Spanish Architects Arranguren & Gallegos have converted a brewery in Madrid into a museum with an underground gallery and triangular windows.
The Colección ABC gathers the works of more than 1,500 artists of all styles, techniques and tendencies, with nearly 200,000 pieces. Following the collection’s development throughout its history will enable substantiating the consolidation of the most important illustrators, the role played by certain artists of the highest relevance, the diverse changes of taste and the different historical and social events narrated through these media.
This is a stunning project. I love the simplicity of the “plain” base below superimposed by the magnificence of the triangulation forms above. It definitely defines it’s self, like a billboard sign (Read Venturi’s: Learning from Las Vegas)
The juxtaposition of the modern forms placed in the old worn down historical context really turns me on. Very sexy indeed.
I would love to come around the corner and see this spectacle.
These details are well thought out and planned for a strong unifying design concept.
Simple Elegance
Great way to make a big impact on a tight urban site. The bright white modern forms really pop within its context.
The simple section is a bit deceiving. The latice structure empowers the design and informs the overall look of the project.
Love, love, love taking the forms from the facade and applying them to the plaza in a new way.
Roof Plan: The overall uniform design concept comes through in the skylights above. Very sharp.
This is a great space for chance encounters.
At night, the modern white lattice glows in soft blue, in bitter contrast to the bright red and white lights from the automobiles driving past as if to mark time.
Again, the strength of this design is in it’s simplicity – an application of the facade, similar to the Italian plazas from long ago. There is something timeless about how the spaces and forms speak to one another – The facde, the bridge, the plaza.
Completed in 2009, Frank Gehry’s Fabrikstrasse 15 is an icon on the growing Novartis Basel campus. In the evening its brilliant sculptural form is underscored by layers of light — all on the interior — that gently wash the facade, illuminate the workstations, and glow from within its core.
Basel, Switzerland Breaking the bounds of of Vittorio Magnago Lampugnani’s master plan, Fabrikstrasse 15 by Frank Gehry stands in a surprising juxtaposition to the serene array of rectilinear buildings that dominate the Novartis campus. It is located at the geographic heart of the campus, in full view of the company’s renovated 1939 Forum 1 International Headquarters building, and across the street from a refined stretch of porticoed offices and labs by Adolf Krischanitz, Rafael Moneo, Lampugnani, and Yoshio Taniguchi. The highly visible, independent site gave the architect freedom to exploit his expansive, free-spirited style.
Gehry Partners
Gehry Partners
Owner:
Novartis Pharma AG
Architect:
Gehry Partners, LLP
12541 Beatrice Street
Los Angeles, CA 90066
Tel: 310-482-3000
Fax 310-482-3006
Program: A six-story, 115,000-square-foot home for the Houston Ballet and its academy, located in the city’s theater district. The project includes nine dance studios, a dance laboratory, dressing rooms, a common room, and offices. An open-air pedestrian sky bridge connects the new steel-structure building to the ballet’s performance space next door, the Wortham Theater Center.
Design Concept and Solution: Imagining the center as a living billboard for dance, Gensler wanted to create a building that would showcase the activity of the dancers within. The architects drew inspiration from the proscenium stage, stacking double-height rehearsal studios atop each other so that passersby below see the studios framed by the center’s black granite facade. The architects continued this framing effect on the inside by surrounding the studios’ interior-facing windows with walnut planking. They kept the fixtures and finishes minimal and neutral-toned to further emphasize the activity of the dancers: long, lean lighting strips and clear glass railings (along with the lines of the walnut planking) provide a static backdrop for the movements of the dancers.
The built environment is the major source of global demand for energy and materials that produce by-product greenhouse gases (GHG). Planning decisions not only affect building energy consumptions and GHG emissions, but transportation energy consumption and water use as well, both of which have large environmental implications.
In 2008, Architecture 2030 issued The 2030 Challenge for Planning asking the global architecture and planning community to adopt the following targets:
All new and renovated developments / neighborhoods / towns / cities / regions immediately adopt and implement a 60% reduction standard below the regional average for fossil-fuel operating energy consumption for new and renovated buildings and infrastructure and a 50% fossil-fuel reduction standard for the embodied energy consumption of materials.
The fossil-fuel reduction standard for all new buildings, major renovations, and embodied energy consumption of materials shall be increased to:
70% in 2015
80% in 2020
90% in 2025
Carbon-neutral in 2030 (using no fossil fuel GHG emitting energy to operate or construct).
These targets may be accomplished by implementing innovative sustainable design strategies, generating on-site renewable power and/or purchasing renewable energy (20% maximum).
All new and renovated developments / neighborhoods / towns / cities / regions immediately adopt and implement a 50% reduction standard below the regional average for:
Vehicle Miles Traveled (VMT) for auto and freight and
Architecture 2030, a non-profit, non-partisan and independent organization, was established in response to the climate change crisis by architect Edward Mazria in 2002. 2030’s mission is to rapidly transform the U.S. and global Building Sector from the major contributor of greenhouse gas emissions to a central part of the solution to the climate change, energy consumption, and economic crises. Our goal is straightforward: to achieve a dramatic reduction in the climate-change-causing greenhouse gas (GHG) emissions of the Building Sector by changing the way buildings and developments are planned, designed and constructed.
Buildings are the major source of global demand for energy and materials that produce by-product greenhouse gases (GHG). Slowing the growth rate of GHG emissions and then reversing it is the key to addressing climate change and keeping global average temperature below 2°C above pre-industrial levels.
To accomplish this, Architecture 2030 issued The 2030 Challenge asking the global architecture and building community to adopt the following targets:
All new buildings, developments and major renovations shall be designed to meet a fossil fuel, GHG-emitting, energy consumption performance standard of 60% below the regional (or country) average for that building type.
At a minimum, an equal amount of existing building area shall be renovated annually to meet a fossil fuel, GHG-emitting, energy consumption performance standard of 60% of the regional (or country) average for that building type.
The fossil fuel reduction standard for all new buildings and major renovations shall be increased to:
70% in 2015
80% in 2020
90% in 2025
Carbon-neutral in 2030 (using no fossil fuel GHG emitting energy to operate).
These targets may be accomplished by implementing innovative sustainable design strategies, generating on-site renewable power and/or purchasing (20% maximum) renewable energy.
Diller Scofidio + Renfro in collaboration with FXFOWLE Written by Linda C. Lentz
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Built up on a plinth, and clad in relentless swaths of travertine, Lincoln Center was once considered by many to be a remote acropolis of culture. A half century after it was built, the iconic mid-20th-century performing arts compound is coming down to earth, or at least to the surrounding streets of New York City’s Upper West Side.
The podium and stone remain. But a whimsical glass pavilion — the latest phase in the eight-year redevelopment of the 16-acre campus by collaborating firms Diller Scofidio + Renfro (DSR) and FXFOWLE — is engaging theatergoers, tourists, and the neighboring community with a first-rate restaurant, state-of-the-art film center, and a rare patch of urban green on its roof.
Indeed, this populist intervention in many ways culminates the team’s efforts to revitalize the complex and its intersecting thoroughfare, West Sixty-Fifth Street, a master plan initiative responsible for the previously completed Alice Tully Hall renovation[RECORD, June 2009], and the Juilliard School extension [RECORD, February 2011]. This is largely due to the comprehensive 40,000-square-foot project’s strategic location on the site, as well as the critical programmatic elements the architects were required to incorporate into it: cultural, public, and private.
I love Architectural design theory and I love skate boarding; Peter Eisenman combined them both when he designed the 173-acre site on Mount Gaiás. The project neighbors Santiago de Compostela where the cathedral houses the remains of the apostle St. James, brought to Spain from Jerusalem after his death in AD 44. Since the eighth century, pilgrims have trekked to the medieval town to pay homage to his shrine.
Eisenman Architects’ winning scheme, folded into the earth and seductively represented by a molded wood model, beat out varied proposals by ten finalists: Steven Holl Architects, OMA/Rem Koolhaas, Ateliers Jean Nouvel, Gigon Guyer Architects, Dominique Perrault Architecture, Studio Daniel Libeskind, Juan Navarro Baldeweg, César Portela, Ricardo Bofill/Taller de Arquitectura, and José Manuel Gallego Jorreto.
