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[zahra22 19501]

French architect Jean Nouvel has unveiled his design for the new National Museum of Qatar

 

The museum will comprise a series of interlocking discs of varying dimensions and curvatures, which will form walls, ceilings, floors and terraces.

Each disc will be made of a steel truss structure clad in glass-reinforced concrete and the voids between discs will be glazed

This new structure will be built around an existing palace

See all our stories about Jean Nouvel in our special category

The information that follows is from the Qatar Museums Authority:

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QATAR MUSEUMS AUTHORITY UNVEILS JEAN NOUVEL DESIGN AND MULTIFACETED EXHIBITIONS PROGRAM FOR THE NATIONAL MUSEUM OF QATAR

Marking the next stage of its program to develop Qatar into a hub of culture and communications for the Gulf region and the world, the Qatar Museums Authority (QMA) today revealed its plans for the new National Museum of Qatar, as expressed in a striking and evocative design by Pritzker Prize-winning architect Jean Nouvel.

Embodying the pride and traditions of Qatar’s people while offering international visitors a dialogue about rapid change and modernization, the National Museum of Qatar will be the setting for a program in which entire walls become cinematic displays, “sonorous cocoons”, shelter oral-history presentations and hand-held mobile devices guide visitors through thematic displays of the collection’s treasures. Though built around an historic structure, the Fariq Al Salatah Palace, which had served as a museum of heritage since 1975, the National Museum of Qatar is conceived and designed as a thoroughly new institution, in keeping with the high aspirations that animate QMA.

Jean Nouvel’s design manifests both the active, dynamic aspect of the Museum’s program and its crystallization of the Qatari identity, in a building that, like a desert rose, appears to grow out of the ground and be one with it. Prominently located on a 1.5 million-square-foot site at the south end of Doha’s Corniche, where it will be the first monument seen by travelers arriving from the airport, the building takes the form of a ring of low-lying, interlocking pavilions, which encircle a large courtyard area and encompass 430,000 square feet of indoor space.

In its organization, the building suggests the image of a caravanserai—the traditional enclosed resting place that supported the flow of commerce, information and people across desert trade routes—and so gives concrete expression to the identity of a nation in movement. The tilting, interpenetrating disks that define the pavilions’ floors, walls and roofs, clad on the exterior in sand-colored concrete, suggest the bladelike petals of the desert rose, a mineral formation of crystallized sand found in the briny layer just beneath the desert’s surface.

‘The National Museum of Qatar is the next world-class institution that QMA is creating for our people and for our international community’, stated Her Excellency Sheikha Al Mayassa Bint Hamad Bin Khalifa Al-Thani, Chairperson, Qatar Museums Authority. ‘Following the very successful opening in 2008 of the Museum of Islamic Art, which showcases an artistic tradition that spans half the globe, we now look to Qatar’s immediate culture and environment—physical and immaterial, historic and contemporary. With this newest project, announced in the year when Doha is the Capital of Arab Culture, we move closer to realizing QMA’s vision of building a forward-looking, sustainable Qatar.’

Abdulla Al Najjar, Chief Executive Officer of QMA, stated, ‘Taking as its seed the historic palace that was Qatar’s oldest museum, this dramatic project creates an unprecedented 21st century experience celebrating the culture, heritage and future of Qatar and its people. It is characteristic of the spirit of QMA that we have faithfully preserved and incorporated the original palace, respecting this icon of our past, while realizing the astonishing new vision that Jean Nouvel has so brilliantly captured.’

According to Peggy Loar, Director of the National Museum of Qatar, ‘At this unparalleled new institution, Qataris will be able to discover more about their immediate ancestors and their roots in the region, learn about the formation of Qatar’s early cities and above all be exposed to the historical, material culture and intangible heritage represented in the collections. International visitors will come away with a better understanding of the life of the Gulf region, of the specific history of the Qatari people and of the initiatives underway today to advance education, develop every aspect of culture and pursue a program of sustainability. We are extremely fortunate that in realizing this program we have the vision of Jean Nouvel, whose design is at once a masterwork of contemporary architecture and an evocation of the timeless desert.’

Commenting on his design, Jean Nouvel stated, ‘This museum is a modern-day caravanserai. From here you leave the desert behind, returning with treasured images that remain engraved on your memory. The National Museum of Qatar will become the voice of a culture, delivering a message of modernity, metamorphosis and the beauty that happens when the desert meets the sea.’

Details of the Building

The National Museum of Qatar building will provide 86,000 square feet of permanent gallery space, 21,500 square feet of temporary gallery space, a 220-seat auditorium, a 70-seat food forum / TV studio, two cafés, a restaurant and a museum shop. Separate facilities are provided for school groups and special guests. Staff facilities include a heritage research center, restoration laboratories, staff offices and collection processing and storage areas. The Museum will be surrounded by a 1.2 million-square-foot landscaped park that interprets a Qatari desert landscape.

Inspired by the desert rose, the interlocking disks that compose the building—some of them standing more or less upright and acting as support elements, others lying more or less horizontal—are of varying curvature and diameter. The disks are made of steel truss structures assembled in a hub-and-spoke arrangement and are clad in glass fiber reinforced concrete panels. Columns concealed within the vertical disks carry the loads of the horizontal disks to the ground.

Glazed facades fill the voids between disks. Perimeter mullions are recessed into the ceiling, floor and walls, giving the glazing a frameless appearance when viewed from the outside. Deep disk-shaped sun-breaker elements filter incoming sunlight.

Like the exterior, the interior is a landscape of interlocking disks. Floors are sand-colored polished concrete, while the vertical disk walls are clad in ‘stuc-pierre,’ a traditional gypsum- and lime-blended plaster formulated to imitate stone.

Thermal buffer zones within the disk cavities will reduce cooling loads, while the deep overhangs of the disks will create cool, shady areas for outdoor promenades and protect the interior from light and heat. Steel and concrete, the main materials of the building, will be locally sourced and/or fabricated. The landscaping will feature sparse native vegetation with low water consumption. Through these and other sustainability measures, the Museum is working to achieve a USGBC LEED Silver rating.

The Museum’s gardens are specifically designed for the intense climate of Qatar. Plantings will include native grasses and indigenous plants, such as pomegranate trees, date palms, herbs and the Sidra tree, the national tree of Qatar. Landscaping will feature sand dunes and stepped garden architecture to create sitting areas and spaces for the Museum’s programs of tours and garden lectures.

Exhibitions and Collections

A tour of the Museum will take visitors through a loop of galleries that address three major, interrelated themes. These are the natural history of the Qatar peninsula, with its flora and fauna that have adapted to this intense environment of sand and sea; the social and cultural history of Qatar, with its traditions, values and stories that spring from the close, age-old interaction between the people and the natural world; and the history of Qatar as a nation, from the 18th century to the dynamic present.

The displays and installations that explore these themes will integrate exciting and involving audiovisual displays, some of them realized on an architectural scale, with carefully selected treasures from the Museum’s collections. These collections currently consist of approximately 8,000 objects and include archeological artifacts, architectural elements, heritage household and traveling objects, textiles and costumes, jewelry, decorative arts, books and historical documents. The earliest items date from the end of the last Ice Age (about 8000 BC). The Bronze Age (about 2000 – 1200 BC) is represented, as are the Hellenistic and early Islamic periods. The Museum also has examples of weapons and other objects from the period of the tribal wars and more contemporary decorative objects used for everyday living.

About the Qatar Museums Authority

The National Museum of Qatar is being developed by the Qatar Museums Authority, which under the leadership of its Chairperson, H.E. Sheikha Al Mayassa Bint Hamad Bin Khalifa Al-Thani, is transforming the State of Qatar into a cultural hub of the Middle East. Qatar Museums Authority was created in December 2005 to combine the resources of all museums in the State of Qatar. The QMA’s vision revolves around the provision of a comprehensive umbrella under which future plans will be drawn for the development of national museums and the establishment of an effective system for collecting, protecting, preserving and interpreting historic sites, monuments and artifacts.

About Jean Nouvel

One of the world’s most highly respected architects, whose achievements have been recognized with the Gold Medal of the French Academy of Architecture, the Aga Khan Award for Architecture, the Praemium Imperiale and the Pritzker Prize, among others, Jean Nouvel was born in Fumel, France, in 1945 and has headed his own architecture practice since 1970. Among his most notable buildings are the Arab World Institute, Fondation Cartier and the Quai Branly Museum in Paris, the Opera House in Lyon, the Symphonic House in Copenhagen, the Guthrie Theater in Minneapolis, the Dentsu Tower in Tokyo, the Agbar office tower in Barcelona, the Culture and Congress Center and The Hotel in Lucerne, Galeries Lafayette in Berlin, the Justice Center in Nantes, the extension of the Reina Sofía museum in Madrid, and the 40 Mercer Street and 100 Eleventh Avenue apartments in New York

[zahra22 19501]

Beijing architects MAD have designed a skyscraper for Chongqing, China, with gardens at each level.

 

Rather than consider the project vertically, the architects envisage a stack of floors, each slice shifted horizontally to create spaces for gardens and patios.

The 385 metre-high building will be called Urban Forest.

Here’s some text from MAD:

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Urban Forest

By the end of 2009, MAD has completed the concept design of a 385 meter high metropolitan cultural complex in the city center of Chongqing – The Urban Forest.

This is the third skyscraper designed by MAD following the Absolute Towers in Toronto and the Sinosteel International Plaza in Tianjin, China.

MAD proposes a new architectural concept for the course of Chinese urban development – to actualize a sustainable multidimensional high-rise within China’s youngest municipality, where nature reincorporates into the high-density urban environment in the near future, to evoke the affection for nature once lost in the oriental ancient world and bring to the modern city dwellers.

In the year of 1997, Chongqing became the fourth direct municipality in China.

As an important pole of the growing economy in western China, the city area of Chongqing is more than twice of those of Beijing, Shanghai and Tianjin combined.

Such macro-scale urbanization should not only pushes economic growth and material prosperity, but also foster the evolution of the city’s cultural essence. Chinese cities have gone through the process of once starting from nothing, to following contemporary Western civilization urban pattern. Now, the overall economic infrastructure has oriented the direction of future development towards inland China.

What lies in the future of cities? How should one grasp the concept of emerging high-density cities of China in the context of a scenic town such as Chongqing? How does one discuss the future of architecture in Chinese cities on the base of Eastern Naturalist perspective and in the new context of China’s unique economic, social environment and globalization background? How to engage the city dwellers with an experience of nature when its presence of steadily diminishes in the face of the ever intensifying concrete jungle.

Throughout the process of contemporary Western urbanization, skyscrapers were the symbol of technological competitions, prime capitals and the formal enslavement of the powerful and the rich. Sustainable ecology became more of a demand for comfort; while the yearning of a return to nature was left ignored. The Urban Forest draws inspiration from the perspective of nature and the man-made in Eastern Philosophy, and ties the urban city life with the natural outdoor experiences.

The shape of the architecture mimics mountain range, shifting in a dynamic and yet holistic rhythm, and becomes a continuation of nature. Unlike its preceding counterparts, The Urban Forest no longer emphasizes on vertical force, instead it concentrates on the multidimensional relationships within complex anthropomorphic spaces: multilayer sky gardens, floating patios and minimal and yet well lit nesting spaces, the architectural form dissolves into the fluid spatial movements between air, wind, and light. In this environment, people encounter nature filled with unexpected surprises.

The fusion between Eastern humanism spirit and urban public spaces pioneers in the making of a sustainable multidimensional city – The Urban Forest will not be a piece of mediocre urban machinery, but an artificial organ that lives and breathes new life in the steel-and-concrete-filled city center.

Chongqing, the youngest municipality in China, holds great potential in its urban planning and construction and has the capability to be built into a most livable city, a city of pleasant environments, a traffic-jam-free city, even into a city that runs into a complete urban forest. A city with aspiration and vitality shall be courageous in envisioning and designing its great future. – Bo Xilai (Mayor of Chongqing)

n October 2009, The Urban Forest from MAD debuted in the Heart-Made, Europalia exhibition at the 2009 Europalia China. It represents the most challenging dream of the contemporary Chinese architecture — a type of urban landmark that rises from the affection for nature. It is no longer a static icon but an organic form that changes all the time with people’s perception.

Director in Charge: Ma Yansong, Dang Qun

Design Team: Yu Kui, Diego Perez, Zhao Wei, Chie Fuyuki, Fu Changrui, Jtravis B Russett, Dai Pu, Irmgard Reiter, Rasmus Palmqvist, Qin Lichao, Xie Xinyu

Location: Chongqing, China

Typology: Commercial, Office, Hotel

Site Area: 7,700 sqm

Building Area: 216,000 sqm

Building Height: 385 m

Architectural Design: MAD Ltd

Structural Design: ARUP Group Ltd

[zahra22 19501]

This is the invited competition project won by New York practice Leeser Architecture – Helix Hotel. The five-star luxury hotel in the Zayed Bay in Abu Dhabi, featuring an iconic design and state of the art technology that creating dynamic mini-city in the UAE.

Leeser Architecture, an internationally recognized design firm, has won a invited competition for a five-star luxury hotel in the Zayed Bay in Abu Dhabi, UAE. Called the Helix Hotel for its staggered floor plates, it rests in the bay, partially floating in the water and adjacent to the serpentine Sheik Zayed Bridge currently under construction by designer Zaha Hadid. With the Helix, Leeser Architecture has devised a new way to consider hotel culture in the Emirates, highlighting elements that are usually unseen, and playfully enlivening those parts that traditionally remain static and mundane.

The commission was the result of an invited competition held by Al Qudra Real Estate in partnership with QP International, both local Abu Dhabi holdings groups with projects featured across the UAE. Zayed Bay will be a comprehensive development built along a new road, and the site will include office buildings as well as condominiums and retail along the water. The Helix is the centerpiece of this new development: With 208 guest rooms and suites arranged around a helical floor, the hotel immediately dispenses with the idea that visitors must engage in the stale paradigms of rigid hallways and atria that characterize atypical hotel stay.

The floor constantly shifts in width and pitch as it rises to the top floor, keeping public spaces always in flux. No two rooms positioned across from each other have exact views to the other side, already pulling the visitor out of the pedestrian and into the hotel’s uniquely urban world. As the helix winds upward, programmatic elements change from lounges and restaurants on the bay, to meeting rooms and conference facilities, to lounges and cafes, to the luxury indoor-outdoor health spa on the fifth floor, to, finally, the upper pool deck on the roof. The running track on the fifth floor represents the only moment when the ramping ceases and a flat surface prevails – a sleight of hand on the architect’s part, and an unexpected luxury that fit vacationers can enjoy in the cooler months.

Conceptually, the Helix Hotel participates in a critical dialogue between opulence and urbanness, between the variety of services offered by a small city and the demands of a five-star hotel guest. The floor suggests the curves a winding street would take through a bustling town, and many programmatic elements are open to views from across the central void. Though the void seems to offer unmitigated visibility, there are enclaves for private meetings and guest privacy. It is designed so that one activity feeds into the next rather than affecting sharp separations between each activity. In this way it develops a feeling of being free to whimsically experience all aspects of the hotel without having to decide on an agenda in advance.

On the luxury side of vacation culture, there are playful elements that make the hotel a designer destination in an iconic setting. From the outset, it is as much a showplace for the abundance of opulent life as it is a fully incorporated urban experience. For example, the building has a functional reverse fountain, which drops water from the ceiling down through the void to the lower lobby. At the entry, valets drive clients’ cars into the car park, which, rather than being predictably aboveground or underneath the hotel, is situated instead under the bay. Cars are literally driven into the water. As guests make their way up to their suites, remarkable views out onto the Zayed Bay become even more dramatic on the upper floors. At the top of the Helix, the rooftop pool deck features a full sized swimming pool with a glass bottom, with the water and swimmers visible from eight floors below at ground level. In the restaurant below the lobby, the bay’s waves are so near to the floor plate that they lap up onto the edge of the restaurant inside of the glass curtain wall. The wall retracts, revealing a sweeping breeze.

While focusing on unique design, Leeser Architecture is also committed to sound sustainability practices and worked with consultant Atelier Ten to determine the best possible conditions and materials for heat and energy conservation. The indoor waterfall allows for the accumulation of heat inside the hotel to be minimal by filtering cool water back up into the system as it falls through the void. In the sub-lobby, a dynamic glass wall is built from the base of the second floor down into the water. The wall acts as a curtain would, opening when the weather is cool enough and closing when it is too hot for exposure to the desert air. Portions of the outside surface are clad in panels made of a new material called GROW, which has both photovoltaic and wind harnessing capabilities.

Consultants on the project include ARUP (structural and mechanical design) and Atelier 10 (environmental and green design).

Leeser Architecture is an internationally recognized studio known as a pioneer in design specializing in the inclusion of new media and digital technologies in architecture. Based in New York City, the studio has gained an international reputation through cutting edge investigations and design research incorporating and anticipating current and future cultural conditions. A close collaboration

with each client and a careful analysis of the client’s needs are fundamental to the studio’s work methodology. The firm’s work encompasses architectural design at all scales. Leeser Architecture specializes in the design of museums and exhibitions, performing arts centers, and film and digital video theaters, and works with an extensive list of specialty consultants. The studio has achieved worldwide recognition for its influential designs, such as the Eyebeam Atelier of Art and Technology, and the Twin House, which is part of the permanent collection of the Museum of Modern Art in New York.

Leeser Architecture was one of only five international firms selected to design the Olympic Village for NYC2012, participated in the Venice Biennale, architecture’s most prestigious international exhibition, in both 2004 and 2008, and is currently working on a $60 Million addition and renovation of the Museum of the Moving Image in New York City, as well as on the World Mammoth and Permafrost Museum in Yakutsk, Siberia. Recently completed projects include the 3LD Art and Technology Center in Lower Manhattan, the first cultural institution to rebuild after September 11, 2001; as well as two inaugural exhibitions for Laboral Centro de Arte y Creación Industrial in Gijon, Spain.

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Project: Helix Hotel

Architect: Leeser Architecture

Location: Zayed Bay in Abu Dhabi, UAE

All images provided by Leeser Architecture

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[zahra22 19501]

Laboratory for Visionary Architecture (

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) have won a competition to design the urban centre of

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, a zero-carbon, zero-waste city to be built in the desert near Abu Dhabi

 

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The centre will feature giant moveable sunshades based on sunflowers (above) that shade a public piazza, plus hotels, retail and leisure facilities.

Masdar, which will cover 6 million square metres when complete, is based on the urban layout of ancient walled cities and aims to provide a blueprint for sustainable urban development.

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, which is masterplanned by architects Foster & Partners.

Here’s a full explanation from LAVA:

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LAVA wins international design competition for the heart of Masdar, world’s first sustainable city

Giant umbrellas, with a design based on the principles of sunflowers, will provide moveable shade in the day, store heat, then close and release the heat at night in the plaza of a new eco-city in the United Arab Emirates.

The ‘sunflower umbrellas’ are one aspect of the winning design by the international practice Laboratory for Visionary Architecture [LAVA] for the city centre for Masdar in the UAE – the world’s first zero carbon, zero waste city powered entirely by renewable energy sources.

Masdar is a planned city located 17 kilometres from Abu Dhabi. A government initiative, the city is being constructed over seven phases and is due to be completed by 2016.

The city centre includes a plaza, five-star hotel, long stay hotel, a convention centre and entertainment complex and retail facilities.

LAVA won the design in an international competition against several hundred entries and strong competition from some of the world’s most high profile architects.

LAVA was founded in 2007 by Chris Bosse, Tobias Wallisser and Alexander Rieck and has offices in Sydney, Stuttgart and Abu Dhabi.

Chris Bosse said: ‘Masdar City is the world’s most prestigious project focusing on sustainable energy design. It is the city of the future and a global benchmark for sustainable urban development. We believe in the Masdar slogan “One day all cities will be like this”’.

The solar powered ‘sunflower’ umbrellas capture the sun’s rays during the day, fold at night releasing the stored heat, and open again the next day. They follow the projection of the sun to provide continuous shade during the day.

Mr. Bosse said: ‘the sunflower principle is eco-friendly and can be adapted to anywhere in the world – it opens opportunities for outside living, even in the desert’.

Mr Rieck added: ‘The entire city is car-free with a magnetic public transport system includes individual pods that drive you to your destination using solar power’.

Some other key innovations of the winning plan include:

• Building façade angles that can be altered to offset or optimise solar glare.

• Materials on wall surfaces respond to changing temperatures and contain minimal embedded energy.

• Water features can be stored underground during the day and at night trickle or flow strongly, triggered by passersby.

• Interactive light poles, inspired by the oasis fire, transform the plaza into a 3-dimensional interactive media installation.

• Interactive, heat sensitive technology activates lighting in response to pedestrian traffic and mobile phone usage.

• Roof gardens integrate food production, energy generation, water efficiency and the reuse of organic food waste.

Mr Wallisser said ‘the idea behind our concept is the use, inspiration, and adaptation of nature and our plans combine innovative design and sustainability’.

East and west are fused in the plaza design inspired by both the oasis, as the epicenter of Arabic nomadic life, and the iconic piazza of historical European cities. The organic forms created by the forces of natural erosion in geographical landmarks such as great canyons and wadis are the design inspiration behind the key buildings in the city centre.

After winning stage 1 in January this year, LAVA teamed up with the Sydney/Dubai based Kann Finch group, engineering firm Arup (with whom Chris Bosse previously worked on the Watercube in Beijing), Transsolar (worlds leading energy consultancy), and a team of international experts.

[zahra22 19501]

Barcelona company Dream and Fly have designed a series of miniature hotel rooms for busy places like airports and train stations.

 

Called Bubbles, the modules will come in different sizes and be rented by the hour so travellers can work rest or shower.

The Single Bubble sized will be equipped with a sleeping area, bathroom, small folding workspace with internet access, monitors displaying boardings times and a sound system.

The larger Family Bubble will also include baby changing facilities, while the Simple Bubble will provide only a sleeping area.

Dream and Fly is a micro-hotel concept by hours. It is made up of small independent bubbles that allow for great versatility in the areas in which they are installed.

Ideal for areas with large concentrations of people like airports, sea ports, events, resorts, international fairs where mobility is necessary. Aimed at passengers in transit, airports, safaris, macro events without time to travel to the nearest hotel.

The bubbles are small luxury rooms with a fully equipped bathroom / bedroom, offering a new type of comfort, high degree of technology reduced to the essential, and at a low cost.

Inspired by the nature of a womb, this space aims to transmit a feeling of protection in contrast to the movement and agitation of the outside world – a world of four dimensions, static but equally dynamic – safety, comfort, tranquility and isolation are the characteristics on which this micro hotel and bubbles are designed.

[zahra22 19501]

Here are photos of Zaha Hadid Architects‘ Burnham Pavilion, which opened recently in Millennium Park in Chicago.

Hadid’s pavilion is one of two commissioned to celebrate the centenary of the Burnham Plan, which set out a blueprint for urban design in the city.

Images courtesy of Zaha Hadid Architects © Michelle Litvin. Here’s some info from the architects:

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The pavilion is composed of an intricate bent-aluminum structure, with each element shaped and welded in order to create its unique curvilinear form.

Outer and inner fabric skins are wrapped tightly around the metal frame to create the fluid shape. The skins also serve as the screen for video installations to take place within the pavilion.

Zaha Hadid Architects’ pavilion also works within the larger framework of the Centennial celebrations’ commitment to deliberate the future of cities.

The presence of the new structure triggers the visitor’s intellectual curiosity whilst an intensifi cation of public life around and within the pavilion supports the idea of public discourse.

The pavilion was designed and built to maximize the recycling and re-use of the materials after its role in Millennium Park. It can be re-installed for future use at another site.

Zaha Hadid Architects’ pavilion design for Chicago’s Burnham Plan Centennial celebrates the city’s ongoing tradition of bold plans and big dreams.

The project encourages reinvention and improvement on an urban scale and welcomes the future with innovative ideas and technologies whilst referencing the original organizational systems of Burnham’s plan.

Our design continues Chicago’s renowned tradition of cutting edge architecture and engineering, at the scale of a temporary pavilion.

The design merges new formal concepts with the memory of bold historic urban planning.

Superimpositions of spatial structures with hidden traces of Burnham’s organizational systems and architectural representations create unexpected results.

By using methods of overlaying, complexity is build up and inscribed in the structure.

BURNHAM PAVILION [CHICAGO, USA]

2009

PROGRAM: Temporary pavilion to house multimedia installation

CLIENT: Burnham Plan Centennial

ARCHITECT: Zaha Hadid Architects

Design Zaha Hadid and Patrik Schumacher

Project Architect Jens Borstelmann, Thomas Vietzke

Project Team Teoman Ayas, Evan Erlebacher

LOCAL ARCHITECT: Thomas Roszak

STRUCTURAL ENGINEERS: Rockey Structures

FABRICATOR: Fabric Images

LIGHTING & ELECTRICAL: Tracey Dear

MULTIMEDIA CONTENT: The Gray Circle

[zahra22 19501]

Qatar National Hotels Company, the leaders in Qatar’s hospitality industry, has announced plans for its 1.5 billion QR development in the Marina District at Lusail City. The twin towers will open in the largest and most innovative development of Lusail by the end of 2010.

The two 45 story futuristic design of the Lusail Twin Towers will include 2 floors dedicated to a shopping mall consisting of restaurants, a variety of luxurious shops, and a cinema covering an area of 31,000 square meters. The first of the twin towers offers a hotel of 720 king and twin rooms, 98 junior suites, 16 executive suites with an executive lounge and will feature a specialty restaurant. The second tower encompasses hotel serviced apartments with 1, 2, and 3 bedroom apartments overlooking the sea and a penthouse on the top floor. “The Lusail Twin Towers covering an area of 48,500 square meters represents the next great expansion opportunity for QNH in Qatar,” said H.E. Sheikh Nawaf Bin Jabor Bin Jassim Al Thani, Chairman of Qatar National Hotels Company. “We are especially pleased that our presence in Qatar will also be covered within this new vibrant community and city development of Lusail which will dramatically change the economic and physical profile of Qatar for the better,” he added. Lusail is considered to be the new world leading extension to Doha, a city of meticulously planned urban development. Lusail will be the ultimate living experience for around 200,000 people, and is believed to be the true symbol of tomorrows Qatar.

[zahra22 19501]

Dutch architects UNStudio have won a competition to design a dance theatre in St. Petersburg, Russia.

 

Clad in triangular panels of varying opacity, the building will be situated on a new square in the historic centre of the city.

The two horseshoe-shaped auditoriums will have a combined capacity of 1,300.

“An essential requirement when we were designing the auditorium was to make it possible to see the dancer’s feet from every seat in the hall at all times, no matter where the performer was positioned on the stage,” explains Ben van Berkel of UNStudio.

Here’s some more information from UNStudio:

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Dance Palace, St. Petersburg, Russia, 2009 – UNStudio/ Ben van Berkel’s design selected for Dance Palace in the historic centre of St. Peterburg

UNStudio’s design has been selected in the competition for a 21,000 square meter dance theatre in the historic centre of St. Petersburg. The new complex houses The Eifman Ballet of St. Petersburg, headed by the prolific choreographer Boris Eifman. From the four projects presented (Jean Nouvel (FR), UNStudio (NL), Snøhetta (NO), ZAO (RU)), UNStudio’s design was yesterday unanimously chosen by the jury for realisation.

The Dance Palace forms an integrated part of the European Embankment city quarter masterplan for a new urban square in the historic centre of St. Petersburg.

According to Ben van Berkel, “The urban context of the building is essential to the design. The Dance Palace is positioned on the square in such a way as to allow for unrestricted visibility towards the nearby Prince Vladimir and Peter and Paul cathedrals, thereby framing some of the most exceptional buildings in St. Petersburg. The sculptural qualities of the Dance Palace reflect those of the surrounding buildings in the masterplan, providing a connection to its surroundings yet still retaining saliency. A central main entrance is incorporated into the façade design in order to fully integrate the building into this lively public square.”

UNStudio’s design for the Dance Palace presents an open and inviting theatre building with provision for 1300 guests (large auditorium 1000, small auditorium 300). Programmatic considerations focus on the spacious circulation of the public foyer and the transparent relationship to the surrounding public square and the city. Integration with the existing neighbouring buildings is achieved by both the scale of the building – which in elevation follows and respects St. Petersburg’s typical 28m roofline – and the transformative transparency which is introduced by a facade system of triangular cladding panels. The variation between opaque and perforated panels creates a controlled openness, depending on programme, views and orientation.

Ben van Berkel says of the foyer design, “The vertical foyer provides a high level of transparency from inside to outside, whilst also presenting a kind of stage for visitors to the theatre; a place to see and be seen. The open arrangement and balcony structure in the foyer provides plateaus for its own choreography of both intimacy and exposure.”

The stage

Essential to UNStudio’s design for the main auditorium in the new dance theatre are both the acoustic considerations and the proximity of the audience to the stage. For this reason the horseshoe form was chosen. This form is considered to be one of the most successful forms acoustically in ballet and musical theatre for both performer and audience, whilst the proximity it affords to the stage ensures an intimate and collective experience for the spectator.

Engineering: ARUP

Theatre consultant: theateradvies bv, Amsterdam

Client: OOO “Peterburg City”

Location: St. Petersburg, Russia

Building surface: 21,000 m2

Building height: 28 m

Status: 1st prize competition entry

Credits:

UNStudio

Ben van Berkel, Gerard Loozekoot with Christian Veddeler, Wouter de Jonge and Jan Schellhoff and Kyle Miller, Maud van Hees, Hans-Peter Nuenning, Arnd Willert, Nanang Santoso, Imola Berczi, Tade Godbersen, Patrik Noome

Advisors:

Theatre consultant: theateradvies bv, Amsterdam Louis Janssen, Caroline Noteboom

Engineering:

ARUP

Jaap Wiedenhoff (Arup director), Soren Svare (Arup Russia), Arjan Habraken (Structures), Gerard Nouwens (MEP), Pascal Steenbakkers (Fire & coordinator), Helen Butcher (Acoustics), Rudi Scheuerman (Facades), Sergei Nikigorov (Arup Russia), Sam Wise (Acoustics and Costing), Oleg Romashkin (Arup Russia), Stanislav Korulin (Arup Russia), Lyudmilla Jones (Fire), George Faller (Fire), Daan van Konijnenburg (MEP), Christa de Vaan (MEP)

[zahra22 19501]

city of wine complex for marques de riscal by frank gehry

frank gehry's city of wine complex for marques de riscal winery in elciego, northern spain,

opened to the public in 2006. the idea was to dramatically renovate the winery, which had

changed little since 1860 and encourage tourist to the town, much like his guggenheim

design enticed people to bilbao.

panels tinted in pink to represent the burgundy hues of rioja. the silver is meant to be the foil

that covers the cork, while gold represents the zig-zagging mesh that covers all marques

de riscal bottles.

according to gehry, the building's exterior reflects the colours of wine - with huge titanium

the complex's surface is sheathed in titanium and stainless steel, the 'skin' hung over a series

of giant squares of black rock with metallic wings.

 

inside, a glass elevator descends into the cellar which holds some 3,000 bottles.

 

the building houses a 43-room, five-star hotel, an exclusive restaurant, a spa offering

'wine therapy', a museum of viticulture, an extensive wine shop and luxury gardens to enjoy

a glass alfresco. a stay at the hotel costs from 236 pounds to 810 pounds for a suite per night.

 

 

 

 

 

[zahra22 19501]

'water from the sun' by nicolas dorval - bory

all images courtesy nicolas dorval - bory

 

french architect

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created 'water from the sun', a proposal for

the architectural design competition for the maribor museum, slovenia.

the project chose to clear a large floor space, an open landscape more than a built

density, linking the drava to koroska street. the museum will no longer be an obstacle

to this route, but rather an urban catalyzer: risen off the natural ground that then

becomes a cultural plaza, most of the program crystallizes in an abstract volume

and a floating landmark.

the tower of sodne stolp is one of the key landmarks of the city. in plan, the museum

and park site extends this strong element by creating a structuring constellation of

circles with various scales, both in the architecture of the museum and in

the landscaping of the park.

 

 

 

entrance to the site through a park, north side

 

the main volume is a sort of rubik’s cube, 54×54x27m structurally independent box,

three-dimensionally triangulated, whose edges are divided into 3 modules (27 boxes:

18×18x9m). thought of like an accumulation of 27 brian o’doherty’s white cubes,

it provides the necessary space for museum activities, uncluttered and bright, opened

and accessible. glazed on all four sides (as protected by a climatic double skin),

the volume is over-insulated on the underside by a visible multilayer aluminum foil,

and protected on the roof by shading/photovoltaic panels.

 

 

 

 

 

main nave 'city’s living room' viewed from the bookstore

 

circulations - 5 large vertical tubes - are positioned independently but in order to serve

the most logically possible the different areas of the museum. these transparent tubes

(corrugated glass, offering greater resistance) allow the connection between the basement

and exhibition spaces, between the plaza and the library, between offices and storage,

between delivery ramps and the catering area. the two east tubes are reserved for museum

staff and bulky items, while the two west ones are used by visitors. the large central tube

serves as the main circulation, a landmark, a meeting place shaped like a journey.

in its nucleus, each of the 5 tubes features a structural core, wrapping the elevators,

that supports the main volume.

 

 

 

high ceiling periodical exhibition room. work of art : daniel firman 'würsa (à 18 000 km de la terre)'.

 

exhibition areas are spread over the last two levels in a large open space. the permanent

exhibition space, gathering artworks requiring special storage conditions, is located

on the 2nd level, sheltered from light and temperature variations. the architecture center,

also located on the 2nd level, allows a coherent organization with the permanent exhibits.

temporary exhibitions are settled on the top floor to take maximum advantage of natural light, appropriately shaded on the roof. in two square modules (18×18m, 324m2) the floor is

offset by + /-4m in height in order to promptly identify a ceiling height of 12m, to accommodate

works of greater size in each of two levels of exposure.

 

both montes charges laid in the tubes is used to deliver works to those floors. widely open

to the outside exhibition areas can expand on 3000m2 of outdoor terraces.

 

 

south terrace (catering area), main nave level.

 

 

view of the site from above, during winter

 

 

site plan of the project at street level: a large public park connects with the museum plaza.

conceptual section diagram: continuity from the street to the river and vertical communications.

 

 

programmatic diagram

-1 : storage, parking

0 : public plaza

+1 : general public program

+2 : permanent exhibition

+3 : periodical exhibition

 

 

 

 

 

 

 

 

 

isometric view featuring the architectural components of the building

 

the main volume is an independent structural box, featuring most of the program.

vertical connections as well as structural pilars are handled by 5 large glass tubes.

 

 

section view

 

general climatic functionning, mixing air and water temperature conditionning techniques : heat pump + solar thermal cooling/heating

 

to ensure the climatic balance of the museum, the project uses various sources of renewable

energy and thermal vectors.

 

first, the ventilation of the museum is made through a geothermal heat pump, heating / cooling

incoming outside air through an underground canal (+ / - 16 º C) and heat exchange with

the extracted stale air. in summer, part of the stale air is evacuated through the roof, by natural convection, reducing air pumping energy consumption and creating in some areas natural

air flows. vertical air ducts are located in the five glass tubes.

 

cooling of the museum is provided by an innovative system of solar cooling. the vacuum tubes

of the south facade heat the water to a temperature of 80 º C, which is then sent to an adsorption

machine (adsorbent: silica gel). through a vaporization/condensation heat exchange process,

cold flow is produced in a separated water circuit. necessary to the proper functioning of the system,

a third water circuit, called coolant (not freezing), is used in this principle and runs through

the north facade of the building. thus, the quantity of cold produced is proportional to the amount

of sunshine, making the use of this system particularly relevant. on the other hand, its very low

power consumption is counterbalanced by the photovoltaic electric production on the roof.

 

south part, featuring solar thermal collectors, stale air way out…

 

 

in winter, the vacuum heating collector tubes can be used to directly preheat the building.

 

the water system of heating/cooling then runs directly into the thick concrete slabs, ensuring

an ideal inertial diffusion for a museum, where sudden changes of temperature are avoided.

 

finally, a occasional misting system is included in the technical tubular façade through hundreds

of high pressure nozes, enabling the creation of an artificial cloud from the filtered water from

the drava. this option, used to refresh both the envelope of the museum and its surroundings

(bank, park) can be programmed and operated as an event to create unusual situations around

the museum that becomes itself dynamic, like a floating cloud, a separated active meteorology

in the landscape of maribor.

 

north part, featuring fresh air entrance, solar thermal cooling machine…

 

 

indoor temperature control : air + water flows in various climatic situations

 

 

 

maribor climate: outside temperature increases with sunshine duration, making very efficient use of solar thermal cooling.

 

 

 

climatic control through 4 elements :

- water : heating/cooling through ground and sun energies, refreshing through mist

- air : heating/cooling through ground geothermal energy

- sun : heating façade, provinding shaded light, providing photovoltaic energy

[zahra22 19501]

Here are some photographs of the VitraHaus by Swiss architects Herzog & de Meuron, which has opened at the Vitra Campus in Weil am Rhein, Germany

 

Designed to display the furniture brand’s Home Collection, the five-storey building consists of stacked volumes with pitched roofs covered in charcoal stucco.

Each gabled end is glazed and cantilevers outwards up to five metres, creating the impression of a pile of houses.

Internally, spiral staircases connect the intersecting white-painted interiors.

The VitraHaus project joins existing buildings on the Vitra campus by Frank Gehry and Tadao Ando.

 

---

Herzog & de Meuron: VitraHaus, Weil am Rhein

In January 2004, Vitra launched its Home Collection, which includes design classics as well as re-editions and products by contemporary designers. As a company whose previous activity was primarily focused on office furnishings and business clients, Vitra created the Home Collection with a new target group in mind: individual customers with an interest in design.

 

 

 

 

 

 

[zahra22 19501]

Architect Zaha Hadid was appointed last month to design a new building on the campus of the Hong Kong Polytechnic University.

Called the Innovation Tower, the building will house the institute’s School of Design.

Below is text on the project from Zaha Hadid Architects, followed by a press release from the Hong Kong Polytechnic University:

INNOVATION TOWER, Hong Kong POLYTECHNIC UNIVERSITY [HONG KONG, CHINA] 2007-2011

The fluid character of the Innovation Tower is generated through an intrinsic composition of its landscape, floor plates and louvers that dissolves the classic typology of the tower and the podium into an iconic seamless piece. These fluid internal and external courtyards create new public spaces of an intimate scale which complement the large open exhibition forums and outdoor recreational facilities to promote a diversity of civic spaces.

Urbanism

The Hong Kong Polytechnic University (HK PolyU) is an urban endeavour by virtue of addition and growth over the last 40 years. The rich patchwork of various faculties, communities and facilities are strung together by a community of visually coherent yet different buildings.

From a process of outward expansion, the HK PolyU is now looking inwards to develop itself by making creative use of its remaining void on the North side of the campus.

The Innovation Tower aims to use these voids to create an accessible urban space which will transform how the Hong Kong Poly University is perceived and the way it will be used. The building unashamedly aims to stimulate and project a vision of possibilities for its future, as well as reflect the history of the HK PolyU by encapsulating in its architecture the process of change.

Architecture

The proposed vision of the new Innovation Tower presents a unique opportunity to re-examine and address a creative, multidisciplinary environment. Our concept in its first instance collects the variety of programmes of the school.Having undergone a strict process of examination of the multiple relationships amongst their unique identities they have been arranged in accordance to their ‘collateral flexibilities’.Priority lies in the drawing in of the campus staff, students and public into a welcoming new space that acts as both the building’s entrance and organiser for the existing complex.

The first architectural gesture is to raise the landscape of the existing football field and tennis grounds, so as to place the main pedestrian entrance of the new school building on a level open to its immediate context at podium level. The free ground below becomes accessible from the established main campus route (Yuk Choi Road) to proposed workshops, parking and access to future development on ‘Phase 8’. The new Innovation Tower on podium level is established as an open public foyer that channels deep into the building through a column-free, open showcase forum. The long integrated path from Suen Chi Sun Memorial Square guides the visitor to the main entrance and from here, a generous and welcoming space openly leads its visitors access to supporting public facilities (shop, cafeteria, museum) through a generous open exhibition ‘showcase’ spanning over two levels between podium and ground level.

The podium level is a route that ramps and stretches through towards the open ground with relocated recreational outdoor facilities. From the entry foyer, a long escalator penetrates deep upwards through four levels of openly glazed workspaces. The myriad of workspaces accommodated within the new school offer themselves as a variety of visual showcases.

The route through the building becomes a clear upward cascade of showcases and events allowing the student or visitor to visually covet and engage work and exhibits throughout its circulation passage. These routes aim to promote new opportunities of interaction between the diverse types of users through its spaces through every level.

Voids bring in natural daylight, fresh air and the sense of continuity of space. In this way, the programmes of the tower, which comprise of learning clusters and central facilities, are allowed to create coordinated repertoires and dialogue between respective volumes.

[zahra22 19501]

این آدوتوریوم دولتی شاهکار معمار معروف Christian de Portzamparc است که قبلا جایزه پریتزکز رو هم برده. با دیدن حجم اولیه چیزی جز موسیقی و ساز در ذهن بیننده تداعی نمی شود که این بی شک زاییده فکر و ذهن خلاق پورتزمپارک می باشد. برنامه فیزیکی و مشخصات سایت و بنا را می توانید در زیر مشاهده کیند.

The Philharmonie is located on the Kirchberg plateau, right at the center of a triangular site surrounded with offices and European administration buildings. Filtering light, a vast peristyle composed of 827 columns constitutes the foyer all around the Grand Auditorium.

The latter appears as cliff bearing luminous faults. A long footbridge leads to the balconies and to the administrative facilities. The Grand Auditorium is characterized by 8 balcony-towers vertically distributed around the orchestra and the orchestra pit. The audience unites all around the musicians. The Music Chamber Hall is an external volume shaped as a twisted petal in order to avoid sound focusing effects as well as to create a space coiling up around the core building.

Construction authority:

Ministry of Public Works, Grand-Duchy of Luxembourg

Construction supervisor:

Walter de Toffol

Design architect:

Christian de Portzamparc

Acoustician for the concert halls and

interior:

XU Acoustique

Building

Maximum exterior length: 126 m

Maximum exterior width: 109 m

Outside height of the building from Place

de l’Europe to the roof: 25 m

Total volume of the building: 192,883 m3

Gross area: 20,000 m2

Foyer

Volume of the foyer: 44,453 m3

Grand Auditorium

Usual capacity: 1,307 seats

Maximum capacity: 1,500 seats

Acoustical volume: 19,300 m3

Salle de Musique de Chambre

Stage: 80 m2

Capacity: 302 seats

Total volume: 8,053 m3

Espace Découverte

Floor space of parallelepiped: 211 m2

Capacity: 120 seats

Volume: 2,013 m3

[zahra22 19501]

Dutch architects UNStudio have won a competition to design a dance theatre in St. Petersburg, Russia.

 

Clad in triangular panels of varying opacity, the building will be situated on a new square in the historic centre of the city.

The two horseshoe-shaped auditoriums will have a combined capacity of 1,300.

“An essential requirement when we were designing the auditorium was to make it possible to see the dancer’s feet from every seat in the hall at all times, no matter where the performer was positioned on the stage,” explains Ben van Berkel of UNStudio.

Here’s some more information from UNStudio:

–

Dance Palace, St. Petersburg, Russia, 2009 – UNStudio/ Ben van Berkel’s design selected for Dance Palace in the historic centre of St. Peterburg

UNStudio’s design has been selected in the competition for a 21,000 square meter dance theatre in the historic centre of St. Petersburg. The new complex houses The Eifman Ballet of St. Petersburg, headed by the prolific choreographer Boris Eifman. From the four projects presented (Jean Nouvel (FR), UNStudio (NL), Snøhetta (NO), ZAO (RU)), UNStudio’s design was yesterday unanimously chosen by the jury for realisation.

The Dance Palace forms an integrated part of the European Embankment city quarter masterplan for a new urban square in the historic centre of St. Petersburg.

According to Ben van Berkel, “The urban context of the building is essential to the design. The Dance Palace is positioned on the square in such a way as to allow for unrestricted visibility towards the nearby Prince Vladimir and Peter and Paul cathedrals, thereby framing some of the most exceptional buildings in St. Petersburg. The sculptural qualities of the Dance Palace reflect those of the surrounding buildings in the masterplan, providing a connection to its surroundings yet still retaining saliency. A central main entrance is incorporated into the façade design in order to fully integrate the building into this lively public square.”

UNStudio’s design for the Dance Palace presents an open and inviting theatre building with provision for 1300 guests (large auditorium 1000, small auditorium 300). Programmatic considerations focus on the spacious circulation of the public foyer and the transparent relationship to the surrounding public square and the city. Integration with the existing neighbouring buildings is achieved by both the scale of the building – which in elevation follows and respects St. Petersburg’s typical 28m roofline – and the transformative transparency which is introduced by a facade system of triangular cladding panels. The variation between opaque and perforated panels creates a controlled openness, depending on programme, views and orientation.

Ben van Berkel says of the foyer design, “The vertical foyer provides a high level of transparency from inside to outside, whilst also presenting a kind of stage for visitors to the theatre; a place to see and be seen. The open arrangement and balcony structure in the foyer provides plateaus for its own choreography of both intimacy and exposure.”

The stage

Essential to UNStudio’s design for the main auditorium in the new dance theatre are both the acoustic considerations and the proximity of the audience to the stage. For this reason the horseshoe form was chosen. This form is considered to be one of the most successful forms acoustically in ballet and musical theatre for both performer and audience, whilst the proximity it affords to the stage ensures an intimate and collective experience for the spectator.

Engineering: ARUP

Theatre consultant: theateradvies bv, Amsterdam

Client: OOO “Peterburg City”

Location: St. Petersburg, Russia

Building surface: 21,000 m2

Building height: 28 m

Status: 1st prize competition entry

Credits:

UNStudio

Ben van Berkel, Gerard Loozekoot with Christian Veddeler, Wouter de Jonge and Jan Schellhoff and Kyle Miller, Maud van Hees, Hans-Peter Nuenning, Arnd Willert, Nanang Santoso, Imola Berczi, Tade Godbersen, Patrik Noome

Advisors:

Theatre consultant: theateradvies bv, Amsterdam Louis Janssen, Caroline Noteboom

Engineering:

ARUP

Jaap Wiedenhoff (Arup director), Soren Svare (Arup Russia), Arjan Habraken (Structures), Gerard Nouwens (MEP), Pascal Steenbakkers (Fire & coordinator), Helen Butcher (Acoustics), Rudi Scheuerman (Facades), Sergei Nikigorov (Arup Russia), Sam Wise (Acoustics and Costing), Oleg Romashkin (Arup Russia), Stanislav Korulin (Arup Russia), Lyudmilla Jones (Fire), George Faller (Fire), Daan van Konijnenburg (MEP), Christa de Vaan (MEP)

[zahra22 19501]

The buildings and pathways are designed to minimally affect the natural order of the protected wetland.

 

Recesses in the pathways around the building allow for the wetland to continue under the structures.

Building functions are separated into distinctly different envelops to allow for greater climactic control and lessen the overall energy usage. The wooden façade is intended to minimize summer sun exposure, maximize potential winter day lighting and blend with the surrounding woodland to the north.

Framed views from the gallery through these wooden slats capture light and help set the mood for this visitor’s center.

Providing connectivity to the 2013 garden expo, and the greater city of Suncheon, this design intends to reconnect visitors to nature and a network of facilities designed to teach about wetland preservation.

The green roof continues the language of the mountains beyond, allowing the gallery interior unobstructed views to nature.

Suncheon International Wetlands Center

Architect: G.Lab* by Gansam Architects & Associates

Location: 540 Ochon Dong Suncheon City, Jeonnam Province, South Korea

Client: Republic of Korea
Project Architect: Chuloh Jung

Design team: Dae Hyun Im, Sang Hyun Son, Daniel Da Rocha, Tana Hovland, Alex Cornelius, Lawrence Ha, Lyla Wu

Site Area: 33,000 m²

Building Area: 8,300 m²

Floors: First, Second

Building Coverage: 25 %

Competition Year: 2009

[zahra22 19501]

The project, dubbed Opus Hong Kong, will crown a small hill in Hong Kong’s Peak area, a highly exclusive neighborhood which was once the terroir of officials and heads of state before it was given over to the likes of industrial tycoons, and now, celebrities. Located at 53 Stubbs Road, the apartment block will house huge 6,000 square-foot units, each with large balconies and panoramic views of the city and Victoria Harbor

The design is characterized by Gehry’s propensity for billowing curves usually rising from a platonic base, which functions in counterpoint to the splined surfaces while resolving the awkwardness of those free forms meeting the ground. In the case of Opus Hong Kong, the curves, which at Gehry’s recently completed Beekman Tower, ahem, “

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” at 8 Spruce Street in Manhattan act in a similar fashion, create formally distinct enclaves of programmatic space radiating centrifugally from circulation cores. For example, the master bedroom of one unit may be sequestered in a “bubble” wrapping around the southeastern corner, while smaller cubbies nearby accommodate a study and den.

Gehry claimed in 2009, when the initial designs were released, that the curves did not actually yield increases in construction costs, as most believe. Though he views his designs for Hong Kong as “modest and appropriate for the market,” developer Swire Properties, which has owned the property for nearly a century, clearly sees otherwise. As the company’s Chief Executive Martin Cubbon put it, “We haven’t set a price yet, but it is fair to assume it to be the highest in Hong Kong … record-breaking.” Currently, an apartment of similar size fetches nearly HK$400,000 per month. Couple those excessive dimensions with Gehry’s signature, and you’ll have deduced your chances of living here to nil

!According to Gehry, the plan was inspired by a bauhinia flower.

[zahra22 19501]

a rendering of the stadium that is to be built

all images courtesy of populous

 

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has been selected by state corporation 'olympstroy' to design the main stadium

for the 2014 winter olympic games in sochi, russia

. the stadium's design which will consist of

sweeping forms which are a response to the venue's coastal location and mountainous backdrop,

is set to have a 40 000 seat capacity. the exterior shell of the stadium involves a translucent,

crystalline skin which engages with the surrounding landscape during the day,

and is illuminated at night. the stadium will be used for the opening and closing medal ceremonies

of the games and will later become a football venue for local and national teams.

populous has a 25 year history of being involved in the olympic and paralympic games.

more immediately, they will be responsible for the design construction of the main stadium

and venues for the 2012 games in london.

 

populous is joined in the design consortium by russian contractor engeocom

and botta management in this project.

 

detail of the crystalline skin

 

the shell and inner stadium

[zahra22 19501]

Seoul architects

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have completed an art museum surrounded by a pool of water in Yon-Dong, South Korea.

Called Jeju Provincial Art Museum, the building is made of concrete and local stone.

A colonnade frames one corner of the structure, while the water reflects light into the interior.

The project incorporates a plaza for outdoor exhibitions and an open-air theatre.

Here’s some more information from the architects:

–

Jeju Provincial Art Museum

The natural beauty of Jeju Island serves as a backdrop for the artistic cultural experience of this museum.

Situated within the Halla Mountains, the design accentuates the surrounding natural environment through material selection and carefully designed views to the exterior.

The museum plan is designed as a circulation loop, creating exterior and interior exhibition space. The program of the museum is planned for research, conservation, exhibition and education.

The geometry is based off of the simplistic module of the cube, replicating this form within and out to frame both art and the natural beauty surrounding the museum.

[zahra22 19501]

The shape of the building is a result of aiming at a strong volume with a sense of existence while applying to the architecture regulatory control.

T2 PROJECT

LOCATION: SHIBUYA TOKYO

SITE AREA: 164.31m2

BUILT AREA: 98.61m2

TOTAL FLOOR AREA: 296.66m2

STRUCTURAL SYSTEM: REINFORCED CONCRETE

[zahra22 19501]

Chinese firm

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has created a cylindrical registry office in Shenzhen that looks like it’s been showered with confetti.

The architects wanted to create a more romantic environment for marriage registration, which they claim has lost its sense of ceremony due to the setting of most registry offices in China.

Wedding parties at the Nanshan Marriage Registration Centre arrive and depart ceremoniously across long narrow bridges, which oversail a pool of water in front of the building.

Small square panels speckle the building’s gridded aluminium skin to create the confetti-like exterior.

Inside the building, all the partitioning walls are curved and the metal facade is visible behind a glazed curtain wall.

Other wedding venues on Dezeen include

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and

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.

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Photography is by MengYan and Wu Qiwei.

Here’s some more details from Urbanus:

---

Nanshan Marriage Registration Centre

In China, the marriage registration office’s image is closely linked with the Government. In reality, the Registry is an office of the civil affairs department, so it is normally perceived as a common and dull place, as part of the bureaucracy. This situation turns the supposedly romantic and exciting idea of marriage registration into a routine and boring experience.

Nanshan Marriage Registration Center is a new architectural type, for which the architects hope to bring new life experiences to new couples, and to create a medium for information display, recording of newly registered couples, and also retain for the city a permanent memory of the journey of marriage.

The site of the project is in Lijing Park in Nanshan district, located in the Northeast corner of the park, approximately 100 meters long and 25 meters in width. The main building is placed in the northern side of the site, close to the street corner.

A small pavilion on the southern side is connected with the main building by two bridges floating on a reflecting pool. The overall arrangement reveals this series of ceremonial spaces gradually. At the same time, it also makes the main building a symbolic civil landmark.

A key point of this design is to discover how to organize the personal ceremonial experience. A continuous spiral shows part of the process in the whole sequence—“arriving, approaching to the wedding hall with the focus of relatives, photographing, waiting, registering, ascending, overlooking, issuing, descending slope, passing the water pool, and reuniting with relatives”.

For the design of the building, the whole volume is divided into smaller spaces to achieve relative privacy. The remainder of the whole building is full of a flow that creates a rich spatial effect.

The building’s skin is separated into a double layer structure, with the first layer using a floral mesh aluminum to reveal the interior, and the second layer using glass walls to provide a weatherproof structure. The overall inside space and the outside facade are all white in order to show the saintly atmosphere of marriage registration.

Location: The intersection of Changxing Rd.and Nantou St.,Nanshan Distrit, Shenzhen

Design Period: 2008-2011

Construction: 2009.11-2011.10

Site Area: 3002.5m2

Floor Area: 977.5m2

Description of Structural System: Steel Structure

Principal Materials Used: Steel, Aluminum plate, Glass, Stone, etc.

Project Designers:

Design Director: Meng Yan

Technical Director: Zhu Jialin ，Wu Wenyi

Project Director: Fu Zhuoheng, Zhang Zhen，Wei Zhijiao

Architecture Designers: Wang Jun, Hu Zhigao，Yin Yujun, Li Qiang, Zhang Xinfeng

Landscape Designers: Liao Zhixiong, Lin Ting, Yu Xiaolan, Liu Jie

Collaborator: Guoqun Studio (Interior Design);

Shenzhen Keyuan Construction Group co.,Ltd (Curtain wall Design)

Client: Public Works Bureau of Nanshan District

Construction Bureau of Nanshan District

(LDI) Structure/ MEP (Mechanical, Electrical, Plumbing):

Guangzhou RBS Architecture Engineer Design Associates

General Contractor: Shenzhen Decoration and Construction Industrial co.,Ltd

Guangdong 8th Construction Group co.,Ltd

 

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