Sheikh Zayed Bridge by Zaha Hadid Architects

Sheikh Zayed Bridge by Zaha Hadid Architects

Photographer Roland Halbe has sent us some new images of the Sheikh Zayed Bridge in Abu Dhabi by Zaha Hadid Architects.

Sheikh Zayed Bridge by Zaha Hadid Architects

Construction of the 842 metre-long bridge between Abu Dhabi Island and the mainland completed earlier this year.

Sheikh Zayed Bridge by Zaha Hadid Architects

The structure comprises several arching waves of reinforced concrete, which support a four-lane highway.

Sheikh Zayed Bridge by Zaha Hadid Architects

Coloured lights illuminate the bridge after dark.

Sheikh Zayed Bridge by Zaha Hadid Architects

Zaha Hadid Architects have completed a number of projects this year, including the London 2012 Aquatics Centre and the zigzagging Riverside Museum in Glasgowread more about Zaha Hadid here.

Here’s some text from the architects:


Sheikh Zayed Bridge

The UAE has a highly mobile society that requires a new route around the Gulf south shore, connecting the three Emirates together. In 1967 a steel arch bridge was built to connect the fledgling city of Abu Dhabi island to the mainland, followed by a second bridge built in the seventies, connecting downstream at the south side of Abu Dhabi Island. The location of the new (third) Gateway Crossing, close to the first bridge, is critical in the develop- ment and completion of the highway system. Conceived in an open setting, the bridge has the prospect of becoming a destination in itself and potential catalyst in the future urban growth of Abu Dhabi.

A collection, or strands of structures, gathered on one shore, are lifted and ‘propelled’ over the length of the channel. A sinusoidal waveform provides the structural silhouette shape across the channel.
The mainland is the launch pad for the bridge structure emerging from the ground and approach road. The Road decks are cantilevered on each side of the spine structure. Steel arches rise and spring from mass concrete piers asymmetrically, in length, between the road decks to mark the mainland and the navigation channels. The spine splits and splays from one shore along the central void position, diverging under the road decks to the outside of the roadways at the other end of the bridge.

The main bridge arch structure rises to a height of 60 m above water level with the road crowning to a height of 20 metres above mean water level.

PROGRAM: 2 ways four lane highway bridge to Abu Dhabi island
CLIENT: Abu Dhabi Municipality

ARCHITECT: Zaha Hadid Architects
Design: Zaha Hadid
Project Architect: Graham Modlen
Project Team: Garin O’Aivazian, Zahira Nazer, Christos Passas, Sara Klomps, Steve Power
Project Engineer: Joe Barr, Mike King, Mike Davies Highpoint Rendel [Abu Dhabi, UAE]

CONSULTANTS:
Structure: Rendel Palmer Tritton [London, UK] Lighting: Hollands Licht [Amsterdam, Netherlands]

DIMENSIONS: 842m long, 64m high, 61m wide
MATERIALS: Piers, Decking: Reinforced Concrete Arches: Steel


See also:

.

China Bridge by
Denton Corker Marshall
Can Gili Footbridge
by Alfa Polaris
Nanhe River Bridge
by WXY Architecture

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

Nieto Sobejano Arquitectos have completed an underground museum in Spain with weathered steel towers and cylinders that emerge above a grass lawn (photographs by Roland Halbe and Fernando Alda).

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

Top and above: photography by Roland Halbe

The Interactive Museum of the History of Lugo exhibits objects, images and films that illustrate the historic Roman city and province.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

Above: photography by Fernando Alda

Visitors enter the building via a spiralling staircase that descends into a submerged circular courtyard.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

Above: photography by Fernando Alda

Three cylindrical towers provide enclosed rooms for audio-visual installations and are surrounded by the underground exhibition galleries.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

Above: photography by Fernando Alda

Parking for cars and buses is also provided underneath the landscape.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

Above: photography by Roland Halbe

Weathered steel has featured in a few recent Dezeen stories – see our earlier stories about a canopy of flattened parasols and a museum pierced by bullet-sized holes.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

Above: photography by Roland Halbe

This is the third museum by Spanish architects Nieto Sobejano featured on Dezeen this summer, following one with a perforated aluminium skin and another in a ruined castlesee all our stories about Nieto Sobejano Arquitectos here.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

Above: photography by Roland Halbe

Fernando Alda shows more photographs of this project on his website.

Here is some more text from the architects:


Interactive Museum of the History of Lugo
1st Prize Competition 2007

The building site, which until not long ago housed industrial structures- is located in a position relatively displaced from the historic centre of Lugo. However, it will soon become a point of arrival for visitors to the city.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

It may well seem awkward to assimilate architecture into landscape, but this is one of the cases in which we would like to think that the relationship between the two is more than a set phrase. We propose a museum-park or a park-museum, which will be linked to the sequence of green areas in the city, hiding the parking areas underground and emerging in a constellation of cylindrical lanterns scattered throughout a continuous green field.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

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As it happens every time an architectural idea is intended to be built –which very frequently emerges from intuition-, it is the analysis of the program and its location that causes the specific proposal to make sense. We will divide the program into two large, connected areas: the parking and the visitor centre. The strong difference in height between the East and West ends of the building site suggests the possibility of taking +444m as an average reference level, in such a way that the garage is developed nearly at street level, thus remaining half-buried.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

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The Visitor Centre is essentially organised on a single floor illuminated through large circular courtyards, which allow natural light to penetrate and permit independent, controlled use. From the main courtyard, the most peculiar and tallest exhibition rooms will emerge -as contemporary cylindrical bastions-, which will become the image of the new building which is projected towards the exterior.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

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The exhibiting area has been conceived from two types of spaces: one which is neutral, flexible, suitable for the exhibition of panels, and will contain interactive modules or glass cabinets with original pieces; the other is defined by three cylindrical bastions, which are peculiar spaces due to their shape and dimension, suitable for audiovisual installations and projections. Both the Museum and the Visitor Centre are articulated in a sequence of interior and exterior spaces with multiple itineraries in which the landscape and History will be able to convey the intimate link that unites them.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

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Awareness towards environmental issues is a consequence of the project’s conception itself. The strong impact that a large amount of vehicles -cars and buses- would have produced on the surface is avoided by hiding the parking area under the undulating cover of vegetation. Likewise, the spaces destined for visitors and the museum occupy a half-buried floor under the same green foliage, which favours thermal inertia, thus reducing the need for energy contribution.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

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The exhibition towers emerging from the garden will be externally re-covered by a light, metallic skin, which will accommodate the incorporation of solar panels and night-time lighting in its design, by way of a contemporary interpretation of the Roman wall’s bastions.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

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The new Museum will entail the experience of a walk through a vegetative, metallic landscape, a luminous field whose night-time glow will seem to emerge from within the earth. The Lugo Museum will evoke images of fields and caves, walls and fortified towers –metaphors of a landscape and a culture that the inhabitants of Lugo carry within their own memory.

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

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Location: Avda. Infanta Elena. Lugo. Spain
Client: Ayuntamiento de Lugo
Architects: Nieto Sobejano Arquitectos, S.L.P. – Fuensanta Nieto, Enrique Sobejano

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

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Project Architect: Alexandra Sobral
Proyect Coordination: Vanesa Manrique
Collaborators: Borja Ruiz-Apilánez, Juan Carlos Redondo, Bart de Beer, Rocío Domínguez
Site Supervision: Nieto Sobejano Arquitectos, S.L.P. – Fuensanta Nieto, Enrique Sobejano
Miguel Mesas Izquierdo, Technical Architect
Structure: NB 35 S.L.
Mechanical Engineer: 3i Ingeniería Industrial, S.L.
Models: Juan de Dios Hernández – Jesús Rey, Nieto Sobejano Arquitectos, S.L.P.
Project: 2007
Construction: 2008-2011
Construction Company: U.T.E. Aldesa – Cuadernas

Interactive Museum of the History of Lugo by Nieto Sobejano Arquitectos

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See also:

.

Riverside Museum
by Zaha Hadid
Roku Museum by Hiroshi
Nakamura & NAP
Celtic Museum by
Kada Wittfeld Architektur

Townhall Schefflenz by Glück+Partner

Townhall Schefflenz by Glück+Partner

Both weddings and council assemblies take place beneath the double gabled-roof of this hall at the medieval centre of a German village (photography by Roland Halbe).

Townhall Schefflenz by Glück+Partner

Designed by architects Glück+Partner, the three-storey Townhall Schefflenz is clad in grey fibre-cement on both the roof and walls.

Townhall Schefflenz by Glück+Partner

The multipurpose hall that occupies the second floor can be partitioned to divide the wedding chamber from the council hall, or opened out to accommodate town assemblies.

Townhall Schefflenz by Glück+Partner

Individual offices on the ground and first floors surround central lobbies.

Townhall Schefflenz by Glück+Partner

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The building replaces a demolished 1960s structure on the site, between a church and a market square.

Townhall Schefflenz by Glück+Partner

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Photographer Roland Halbe has photographed several buildings recently featured on Dezeen, including a hotel with an extreme cantileversee all our projects featuring Roland Halbe’s photography here.

Townhall Schefflenz by Glück+Partner

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Other buildings from the Dezeen archive clad in fibre cement include a house in the Dominican Republic based on Euclidean geometry and another in Bavaria enveloped by corrugated panels.

Townhall Schefflenz by Glück+Partner

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More information is provided by the architects:


New Townhall Schefflenz Germany

The central part of Schefflenz (Mittelschefflenz) where the new townhall is located, is a densely built scattered village (Haufendorf) of medieval origin. A historically grown set of irregular houses with steep gabled roofs characterizes the appearance of the township of Schefflenz.

Townhall Schefflenz by Glück+Partner

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The new townhall in the center of Schefflenz replaces a 1960s building. It brings together administrative functions in one large building that had been previously spread over three different smaller buildings.

Townhall Schefflenz by Glück+Partner

In order to integrate the large town hall structure into a neighbourhood made up of smaller buildings, the architects selected a building type with two narrow gables (instead of one big gable.) The new town hall is located right next to the protestant church on one side and the historic market square on the other. As a result of the arrangement of the streets – they form an oblique angle – the building takes up a slightly rhomboid-shaped area. Through its specific shape, the new building blends in well with the surrounding historic houses while at the same time it meets all the requirements of a modern office building. The uniformity of the material for both the roof and the façade gives the building a monolithic character; it attributes the traditional form an almost abstract quality. The town hall façade with its staggered windows and golden shining window frames invoke the punctuated façades of many of the surrounding houses.

Townhall Schefflenz by Glück+Partner

The ground floor is made up of double-loaded rooms, the most important feature being a spacious central hall. The gallery on the first floor runs around the open-space. It’s design is that of a classical atrium with surrounding galleries and offices. The attic floor combines the availability of a large space – the citizens’s assembly hall (Bürgerssal) stretches across the whole floor – with the unique experience of the double gable interior. The assembly hall can be subdivided into two spaces: the council hall (Ratssaal) and a wedding chamber (Trauzimmer).

Townhall Schefflenz by Glück+Partner

In terms of its structure, the Schefflenz town hall brings together reinforced concrete components on the inside with a highly insulated wooden frame construction and premounted elements on the exterior. As a result of its design and the materials used, the Schefflenz town hall is a “green building”: it is an efficient as well as a resource-efficient construction that will help to conserve fossil energy sources.

Townhall Schefflenz by Glück+Partner

This goal is achieved for once by the compact design of the town hall and the use of geothermal energy. Other contributing factors include the thermal activation of building units for heating and cooling, a monitored ventilation system, and a heating system with heat recovery.


See also:

.

Arribe Ataio townhall
by Vaumm
Tallinn City Hall
by BIG
Lalìn Townhall by
Mansilla+Tuñón

Hamburger Hof by NPS Tchoban Voss

Hamburger Hof by NPS Tchoban Voss

These photographs by Roland Halbe show a mixed-use building by German architects NPS Tchoban Voss, which cantilevers over a neighbouring rooftop in Berlin.

Hamburger Hof by NPS Tchoban Voss

The five-storey building is clad in metal panels and contains a ground-floor gallery, two floors of offices and a split-level apartment.

Hamburger Hof by NPS Tchoban Voss

The new block completes the Hamburger Hof complex, for which the architects also renovated and extended surrounding buildings.

Hamburger Hof by NPS Tchoban Voss

Extensions to existing buildings are also finished in metal panels.

Hamburger Hof by NPS Tchoban Voss

The group of buildings surround a courtyard that previously housed a carpenter’s workshop.

Hamburger Hof by NPS Tchoban Voss

More stories about cantilevering buildings on Dezeen »

Hamburger Hof by NPS Tchoban Voss

Here is some more information from the architects:


Große Hamburger Street
addition for a court as listed monument

The Hamburger Hof complex presents itself today as a terrain genuinely grown and constantly re-combined by means of residential and commercial buildings over the last 200 year.

Hamburger Hof by NPS Tchoban Voss

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First documented in 1828, the front building was complemented over and over by additions on the courtyard side, establishing both small trade businesses as well as places of entertainment such as a bowling house.

Hamburger Hof by NPS Tchoban Voss

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A bronze casting house, a coffee roastery, a brewery, locksmith and carpentry workshops, and various restaurants and bars were located here during the last two centuries, an addition to residential and small office units.

Hamburger Hof by NPS Tchoban Voss

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The client was fond of the idea to continue this mix of crafts, culture and housing when he acquired the property with the heterogeneous existing development in 2006. In close collaboration with the alert preservation authorities a renovation and expansion concept was developed solely removing two small sheds from the 1960′s.

Hamburger Hof by NPS Tchoban Voss

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Generously glazed attics were sensibly added, partly resuming again the droop volume of the roofs that had been destroyed during World War II.

Hamburger Hof by NPS Tchoban Voss

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The only completely new building within the ensemble is a five-story construction abutting an existing fire wall.  On the top floor it protrudes widely into the retral adjacent park, while at the corner of the neighboring brick house shifting onto the old coffee roastery in respectful distance.

Hamburger Hof by NPS Tchoban Voss

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New fenestrations on the upper floors of the complex offer spectacular views onto this “pocket park” and the surrounding houses, while the historic courtyard is recast by the new layout explicitly implementing modern materials and shapes and yet retaining its vintage character as a semi-private space.

Hamburger Hof by NPS Tchoban Voss

Location: Berlin
Builder: Schauder & Shani GmbH
Completion year: 2010

Hamburger Hof by NPS Tchoban Voss


See also:

.

Casa Paz by Arturo
Franco Office
Torreagüera Vivienda
Atresada by Xpiral
Balancing Barn by
MVRDV and Mole

Lalìn Townhall by Mansilla+Tuñón

Townhall Lalìn/E by Mansilla+Tuñón

Photographer Roland Halbe has sent us some images of this town hall in Spain composed of overlapping cylinders, designed by Madrid architects Mansilla+Tuñón.

Townhall Lalìn/E by Mansilla+Tuñón

Horizontal bands of the modular glass facade are screened, giving the Lalìn Townhall a striped turquoise exterior.

Townhall Lalìn/E by Mansilla+Tuñón

A large circular void in the building’s volume creates a central courtyard, where the entrance is located.

Townhall Lalìn/E by Mansilla+Tuñón

Internally, a spiralling staircase at the heart of the building connects the ground and first floors.

Townhall Lalìn/E by Mansilla+Tuñón

More architecture photographed by Roland Halbe on Dezeen »

The following text is from Mansilla+Tuñón:


Lalìn Townhall
Mansilla+Tuñón Architects

While the present is under construction, the past and the future take new forms. Every single moment, each new action, enables a revision of what has been done, and also lends a new profile to what is about be done, modifying continously as much the collective memory as the projects to come.

Townhall Lalìn/E by Mansilla+Tuñón

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In this changing scenario, with a past and a future in constant construction, PROBABILITY becomes the only appearance possible of certainty; it is the only face that allows looking into reality.

Townhall Lalìn/E by Mansilla+Tuñón

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In the heart of this transformation, architecture focuses its view attention in a broader sense, considering the definition of space as only a small part of the assignment to what is called: The construction of ARTIFICIAL ENVIRONMENTS, of the ATMOSPHERE in which the actions of mankind are developed.

Townhall Lalìn/E by Mansilla+Tuñón

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This is a kind of MOBILIZATION OF THE WORLD in which the principal tool is the negotiation between the parts and the OBJECTIVE is the creation of SCENARIOS OF WILLS that will encourage the collective identity.

Townhall Lalìn/E by Mansilla+Tuñón

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In this way, the proposal for the Concello of Lalín oscilates between precision and probability, building an ANTIMONUMENTAL STRUCTURE in which, as in the clouds, each one can guess the changing shapes of the personal references, so that the COLLECTIVE IDENTIFICATION is the result of the diversity of each interpretation: a TECHNOLOGICAL CELTIC VILLAGE, some colored clouds, a civic palimsesto, a patterned fabric, etc.

Townhall Lalìn/E by Mansilla+Tuñón

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An OPEN STRUCTURE is proposed, almost a mathematical field, that establishing a local main behavior system, impacts against the dialogue with the environment in front of indifferent autism, chosing the DISPERSED thing against the compact thing, the TRANSPARENT thing against the opaque thing and the DIFFUSE thing against the limited; finally, a social and architectural structure without any kind of hierarchie.

Townhall Lalìn/E by Mansilla+Tuñón

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All in all, this is a matter of confronting what we think to be with what surrounds us, so that, what is most important is the capacity to multiply, to intensify and to diversify, the relationships between HUMANS and NON-HUMAN, otherwise it is a matter of doing present that we are nothing less but also nothing more, than a small part of a world that turns without stop, tirelessly…

Townhall Lalìn/E by Mansilla+Tuñón

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Credits

Principals-in-charge: Luis M. Mansilla & Emilio Tuñón Álvarez
Location: Lalín (Pontevedra)
Client: Lalín Town Hall
Site area: 6,760 sq m
Total floor area: 2,842 sq m
Building area: 7,200 sq m

Townhall Lalìn/E by Mansilla+Tuñón

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Cost of construction: 15,000,000 euros
Competition team: Andrés Regueiro, Luis Díaz-Mauriño, Carlos Martínez de Albornoz, Anna Partenheimer, María Langarita, Asa Nakano.
Model makers: HCH Models
Competition date: November 2004

Townhall Lalìn/E by Mansilla+Tuñón

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Project team: Andrés Regueiro, Matilde Peralta, María Langarita, Ana del Arenal, Asa Nakano, Bárbara Silva.
Quantity surveyor: Sancho Páramo
Structural engineer: Alfonso Gómez Gaite
Mechanical engineer: Quicler-López ingenieros
Design years: from November 2004 to July 2005

Townhall Lalìn/E by Mansilla+Tuñón

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Construction directors: Emilio Tuñon y Luis M. Mansilla
Construction surveyor: Sancho Páramo
Construction team: Andrés Regueiro, Sara Murado, Carlos Brage, Briony Roberts, Rubén Arend, Nuria Martínez Salas, Coco Castillón, Elke Gmyrek, Carlos Cerezo, Alfonso Gómez Gaite (structural), Quicler-López Ingenieros (mechanical)
General contractor: FCC Construcción
Construction years: from November 2005 to Febraury 2011

Townhall Lalìn/E by Mansilla+Tuñón

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See also:

.

Zaisa Office Tower
by Hoz Fontán
Mensa Triangle
by SOMAA
Rolex Learning Centre
by SANAA

Entorno del Templo de Diana by José María Sánchez García

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Spanish architect José María Sánchez García has created a public square with a raised viewing platform, surrounding a Roman temple in Mérida, Spain.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The two-storey concrete platform is roughly the same height as the adjacent Temple of Diana and has an exterior balcony that allows visitors to walk around three quarters of it’s perimeter.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The square has an earth surface, as it would have done when it was used as a Roman forum.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Photography is by Roland Halbe.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

More architecture photographed by Roland Halbe on Dezeen »

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

More stories about projects in Spain on Dezeen »

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The following details are from the architects:


Roman Temple of Diana Surroundings and Perimetral Building

The project retrieves the environment of the Temple of Diana in Merida, which was the forum or the city center in Roman times.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The challenge of acting in a place with such historical and archaeological relevance has meant to work with the existing trace since the beginning, so that the finished work would recover this space from Roman times through modern language.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

This situation has led to conceive the architectural design not as something closed or completely defined before starting to run.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

On the contrary, we worked in a more flexible way, defining the rules and guidelines on how to act in this place, that is to say, the syntax of the project itself, in order to absorb all the irregularities and changes due to the archaeological findings, without losing the initial concept of the proposal.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

All this has been developed during five years that, with the archaeological works, the project definition and execution of the construction overlapping in time.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The project is solved with a perimeter piece L-shaped, with its own syntax, sewing its edge with the city and creating a large square around the temple.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

This “L” is the union of the platform or high walk (which at the same level of the podium liberates the archaeological level at ground floor, allowing visitors to have a new relationship with the temple) and the structural wall (which puts in Temple value by framing and abstracting it from adjacent buildings).

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Between the perimeter L piece and the city, a volume in the form of hanging boxes occupy interstitial spaces accommodating commercial and cultural uses.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Thus, the project, rather than a building is a raised platform, a floating structure capable of generating a new layer of city full of program.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

To recover the Roman trace on ground floor, the perimeter structure is placed on the edge of the site, away from the temple, thus giving the largest possible surface to the public square.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The original sacred area is recovered, respecting the Roman archaeological features that are part of the sacred space: the temple, two side ponds, the crypto-portico and the Roman wall, which are now incorporated into the plaza.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The platform stands at about the same height of the podium of the temple to allow visitors to watch it as they were inside, while projecting a shadow over the square.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

This way the temple environment gets geometrised, making the understanding of the space clear and not interrupted by the particularities of the back part of the existing buildings.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

At the rear part, a volume system, flexible to changes in the perimeter, will occupy the interstitial spaces, shaping light patios that rhythmically fragment the platform’s shadow. It defines a new order of light and shade in the square by the patios between the boxes.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The materialisation of the elements that build the new spaces has been studied by a contemporary interpretation of the materials that were part of the Roman space. The whole square will have an earth finishing, as it was originally.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The piece in L is defined as an artificial stone, made of lime and aggregates characteristic of the place with the granite-like color of the podium of the Temple. We don’t talk about concrete as such, but a warmer artificial stone made using materials found in the surroundings.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Credits and Data

Project title: Perimetral building and Temple of Diana environments. Mérida, Spain
Location: Romero Leal and Santa Catalina street, Mérida, Spain
Construction: November 2009 – February 2011
Total floor area: 2158,19m2
Budget: 5.000.847,90 €

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Architect: José María Sánchez García
Team: Enrique García-Margallo Solo de Zaldivar, Rafael Fernández Caparros, Maribel Torres Gómez, Laura Rojo Valdivielso, Francisco Sánchez García, José García-Margallo, Marta Cabezón López, Mafalda Ambrósio, Carmen Leticia Huerta, Marilo Sánchez García, Julia Ternström
Structural engineer: CDE Ingenieros, Gogaite S.L
Services engineer: ARO consultores
Technical architect: Ángel García Blázquez, Fernando Benito Fernández Cabello
Client: Consorcio Ciudad Monumental Histórico-Artístico y Arqueológica de Mérida, Consejería de Cultura – Junta de Extremadura
Building firm: UTE Templo de Diana (Procondal – Copcisa)

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

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See also:

.

Las Arenas by Rogers
Stirk Harbour + Partners
El Claustro Cultural Center
by Eneseis Arquitectura
City Walls of Logroño by
Pesquera Ulargui Arquitectos

The Orange Cube by Jakob + Macfarlane

The Orange Cube by Jakob and Macfarlane

This orange cube with two large round holes carved out of it is a design showroom in Lyon, France, by Paris studio Jakob + Macfarlane.

The Orange Cube by Jakob and Macfarlane

Top photograph is by Roland Halbe

The building is located next to a harbour and features a coloured metal mesh façade perforated with circles of different sizes.

The Orange Cube by Jakob and Macfarlane

Above photograph is by Roland Halbe

The volume is punctured in two places, with the smaller hole at ground level providing an entry point into the building.

The Orange Cube by Jakob and Macfarlane

The larger hole on the upper corner of the structure creates an atrium and exposes the internal floors and balconies.

The Orange Cube by Jakob and Macfarlane

The six-storey building is separated into a double-height showroom on the ground floor and offices on the upper levels, with a roof terrace surrounding offices on the sixth floor.

The Orange Cube by Jakob and Macfarlane

Full-height walls with polygonal apertures have been inserted throughout the showroom, with items displayed in the holes.

The Orange Cube by Jakob and Macfarlane

Photographs are by Nicolas Borel unless otherwise stated.

The Orange Cube by Jakob and Macfarlane

More architecture on Dezeen »

The Orange Cube by Jakob and Macfarlane

The following information is from the architects:


The Orange Cube – Jakob + Macfarlane Architects

The ambition of the urban planning project for the old harbor zone, developed by VNF (Voies Naviguables de France) in partnership with Caisse des Dépôts and Sem Lyon Confluence, was to reinvest the docks of Lyon on the river side and its industrial patrimony, bringing together architecture and a cultural and commercial program.

The Orange Cube by Jakob and Macfarlane

These docks, initially made of warehouses (la Sucrière, les Douanes, les Salins, la Capitainerie), cranes, functional elements bound to the river and its flow, mutate into a territory of experimentation in order to create a new landscape that is articulated towards the river and the surrounding hills.

The Orange Cube by Jakob and Macfarlane

The project is designed as a simple orthogonal « cube » into which a giant hole is carved, responding to necessities of light, air movement and views.

The Orange Cube by Jakob and Macfarlane

This hole creates a void, piercing the building horizontally from the river side inwards and upwards through the roof terrace.

The Orange Cube by Jakob and Macfarlane

The cube, next to the existing hall (the Salins building, made from three archs) highlights its autonomy. It is designed on a regular framework (29 x 33m) made of concrete pillars on 5 levels.

The Orange Cube by Jakob and Macfarlane

A light façade, with seemingly random openings is completed by another façade, pierced with pixilated patterns that accompany the movement of the river. The orange color refers to lead paint, an industrial color often used for harbor zones.

The Orange Cube by Jakob and Macfarlane

Above photograph is by Roland Halbe

In order to create the void, Jakob + MacFarlane worked with a series of volumetric perturbations, linked to the subtraction of three “conic” volumes disposed on three levels: the angle of the façade, the roof and the level of the entry.

The Orange Cube by Jakob and Macfarlane

These perturbations generate spaces and relations between the building, its users, the site and the light supply, inside a common office program.

The Orange Cube by Jakob and Macfarlane

The first perturbation is based on direct visual relation with the arched structure of the hall, its proximity and its buttress form.

The Orange Cube by Jakob and Macfarlane

It allows to connect the two architectural elements and to create new space on a double height, protected inside the building.

The Orange Cube by Jakob and Macfarlane

A second, obviously an elliptic one, breaks the structural regularity of the pole-girder structure on four levels at the level of the façade corner that gives on the river side.

The Orange Cube by Jakob and Macfarlane

This perforation, result of the encounter of two curves, establishes a diagonal relation towards the angle. It generates a huge atrium in the depth of the volume, surrounded by a series of corridors connected to the office platforms.

The Orange Cube by Jakob and Macfarlane

The plan of the façade is hence shifted towards the interior, constructing a new relation to light and view, from both interior and exterior.

The Orange Cube by Jakob and Macfarlane

This creates an extremely dynamic relation with the building that changes geometry according to the position of the spectator.

The Orange Cube by Jakob and Macfarlane

The tertiary platforms benefit from light and views at different levels with balconies that are accessible from each level.

The Orange Cube by Jakob and Macfarlane

Each platform enjoys a new sort of conviviality through the access on the balconies and its views, creating spaces for encounter and informal exchanges.

The Orange Cube by Jakob and Macfarlane

The research for transparency and optimal light transmission on the platforms contributes to make the working spaces more elegant and light.

The Orange Cube by Jakob and Macfarlane
The last floor has a big terrace in the background from which one can admire the whole panoramic view on Lyon, la Fourvière and Lyon-Confluence.

The Orange Cube by Jakob and Macfarlane

The project is part of the approach for sustainable development and respects the following principles:

The Orange Cube by Jakob and Macfarlane

Optimization of the façade conception allowing to reconcile thermal performance and visual comfort with an Ubat < 0,7 W / m2 K and a daylight factor of 2% for almost the total number of offices, a thermo frigorific production through heat pumps on the water level and the replacement of new hygienic air with recuperation of high efficient calories of the extracted air.

The Orange Cube by Jakob and Macfarlane

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The building is connected to future huge floating terraces connected to the banks of the river/ quays.

The Orange Cube by Jakob and Macfarlane

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PROGRAM:

commercial: headquarters Cardinal Group, real estate development
cultural: Design Showroom RBC

The Orange Cube by Jakob and Macfarlane

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Showroom concept:

This project was about bringing together a showroom dedicated to the world of design objects inside the architecture of an existing building: « The Orange Cube ». The intention was to bring the worlds of Architecture, Design and the uniqueness of the site in Lyon together into one experience.

The Orange Cube by Jakob and Macfarlane

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JAKOB + MACFARLANE decided to take the language of the Cube, which is based on the fluid movement of the River Saône and in a sense project this movement inside the space of the showroom.

The Orange Cube by Jakob and Macfarlane
Thus imagining the space as an extrapolation of the façade, a virtual three dimensional river or volume containing a long porous wall whose 60 “alvéoles” are filled with furniture. This wall wraps around the space of the showroom forming an L.

The Orange Cube by Jakob and Macfarlane

The spectator moves from the spectacular entry wall towards more intimate spaces on the river side. Each “alvéole” is unique in seize and form allowing thus an intimate and private view of each design piece.

The Orange Cube by Jakob and Macfarlane

The platforms on the floor, made from a series of kitset pants, imagined like islands, can become stages for different thematic presentations.

The Orange Cube by Jakob and Macfarlane

TECHNICAL INFORMATION

Client: Rhône Saône Développement
Dates: competition 2005 – September 2010
Surface: 6300m2

The Orange Cube by Jakob and Macfarlane

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Site: Quai Rambaud, Lyon
Program: tertiary
Cost consultant: Michel Forgue

The Orange Cube by Jakob and Macfarlane

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Electrical Engineering: Alto Ingénierie
Acoustic: Avel Acoustique
Structure: RFR GO+
Façade: T.E.S.S


See also:

.

Nestlé Laboratory by
Rojkind Arquitectos
TEK by
BIG
Mole by
Ninkipen!

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