Tips Interior Design: Juli 2011

Jumat, 15 Juli 2011

Glaciarium - Museo Del Hielo (Ice Museum)

Glaciers are a powerful combination of natural elements and weather phenomena. The shapes that we chose are simple: horizontal bars with a single sloped roof for the warehouses, vertical prisms for the towers.

Interior spaces are a consequence of these collisions and adjustments. The building is made of materials that are cheap and fast to assemble: Metal clad warehouses with metal frames, for the pavilions housing the museum´s contents and the hall, and reinforced concrete and Styrofoam bearing walls for the office and service towers.

Layout

The big hall is the most important element of the ensemble, welcoming the visitors and guiding them towards the pavilions where the actual museum contents are located. It is a long horizontal bar-shaped volume with slanted side elevations, built of corrugated steel and with big glazed openings. The Glaciobar, an ice bar fully clad with solid ice blocks, is located at the basement level.

Construction systems

Two systems were employed to build the Museum. Metal frames clad in corrugated steel for the pavilions and the main building, and a mixed system called cassaforma, and load bearing walls made of a Styrofoam core, with a steel mesh and projected concrete cladding, for the towers and the basement. The interior of the pavilions is clad with sheetrock panels, with fiberglass thermal insulation.

Sustainability measures

During the design process the team decided to minimize the impact of the building on the site.
The soil surrounding the building was left untouched. No landscaping was designed except for dirt roads approaching the building from the highway. The radial arrangement of volumes helps mitígate the impact of the heavy patagonic winds on the structure.

Cassaforma has one of the most efficient thermal insulation coefficients Fiberglass insulation was used in the pavillions, and celluose insulation was utilized on the main pavilions. Fresh air will be utilized when possible to minimize energy consumption. LED lighting devices were used in the main hall, the auditorium foyer and for the exterior lighting.

Type Cultural - Museum

Location Patagonia Sur, Argentina

Building status built

A project by: Santiago Cordeyro Arquitectos

Architecture

Photo Gallery of Glaciarium - Museo Del Hielo (Ice Museum)

Jewish Community Center Mainz

The volume of the building is situated parallel to the streets and its facades are in line with the existing neighboring buildings, thus creating a contained street space. The use of the urban figure of the perimeter block pattern for the building, highly unusual for religious buildings, also questions the position of sacrality within the urban context.

By orienting the part of the building housing the synagogue towards the East two squares or open spaces are created: An internal garden for the community offering room for recreation and celebration and a public square in front of the main entrance oriented towards the city center and offering an open space to the neighborhood within a densely built-up urban fabric. As the program for the synagogue and community center demands its main functions to be lo- cated on ground floor, the building rises to significant heights for reasons of functional or spatial quality, otherwise remaining low. Thus a volume is shaped that continiously alternates between high and low points, thereby formulat- ing an urbanistic response to its context. The precise articulation of this profile is informed by the theme of writing and its relationship to space.

In its history Judaism has never developed a strong tradition of building. Also on the level of individual words and letters, an object quality is expressed in the writings. Qadushah) is the Hebrew word for raising or blessing, whose five characters in an abstracted way articulate( קדושה the profile of the building. Multiple perspectives with the windows being their vanishing points emerge within the building’s facade. This spatial quality is enhanced by the transparent green glazing of the ceramic tiles, which reflects the shifting light conditions of its surroundings and displays a wide array of hues and shades.

The organization of a synagogue space is usually characterized by a certain inner contradiction: Synagogues are on one hand oriented and directed towards East or Jerusalem. On the other hand, as the reading of the Torah is performed from a central position in space and from the midst of the community, emphasis lies on a centralized space. This inherent contradiction is spatially resolved by a horn- like roof that distinctly orients the space towards the East, but bringing the light right into the center of the space, falling exactly onto the position from where the Bible is read. The interior surfaces of the synagogue are shaped by densely packed Hebrew letters forming a mosaic-like relief, though creating no semantic content. ‘Piyutim’ (religious poetry) written by the rabbis of Mainz from the 10th and 11th century are carved into the surfaces of the synagogue. Furthermore, the Jewish community center houses office spaces, school rooms and two apartments as well as the multipurpose space of the community. This multipurpose space represents the social and cultural heart of the community and will be used for internal purposes as well as for public events for and by the whole city.

Type: Cultural - Cultural Center

Location: Mainz, Germany

Building status: built in 2010

Building area: 2500 m2

Budget total: 8250000 USD

A project by: Manuel Herz Architects, Architecture

Source: www.architizer.com

Photo Gallery of Jewish Community Center Mainz

Zamet Centre (3LHD)

3LHD architecture was design sport architecture building of Zamet Centre. This building is located in Rijeka’s quarter Zamet, the new Zamet Centre in complete size of 16830 m2 hosts various facilities: sports hall with max 2380 seats, local community offices, library, 13 retail and service spaces and a garage with 250 parking spaces.

The joint conceptual and design element of the handball hall and the Zamet Centre are ‘ribbons’ stretching in a north-south direction, simultaneously functioning as an architectural design element of the objects and as a zoning element which forms a public square and a link between the north – park-school and the south – the street. One third of the hall’s volume is built into the terrain, and the building with its public and service facilities has been completely integrated into the terrain, i.e. it creates it with its ‘ribbons’.

The hall has been designed for major international sports competitions, in compliance with state-of-the-art world sports standards. The design of the hall has been conceived as a very flexible space.

Architect: 3LHD - Sasa Begovic, Tatjana Grozdanic Begovic, Marko Dabrovic, Silvije Novak, Paula Kukuljica, Zvonimir Marcic, Leon Lazaneo, Eugen Popovic, Nives Krsnik Rister, Andrea Vukojic

Location: B. Vidas Street, Zamet, Rijeka, Croatia

Project year: 2004-2008
Construction: Dec 2007, October 2009
Geolocation: 45-20-39 N, 14-24-0 E
Site area: 12.289 m2
Size: 16.830 m2
Volume: 88.075 m2
Footprint: 4.724 m2
Budget: 20 mil €

Photo Gallery of Zamet Centre (3LHD)

Source: www.archdaily.com

Jumat, 01 Juli 2011

Maggie’s Centre Fife, Scotland

Maggie's Centre Fife is located in Kirkaldy, Scotland. The building was designed by renowned architect Zaha Hadid. The building stands is a program drop-in cancer care center. The Maggie's Centre Fife is within the grounds of Victoria Hospital in Kirkcaldy. Providing a resource and counseling center for people with cancer, Maggie's Fife is domestic in scale but unique in execution. For more details, please refer to the concept of building from the Maggie's Centre Fife we have taken from the official website owned by Zaha Hadid.

Photography © Chris Gascoigne

Maggie's Centre Fife Building Concept

The Maggie’s Centre Fife is within the grounds of Victoria Hospital in Kirkcaldy. Providing a resource and counselling centre for people with cancer, Maggie’s Fife is domestic in scale but unique in execution.

Maggie’s Centre Fife is located on the edge of a hollow adjacent to the hospital. The hollow has a dramatic topography, which in combination with the natural foliage and trees creates a very distinctive protected environment in stark contrast to the other facilities of Victoria Hospital. As a single storey construction, Maggie’s Fife is a continuation of the existing tree-line that surrounds this natural hollow. The centre has been designed as a transition between the two different types of spaces – the natural landscape and the hospital. By using various study models, Zaha Hadid Architects explored how an edge to the hollow could be developed which transforms itself into a building envelope – becoming a gateway to the natural landscape. (Source: http://www.zaha-hadid.com)

Photo Gallery of Maggie's Centre Fife

Photography © Werner Huthmacher

Ordrupgaard Museum Extension, Denmark

Ordrupgaard Museum Extension is located in Copenhagen, Denmark. This building is the work of renowned architect Zaha Hadid. The Building of this museum has an area 1150 m2 and has an elegant design and futuristic. For more details, please read from this building that we took from the official website owned by Zaha Hadid.

Ordrupgaard Museum Extension Building Concept

The growth of the institution presented an opportunity to explore new formal relationships between the components of the museum and the garden that frames it, in so far that the ensemble constitutes a kind of topography in itself. The new extension to establishes a new landscape within the territory of its architecture, at the same time allowing new relations with the existing conditions. The logic of the existing landscape is abstracted in the geometry; new contours extend into the collection developing an alternate ground where occupancy and use are extended.

The buildings separate two distinct conditions of the garden and responds to them with a gradation of use that is represented by a change in transparency and access possibilities. The contour lines, which form the basis of the extension’s morphology, are explored in a two-fold manner: they conform the overall enclosure at the same time they lay down the basis for the arrangement of the interior space. Variation on the existing topography can be read as a progression through the interior spaces, and thus a signal for transition between uses. An interior landscape presents the visitor with a layered experience where the museum’s space relates to the garden.

The edge of the building is altered by the topography and presents the opportunity of blurring traditional conditions of use and occupancy in museum projects. The art galleries are nested within an outer public route that links the different compartments through openings on the structural shell. The visitor’s experience is not limited to the building, but the contents it houses should be read already from the different approaches it offers. The critique of the edge is thus replaced by a notion of fluid interaction between the garden and the interior programme, and it acts a constant instrument of gradation that allows for different conditions to appear without necessary breaking the volume up. (Source: http://www.zaha-hadid.com)

Photo Gallery of Ordrupgaard Museum Extension