernando Pardo Calvo told Dezeen how his extension was conceived as a glazed volume to respect the existing buildings. ”Its presence in the garden is diminished by its transparency,” he explained.

El Greco Museum by Pardo + Tapia Arquitectos

Behind the glazed entrance, a second new space is clad in concrete panels, which are engraved with the outlines of one of the artist’s paintings.

El Greco Museum by Pardo + Tapia Arquitectos

“El Greco is present at all times,” said Pardo Calvo. “Not only in the collections but also in the architecture. In the historic building because this place was near his workshop, and in the new building because his painting “Vista y plano de Toledo” is engraved in the concrete.”

El Greco Museum by Pardo + Tapia Arquitectos

As well as adding a new entrance, the architects have restored the spaces of the gallery, which house artworks by El Greco and a selection of other 17th century painters.

El Greco Museum by Pardo + Tapia Arquitectos

The architects used a traditional material palette of ceramics, plaster, stucco and wood for these areas of the building.

El Greco Museum by Pardo + Tapia Arquitectos

See more stories about renovations, including a replacement corner for a ruined Renaissance palace.

El Greco Museum by Pardo + Tapia Arquitectos

Photography is by Miguel de Guzman.

El Greco Museum by Pardo + Tapia Arquitectos

Here’s some information from the architects:


El Greco Museum
Toledo, Spain 2003-2011

Adequacy and realignment works of the El Greco Museum, at buildings and gardens surrounded by Samuel Levy St., Paseo del Tránsito St., Alamillos del Tránsito St. and San Juán de Dios St. at Toledo city. Toledo

El Greco Museum by Pardo + Tapia Arquitectos

Short historic notice

On the remains base of a XVI century house and a renaissance palace at the Jewry of Toledo, it was built on the beginning of XX century the edification conjunct that today compounds the El Greco Museum House.

El Greco Museum by Pardo + Tapia Arquitectos

The Marquis de la Vega-Inclán was who recovered those areas, as well, the gardens during the years 1907 – 1910, the aim was to develop the idea of organize a center dedicated to the art work of El Greco performed at the Jewry of Toledo, in the real El Greco’s house environment , nearby of Villena’s Palace.

El Greco Museum by Pardo + Tapia Arquitectos

Ground floor plan – click above for larger image

When the works were finished the Spanish State donation was formalized, and on April, 27th, 1910, the Patronage was founded, this institution took over of the custody and govern of the Greco’s Museum House.

El Greco Museum by Pardo + Tapia Arquitectos

First floor plan – click above for larger image

That age significant personages were involved in the Patronage. (Beruete, Sorolla, Mélida, Cossío, etc.). The House was opened and inaugurated on June, 12nd, of 1911. A section was restored as the Marquis Vega-Incan’s house, staying this private situation up to 1942.

El Greco Museum by Pardo + Tapia Arquitectos

Roof plan – click above for larger image

The reasons for restore this conjunct were to shelter in it, the El Greco’s work collection that was spread out all over the city of Toledo (San Jose´s Church, Santiago’s Hospital, etc…) and was on risk of disappearing and lost. This collection was developed with a further room’s extension at 1921, for the exposure of the painting art work of the XVII century Spanish schools. This should be the starting point of a Spanish Art Center.

El Greco Museum by Pardo + Tapia Arquitectos

Section one – click above for larger image

The 1921 restoration was followed by any other two, at 1950 and 1960 and other one at 1990. The current project begins on the base site of the last one (1990).

El Greco Museum by Pardo + Tapia Arquitectos

Section two – click above for larger image

Project

The target of the project has been to take advantage of space and cultural potential that the edifications, gardens and the El Greco personality as well, going through a realignment labor.

El Greco Museum by Pardo + Tapia Arquitectos

Sections three and four – click above for larger image

Meanwhile a pavilion construction gives shelter to the museum funds and a new travel path is restructured across the conjunct of buildings (rehabilitated and adapted to the current normative standards) and also allows the visit to the gardens and caves.

El Greco Museum by Pardo + Tapia Arquitectos

Section five – click above for larger image

Museografy

The museography project, although formally distinguished, takes part of the propound common objective, going through the existing building path, showing the recuperation and construction of the El Greco figure by the Marquis de la Vega-Inclán, the work and the different aspects of his life and travels, and his painting later influences, with the aim of explaining and giving value itself trough a reference configuration frame.

El Greco Museum by Pardo + Tapia Arquitectos

Section six – click above for larger image

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Giant’s Causeway Visitors’ Centre by Heneghan Peng Architects

The stone mullions surrounding this visitor centre by Irish firm Heneghan Peng Architects imitate the towering basalt columns of the volcanically formed Giant’s Causeway (+ slideshow).

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Created around 60 million years ago by the movement of basalt lava, the causeway is the most popular tourist attraction in Northern Ireland and comprises over 40,000 columns that step down from the foot of the cliff into the sea.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Heneghan Peng Architects won a competition in 2005 to design a visitor centre for the Giant’s Causeway, providing exhibition spaces, a cafe, toilets and a giftshop.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

The new building opened this summer and is described by the architects as “two folds into the landscape”. The first fold rises up from the ground to create a building with a sloping grass roof, while the second angles down to form a car park and entrance that meets the level of the approaching road.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

“It is a carefully sculpted intervention,” say the architects. ”It is both visible and invisible; invisible from the cliffside yet recognisable from the land side.”

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Between each of the stone mullions, vertical windows line the walls and surround a cafe that overlooks the coastline from the far end of the building.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Visitors can climb up over the grassy roof, where skylights let them peer down into the exhibition spaces.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Floors inside the building are staggered to negotiate the sloping site, but ramps connect each level.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Other projects at natural landmarks include the installations along the Norwegian national tourist routes.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Photography is by Hufton+Crow.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Here’s a project description from Heneghan Peng Architects:


The project is located at the ridgeline of the North Antrim coast at the gateway to the UNESCO World Heritage Site.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

The proposal for the new visitor facilities can be understood as two folds into the landscape. One folds upwards revealing the building and the second folds down to form the carpark and shield it from view of the approach road and coastal path. Between the two folds, a ramp leads to the coastal ridgeline which is restored at this location.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

The visitor’s centre at the Giant’s Causeway is experienced as an event along the route to the Causeway and the coastline. It is a carefully sculpted intervention into this landscape which is both visible and invisible, invisible from the cliffside yet recognisable from the land side.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Internally the building can be understood as a series of stepping floor plates which are linked by a series of ramps.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

These floor plates allow the different activities of the building to flow into each other creating a fluid movement through the building for the visitor.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

The cafe has been situated close to the main building entrance with a long view to the coastline. The visitor ends the route through the building by exiting onto the access road to the stones.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

The folds are precise and geometric yet vanish into the patchwork that forms the tapestries of fields.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

The architectural expression of the edges of the folds is singular, stone mullions that echo the columnar landscape of the Causeway site.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

The strategy for the building creates a space between the basalt and the folded plane of the grass roof; a space formed within the materials of the site.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

The basalt edge is formed as a weave between basalt stone columns and glazing where changes are created in transparency and opacity along the visitor’s route.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

What belies this simple façade concept is a carefully engineered solution which evolved around the inherent properties of the locally sourced basalt stone.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

The aspirations for this project in every way are of the highest order as befits its location, excellence in architectural and landscape design, excellence in sustainable practices and construction.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

The project’s design has received a BREEAM “Excellent” rating.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Client: National Trust
Gross Internal Area: 1800m2
Location: Northern Ireland

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Architecture, Landscape Concept and Interiors: heneghan peng architects
Competition: Shih-Fu Peng, Róisín Heneghan (Project Directors) Chris Hillyard, Aideen Lowery, Marcel Piethan
Project Design & Construction Stages: Shih-Fu Peng, Róisín Heneghan (Project Directors), Julia Loughnane (Project Architect), Monika Arczynska, Jorge Taravillo Canete, Chris Hillyard, Kathrin Klaus, Carmel Murray, Padhraic Moneley, Catherine Opdebeeck, Helena del Rio.

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Structures: Arup
Building Services: Bennett Robertson
Quantity Surveyor/Project Manager: Edmond Shipway

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Facade Engineering: Dewhurst MacFarlane
Planning: Turley Associates
Civils: White Young Green

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Landscape: heneghan peng architects (Concept design) Mitchell + Associates (Implementation)
Exhibition Design: Event
Accessibility: Buro Happold
Acoustics: FR Mark

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

BREEAM: SDS Energy
Fire/Traffic/Environmental: Arup
Specialist Lighting: Bartenbach Lichtlabor
Specification: Davis Langdon
CDM Coordinator: The FCM Partnership

Giant's Causeway

Above: Hexagonal basalts at the Giant’s Causeway

Competition: 2005
Appointment: 2006
Start On-Site: November 2010
Completion: May 2012
Open to public: July 2, 2012
Contractor: Gilbert-Ash
Contract: NEC 3 Option A

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Site plan – click above for larger image

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

Ground floor plan – click above for larger image

Longitudinal section – click above for larger image

Cross section – click above for larger image

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

East elevation – click above for larger image

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

South-east elevation – click above for larger image

Giant's Causeway Visitors' Centre by Heneghan Peng Architects

South elevation – click above for larger image

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First photographs of Eli and Edythe Broad Art Museum by Zaha Hadid unveiled

News: Michigan State University has unveiled the first photographs of its Zaha Hadid-designed museum of contemporary art, which opens to the public next month.

Eli and Edythe Broad Museum by Zaha Hadid

Featuring a pleated stainless steel facade, the Eli and Edythe Broad Art Museum stands in contrast to the brick buildings of the university’s Collegiate Gothic north campus.

Eli and Edythe Broad Museum by Zaha Hadid

Zaha Hadid won a competition in 2008 to design the museum, which contains 1600 square metres of exhibition space, alongside an education wing, study centre, cafe, shop and outdoor sculpture garden. The three-storey building has one basement floor and features double-height galleries for showing modern art, photography, new media and works on paper.

The museum opens on 9 November with the inaugural exhibitions Global Groove 1973/2012, an exploration into current trends in video art, and In Search of Time, which investigates the relationship to time and memory in art.

See images of the competition-winning design for the museum in our story from 2008, or see images of the final design in our most recent update.

Other new projects by Zaha Hadid include a pop-up hair salon in London and a streamlined government building in Montpellier.

See all our stories about Zaha Hadid »

Photography is by Paul Warchol.

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Katowice Scientific Information Centre and Academic Library by HS99

A grid of red sandstone panels dominates every side of this university library in Katowice, Poland, by architects HS99 (+ slideshow).

Katowice Scientific Information Centre and Academic Library by HS99

Architects Dariusz Herman, Piotr Smierzewski and Wojciech Subalski arranged the rectangular panels in a brickwork-style pattern to ”relate to the raw clay bricks on the neighbouring buildings,” but used a different scale.

Katowice Scientific Information Centre and Academic Library by HS99

Gaps between the panels create hundreds of narrow windows, which become slivers of light all over the facade after dark.

Katowice Scientific Information Centre and Academic Library by HS99

HS99 won a competition back in 2002 to design the library, which houses a series of scientific and economic collections for the University of Silesia and is the first stage in a campus-wide redevelopment.

Katowice Scientific Information Centre and Academic Library by HS99

Three large floors form the main volume of the library, matching the scale of the neighbouring university campus buildings, while three upper floors with a smaller footprint create a slab-like tower at the north-east corner.

Katowice Scientific Information Centre and Academic Library by HS99

The architects planned this taller block as a visual marker for students, directing them towards the public square that lines the edge of the building.

Katowice Scientific Information Centre and Academic Library by HS99

Students enter the library through a three-storey-high atrium, which leads to reading rooms, group study areas, conference rooms and individual workspaces amongst the bookshelves.

Katowice Scientific Information Centre and Academic Library by HS99

Above: photograph is by Tomasz Zakrzewski

“The interiors are zoned to respond to the many ways in which research and study can take place,” Smierzewski told Dezeen. “We’ve create a wide variety of environments ranging from social to intimate.”

Katowice Scientific Information Centre and Academic Library by HS99

Above: photograph is by Tomasz Zakrzewski

Precast concrete panels cover the interior walls, while grated ceilings offer glimpses of the mechanical systems behind them. ”The utilitarian materiality and finishing alludes to the Silesian region’s heritage rooted in mining and other forms of heavy industry,” said Smierzewski.

Katowice Scientific Information Centre and Academic Library by HS99

Other libraries on Dezeen include a glass pyramid by MVRDV and a golden library by COBE and Transform.

Katowice Scientific Information Centre and Academic Library by HS99

See more stories about libraries »

Katowice Scientific Information Centre and Academic Library by HS99

Photography is by Jakub Certowicz, apart from otherwise stated.

Katowice Scientific Information Centre and Academic Library by HS99

Here’s some more information from HS99:


Katowice – CINiBA (The Scientific Information Centre and Academic Library)

In 2002 a competition was launched by the University of Silesia for the design of a new library that would provide a world-class didactic facility for scientific research. The flexibility the winning proposal offered proved to be its major strength when, after securing a building permit, the program was modified to also include the collections of the University of Economics with no changes to the exterior form.

Katowice Scientific Information Centre and Academic Library by HS99

The Scientific Information Centre and Academic Library (Polish acronym: CINiBA) anchors the new campus redevelopment plan to be implemented in the coming years.

Katowice Scientific Information Centre and Academic Library by HS99

Located at the intersection of the east-west axis that forms the spine of the campus, and the north-south axis which connects the recreational grounds by the river to land set aside for further university expansion, the library reinforces the axial organization which has so far been poorly articulated. A central university square at the foot of the library, the FORUM, generates a civic gathering place that opens onto the library’s grand three storey atrium.

Katowice Scientific Information Centre and Academic Library by HS99

The height of the library has been determined by the average height of buildings on the university campus. The north elevation surpassing this height is directed towards the FORUM and houses the library’s closed stacks. This elevation emphasizes the rank and function of the FORUM and is in dialogue with the existing tall buildings which close the east-west axis.

Katowice Scientific Information Centre and Academic Library by HS99

The facades, clad in a repetitious fabric of rich kahan red sandstone, relate to the raw clay bricks on the neighbouring buildings without the connotation of scale inherent to a singular brick element. The exterior treatment abstracts the building’s function of organized book storing while introducing a notion of mystery inseparably connected to books.

Katowice Scientific Information Centre and Academic Library by HS99

Site plan – click for larger image

The lack of discernible scale produces a monolith when seen from afar that is gradually familiarized. Details such as the decreasing proportions of the façade tiling, the irregular cut of the sandstone slabs, as well as the windows carefully nested inside become visible.

Katowice Scientific Information Centre and Academic Library by HS99

Ground floor plan – click for larger image

The fenestration projects a stunning patchwork of light onto the FORUM at night, yet in the daytime allows diffused light to permeate into the library’s reading rooms. The resulting strongly introverted interior composition of the library floors focuses one’s attention onto the books while calming the space. Partial isolation from the external world not only influences the atmosphere within but also introduces a flow of time detached from the pulse of the surrounding city.

Katowice Scientific Information Centre and Academic Library by HS99

First floor plan – click for larger image

Location: Katowice, ul. Bankowa 11a
Client: Consortium of the University of Silesia and University of Economics in Katowice
Design: SARP Competition No. 924: 12.2002 (1st prize)
Building Permit Secured: 2004

Katowice Scientific Information Centre and Academic Library by HS99

Second floor plan – click for larger image

Construction: 2009-2011
Building Footprint: 2 910 m2
Total Floor Area: 10562 m2

Katowice Scientific Information Centre and Academic Library by HS99

Longitudinal section – click for larger image

Volume: 62 560 m3
Net Floor Area: 12 273 m2
Gross Floor Area: 13 260 m2

Katowice Scientific Information Centre and Academic Library by HS99

Cross section – click for larger image

Maximum Volume Storage: 2 000 000 books
Volumes Currently Held: 340 000 books (open collection); 460 000 books (closed collection)

Katowice Scientific Information Centre and Academic Library by HS99

North elevation – click for larger image

Team: HS99, Dariusz Herman, Piotr Smierzewski, Wojciech Subalski,
Cooperation: Rafal Sobieraj, Adam Kulesza, Jacek Moczała, Wojciech Słupczyński
Structural Design: Jan Filipkowski, Joanna Jacoszek, Jerzy Rawski, Mariusz Staszewski

Katowice Scientific Information Centre and Academic Library by HS99

West elevation – click for larger image

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Museum of Contemporary Art Cleveland by Farshid Moussavi

This six-sided building covered in mirrors is the new home for the Museum of Contemporary Art Cleveland in Ohio by London-based architect Farshid Moussavi (+ slideshow).

Museum of Contemporary Art Cleveland by Farshid Moussavi

The four-storey building, which opened this weekend, features faceted walls clad in mirrored black stainless steel and replaces the museum’s former address in the loft of an old playhouse complex.

Museum of Contemporary Art Cleveland by Farshid Moussavi

Visitors to the museum arrive inside a full-height atrium, where the structure of the walls is left exposed and the surfaces have been painted bright blue.

Museum of Contemporary Art Cleveland by Farshid Moussavi

White staircases lead up to galleries on each of the floors, including a large top floor exhibition space where the ceiling is coloured with the same blue paint as the walls to offer an alternative to the standard ‘white-cube’ gallery.

Museum of Contemporary Art Cleveland by Farshid Moussavi

Located at the intersection of two major avenues, the museum faces onto a new public square by landscape architects James Corner Field Operations and has entrances on four of its elevations for flexibility between different exhibitions and events.

Museum of Contemporary Art Cleveland by Farshid Moussavi

As the Museum of Contemporary Art Cleveland is a non-collecting museum, it places extra emphasis on public programmes and events, which will take place inside a double-height multi-purpose space on the building’s ground floor.

Museum of Contemporary Art Cleveland by Farshid Moussavi

Farshid Moussavi Architecture completed the project in collaboration with architects Westlake Reed Leskosky, who are based in Cleveland.

Museum of Contemporary Art Cleveland by Farshid Moussavi

The museum first unveiled the designs for the building back in 2010, which you can see in our earlier story.

Museum of Contemporary Art Cleveland by Farshid Moussavi

Farshid Moussavi launched her studio just over a year ago – find out more here.

Photography is by Dean Kaufman.

Here’s some more information from the architect’s website:


MOCA is a 34,000 sq. ft. non-collecting museum in the emerging Uptown district of Cleveland’s University Circle neighbourhood. Located on the corner of a triangular site at the junction of two major roads, the building will act as a beacon for this area of the city.

Museum of Contemporary Art Cleveland by Farshid Moussavi

The new MOCA is arranged as a multi-storey building in order to produce a compact envelope and optimal environmental performance, and to liberate space for a museum plaza. The building in this location is exposed on all sides and has multiple entrances which will bring the museum added flexibility. Its prismatic form is clad in mirror black stainless steel panels which are arranged along a diagonal grid to follow the diagonal load bearing structure of the external envelope. These reflective panels will respond to weather changes and movement around the museum, providing visitors with constantly changing perceptions.

Museum of Contemporary Art Cleveland by Farshid Moussavi

Upon entering the building, visitors will find the structure left exposed on the interior face of the envelope and treated with a fire-resistant, intense blue paint. The museum’s public and “back of house” activities will be interspersed along the section of the building and accessed physically and visually by a grand stair which ascends the museum’s vertical atrium. Each floor is designed to host a variety of configurations for maximum flexibility, with the blue inner surface which envelopes the different spaces providing a consistency across the various museum events. In the main gallery on the top floor, the blue surface will rise to form a deep blue ceiling, evoking the sky or a sense of boundlessness in contrast to the traditional idea of the gallery as a white, sealed, cube.

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