2024年2月5日 星期一
2024年2月1日 星期四
石上純也在山東日照「在水美術館」探索自然與建築的和諧
在中國山東日照的寬闊自然環境中，日本建築師石上純也面臨著如何讓建築與自然環境建立平等關係的挑戰。他指出，無論面對的是簡樸的小屋或是壯觀的樓宇，這些結構往往顯得孤立無援，與周遭的自然環境形成了鮮明的對比。這種孤立讓建築物散發出一種無可奈何的氛圍，也在城市與偏遠地區留下了深刻的印象。因此，石上純也尋求在這廣袤的自然與人工結構之間建立一種和諧共存的方法。
「在水美術館」的創新設計理念
位於山東省五蓮縣白鷺灣小鎮的「在水美術館」，正是石上純也對這一挑戰的回應。此美術館不只是一座展覽空間，它還充當遊客中心和商店等多功能設施，目前主要展示巧克力及相關主題的藝術作品。該建築位於一個人工湖上，從湖的一側延伸至另一側，其設計巧妙地將建築與水面結合，創造出一種仿佛與湖泊共同存在的錯覺。這種設計模糊了自然與人造的界限，還試圖將自然轉變為更加親人的元素。
建築的結構特色包括沉入水中的支柱和仿佛懸浮在水面上的屋頂，這些元素共同創造了一種新的水岸與地面的交界。石上純也的這項作品，通過其獨特的設計理念，使建築與周圍環境融為一體，還在建築內部創造了一個可親近的新自然。通過設計，自然環境從建築內部延伸出新的「外部」空間，這種設計旨在探索人與自然之間新的關係，為訪客提供了一種全新的體驗方式。
2023年12月28日 星期四
花蓮的隱藏寶石 林田山林業文化園區探秘
花東縱谷的歷史瑰寶：林田山林場的轉型之旅
位於風景秀麗的花東縱谷國家風景區內，林田山林場，昔日被譽為「小上海」，如今則以其獨特的稱號「森坂」（日語發音：摩里薩卡）為人所知。這片地區以保存最完整的伐木基地而聞名於世，成為了一個充滿歷史故事的珍貴之地。雖然林田山曾經的繁華已經不復存在，但園區內還存留著各式各樣的伐木器具和傳統消防物品，以及規模宏大的中山堂和日式檜木建築群。這些豐富的文物和深厚的林業歷史使得林田山成為了遊客在遊覽花東縱谷時不可錯過的人文景點。林田山的昔日風華：台灣林業的黃金時代
回溯林田山的輝煌歲月，這裡曾是台灣第四大的林場，僅次於八仙山、阿里山及太平山等三大著名林場。早在1918年，日本人在花蓮成立「東臺灣木材合資會社」，隨後於隔年改組為「花蓮港木材株式會社」，並開始在林田山進行大規模的伐木作業。到了1938年後，林田山開始興建起運材鐵道、中山堂、員工宿舍、醫務室等重要設施，逐步發展成一個功能完善的伐木社區。在其全盛時期，林田山聚集了高達四、五百戶的住家，成為當時的繁榮象徵。林田山的新生：林業文化園區的重生
林田山，這個擁有超過百年歷史的林業聚落，從1918年開始，便在這片肥沃土地上綻放其生命之光。這裡曾是一個繁榮的社區，居民達五百餘人，形成了一個自給自足的生活圈。這裡有冰店、食堂、醫療設施，以及教育機構等生活必需設施。然而，隨著1970年代伐木業的衰退，這個曾經繁華的村落開始逐漸走向沒落，居民紛紛外遷，只剩下寥寥數戶。然而，這些居民的堅韌精神和曾經的歷史建築依然在林田山這片土地上靜靜地存留。「林田山林業文化園區房舍修復再利用」正是為了保護和弘揚林田山深厚的林業歷史和文化，通過精心的設計，利用原有的建築元素和回收材料，重新演繹這片土地上的林業文化之美。林田山文化再生計畫：從過去到未來的連結
「林田山林業文化園區房舍修復再利用」計畫，由行政院農業部林業及自然保育署花蓮分署主導，將林田山轉型為一個多功能的文化園區。園區位於花蓮縣鳳林鎮，主要用途包括遊客服務中心、展示空間、食堂、咖啡廳、販賣部、以及旅宿空間。設計規劃由十彥建築師事務所負責，主持人為林彥穎和陳彥伶，參與者包括黃麗蓉、鍾元晟、詹惠伃等人。此外，施忠賢結構技師事務所也參與了這一項公共工程，共同為林田山的文化再生貢獻力量。十彥建築師事務所：重現林田山的文化園區
十彥建築師事務所著手進行「林田山林業文化園區」內核心建築的修復工作，涵蓋了原子炭工廠、冰店、食堂以及宿舍等四大建築。舊建築再利用的目標是在保留舊貌的同時，挖掘出這些建築原有的功能，進而形成一個讓人們易於理解且能感受林業文化的園區。這不僅是對林業文化的一種致敬，也是將過去與現代生活方式相結合的一種創新。殖民時期建築與花東縱谷的生活風貌
林田山的居民生活在殖民時期留下了深刻的印記，其中建築特色和地域性的生活方式尤為顯著。花東縱谷的氣候特點使得通風成為建築設計的重要考量。在這種背景下，設計團隊的室內設計規劃特別強調空間的透明度和通風性，利用風扇來保持半戶外空間的特色及舒適度。設計團隊努力將空調使用區域最小化，不僅保留了過去的生活軌跡，同時也實踐了對永續節能的承諾。林田山冰店的文化再現與傳承
從對當地居民的訪談中得知，冰店不僅是他們兒時記憶的重要組成部分，也是當時社區文化的核心。一些居民不僅從事伐木，還精通木匠工藝。設計團隊希望在重現冰店的原貌的同時，也能讓這些木匠的故事得以流傳。因此在冰店的桌椅設計上故意避免使用細膩的木工技藝，而是選擇突出大木作工法，將腐朽的梁柱回收再利用，讓榫接頭成為視覺焦點。還與在林田山土生土長的藝術家合作，結合花蓮原住民的火燒木料工藝，打造出獨特的冰店家具，這些家具不僅美觀，還承載著故事和文化。林田山林業文化園區的文化認同與台灣地域文化
在這件作品中，設計團隊不僅探討了文化認同的問題，也通過對過去空間形式和工藝的理解，進一步深化對文化積累的認識。在重新詮釋的空間設計中，加入了對台灣地域文化美感的理解和詮釋，創造展現過去記憶又兼具現代審美的文化空間。
2023年12月27日 星期三
23/24 AYDA Awards 中正紀念堂、傳統市場改造展現台灣當代價值觀 國立臺北科技大學林士兆 陳紀礽奪金 將代表台灣競逐亞洲白金獎
23/24 AYDA Awards 中正紀念堂、傳統市場改造展現台灣當代價值觀 國立臺北科技大學林士兆 陳紀礽奪金 將代表台灣競逐亞洲白金獎
全亞洲歷史最悠久、由立邦NIPPON PAINT主辦的國際青年設計師競圖AYDA Awards（ASIA Young Designer Awards），23/24年度以主題《設計：為價值而生》，廣邀青年設計師們思考在設計旅程中，什麼是值得投注、為之奮鬥的信仰與目的。
台灣決選於2023年12月16日在台北舉行，決選評審包括柏成設計創辦人邱柏文、國⽴陽明交通⼤學建築研究所教授龔書章、OMA台灣總監林家如，經過評審熱烈討論，最終由國立臺北科技大學建築與都市設計研究所林士兆、陳紀礽，以聲音策展打破中正紀念堂威權象徵、展現民主的自由與包容體諒勇奪2023 AYDA Awards金獎；國立陽明交通大學建築研究所黃心沂，將台北信義區光復市場打開並串接周遭集體記憶空間的嘗試，展現出次第改變的台北市而榮獲銀獎；淡江大學建築系許婷瑜則是向花生學習，創建出自然生態教室獲得銅獎。
金獎得主也將在2024年代表台灣，與全亞洲16個城市金獎同學共同競逐亞洲最高榮譽白金獎。
設計，是當代社會價值的縮影
在年度主題《設計：為價值而生》提示下，本屆參賽作品都揮別疫情時期的設計，展現追求理念與正向價值的企圖，包括傳統市場、紀念性建築、水上貧民窟、蝴蝶保育，甚至連結星空，所探討的主題也相當多元，從貧富不均、社會階級、新公共空間型態，甚至是面對同一議題都各自有不同的表達態度；更為開闊的議題思考，讓評審們更有所感，也樂觀看待新一世代青年設計師們的多元觀點。擔任本屆評審長的國立陽明交通大學建築研究所教授龔書章特別指出，決選作品中可以看到更多元運用聲音、顏色去表現台灣價值，這是非常值得鼓勵的嘗試；由此可知，台灣青年設計師們的設計不再囿限，甚至類策展的跨界都是展現設計師關心社會、人類、世界的方式。一個更理想的社會該如何達成？或許就在這些青年設計師們的作品中，可以一窺未來共融台灣的美好可能。
以聲音設計，讓民主可以「被體感」
榮獲2023 AYDA Awards金獎的林士兆、陳紀礽觀察到，聲音記憶是一種時代的痕跡，而且在中正紀念堂園區裡存在著明顯的聲音記憶斷裂，因此作品〈不在場聲明〉（The voice of absence）基地選址於全台最具威權象徵的中正紀念堂園區，透過從時代中切片數個最具代表性的聲音，將封閉的堂體打開、延伸軸線、植入聲音，讓參觀者可依循個人聲音記憶遊走期間；多向性的空間設計與聲音計畫，讓人恍如時空錯置，原本不曾相遇的人、事、物將在此有重新相遇、對話的機會，而這正是當代台灣青年試圖展現民主自由中最可貴的包容與體諒。試圖把自由歸還予社會的設計，高度呼應了本屆主題《設計：為價值而生》，對於青年設計師勇於挑戰高政治敏感的都市空間規劃議題，評審們給予最大的肯定與鼓勵，也期許金獎得主能將台灣寶貴的自由民主精神帶到亞洲舞台上發光發熱。
與環境共融，建築不再是一意孤行
獲得2023 AYDA Awards銀獎的國立陽明交通大學建築研究所黃心沂，其作品〈記，異 / 食 憶 築 行 ─ 城市中的紀念〉（FOOtopia / Wiki-Market ─ Monument of the city．Recipe library），以同中求異出發，選擇打開被道路密集包圍的台北市信義區光復市場，將原有的建築物進行切片、解構及重新定義各種層次的使用，試圖探索在城市時間累積下的記憶刻痕，讓人從不同軸度理解一座城市長久以來累積的生活，從而對既有空間的社會創新可能性有了全新的想像。2023 AYDA Awards銅獎得主淡江大學建築系許婷瑜的作品〈Slight Disturbance of Nature〉，是一間構築在陽明山半山腰的生態小屋。許婷瑜透過向台灣極具代表性的物產─花生─取經，以模擬花生殼獨特空腔系統研發出可調節濕度的磁磚，創造一個可有效通風、調節濕度並與自然共生的開放空間，獨特的植物磚不僅帶來豐富色彩，更可在時間下誕生成豐富的植被樣貌。
旨在激發亞洲青年室內設計和建築設計創新能力的國際競圖比賽AYDA Awards，每年以更具理念、更有啟發性的高階議題，刺激青年設計師們突破現狀、創作出更有理想性的作品。從本屆多件作品試圖討論社會階級、都市空間、生態保育，在在凸顯當代生活所面臨的問題。評審們也期許所有參與學生能繼續深究、聚焦在這些非常有意義的探問，期望未來能成為有益於社會、更真切可行的方案，讓設計真正為台灣帶來轉變的能量。
About AYDA Awards
AYDA Awards 係由立邦塗料母公司立時集團（NIPSEA Group）於2008年時在馬來西亞首度舉辦，現為亞洲最具讚譽的設計盛事。全亞洲共計有馬來西亞、新加坡、菲律賓、孟加拉、泰國、巴基斯坦、印尼、土耳其、伊朗、越南、中國、日本、香港、斯里蘭卡、台灣、印度、緬甸等17個城市地區共同參與，吸引近萬名傑出亞洲青年設計師參賽。為了持續拓展亞洲年輕設計學子們的國際視野，2018年起，白金獎總決賽脫穎而出的年度最佳設計師，將在立邦全力支持下申請哈佛大學設計學院（Harvard University Graduate School of Design, Harvard GSD）為期三週的暑期課程「DESIGN DISCOVERY」；一旦哈佛接受申請，將由立邦支付課程期間價值超過一萬美金的交通、食宿與學費，是青年設計師前進哈佛的最佳機會。台灣活動官網：ayda.tw
台灣FB粉專：https://www.facebook.com/AYDATaiwan/
2023年12月22日 星期五
柬埔寨建築天才Poum Measbandol驟然離世 享年35歲
柬埔寨建築天才Poum Measbandol驟然離世 享年35歲
柬埔寨先鋒建築師Poum Measbandol突遭遇交通事故
在一個平凡的星期三，發生在柬埔寨暹粒（Siem Reap ）環城路上的一場悲劇性交通事故奪走了35歲的建築師兼藝術家Poum Measbandol的生命。Poum Measbandol不僅是數位繪畫的先驅，也是現代高棉建築的推廣者。他的突然離世，對於那些見證過他對於藝術和建築領域的貢獻者來說，無疑是一個巨大的打擊。Poum Measbandol的藝術與家庭背景
Poum Measbandol出身於一個藝術世家，他的父親曾是一名音樂家，而他的母親則是傳統舞蹈的教師。這樣的家庭背景在他的成長過程中，為他灌輸了對藝術和建築的深厚情感。他不僅是一位卓越的插畫家和建築師，還是柬埔寨建築歷史的學者，專注於將過去的建築插畫化，從而使之更加生動且易於理解。柬埔寨社會對Poum Measbandol的哀悼
當消息在社交媒體上傳開後，無數柬埔寨人在網絡上表達了對Poum Measbandol的哀悼。許多人認為他是一位難得一見的人才，並且作為一位建築師，他致力於將高棉建築推廣至全球。這樣的失落感，不僅是對個人的哀悼，更是對一位將[tag]柬埔寨建築[/tag]、文化和藝術推向世界舞台的使者的失去。Poum Measbandol的教育背景與創新
Poum Measbandol於2014年從柬埔寨的Pannasastra大學建築與設計學院畢業。在校期間，他運用現代技術創作出3D插畫，生動地描繪了Sangkum Reastr Niyum時期（1953-1970年）的著名現代高棉建築。他的作品不僅數量豐富，包括超過100件作品，例如Vann Molyvann的住宅、國家奧林匹克體育場、國家劇院、外國語言學院、金邊皇家大學和獨立紀念碑等。他的創新手法和深刻洞察使得他的作品在本土社交媒體上廣受讚譽，最終甚至吸引了泰國等國外媒體的關注。Poum Measbandol的藝術生涯與展覽
在藝術生涯中，Poum Measbandol被邀請在多個藝術展覽中展出他的畫作。2018年，他參加了在Kep舉辦的“KepExpo”展覽；2019年，他的作品在“混凝土轉型展覽”中展出；2020年，他又在“柬埔寨城市藝術”展覽中與眾多國內外藝術家共襄盛舉。這些展覽不僅展示了他的藝術才華，也體現了他在柬埔寨及國際藝術界的影響力。Poum Measbandol：研究與創作
Poum Measbandol在大學四年級時，開始參與與建築施工相關的任務，並從2013年開始研究相關的歷史文獻。直到2016年，他在收集了豐富的文獻資料後，開始創作數位繪畫，將包括國家奧林匹克體育場、外國語言學院和Chaktomuk會議中心等建築的主要布局描繪出來。Poum Measbandol花了超過五年的時間研究和重新設計柬埔寨最著名的建築師Vann Molyvann的所有建築。他曾說：“我繪製的大多數建築都是由Vann Molyvann設計的。他的建築為我提供了大量的研究材料，尤其是他的建築風格獨特，融合了我們柬埔寨人民的藝術、文化和生活方式。”Poum Measbandol的人格與友誼
Poum Measbandol的多年好友Khat Sochenda對他的描述是：“一個順從父母的孩子”。她說：“Measbandul是一個純潔的人，他是一個好人。”這樣的描述不僅展現了Poum Measbandol在個人品質方面的高尚，也反映出他在人際關係中所展現的真誠與和諧。2023年12月15日 星期五
台南創舉！柳營火車站前轉乘環境改造獲ArchDaily認可，黃卓仁這1個設計驚艷國際！
獲世界級建築網站ArchDaily認可！黃卓仁建築師「台南柳營火車站前轉乘環境優化工程」登上國際舞台 讓世界看到台南！
台南市交通局的卓越成就
台南市交通局所主辦的「柳營火車站前轉乘環境優化工程」，不僅在去年榮獲國家卓越建設獎中最佳規畫設計類的金質獎，近期更有幸獲選登陸世界知名建築網站ArchDaily。此一榮譽不僅彰顯了台灣在設計領域的創新力，更大幅提升了台南在國際舞台上的能見度。王銘德局長的遠見
台南市交通局長王銘德深知ArchDaily的重要性。這個被譽為世界一流且具有標誌性的建築媒體，被全球眾多建築愛好者所關注。據統計，截至2022年，該網站每月擁有高達1790萬的讀者群，以及約2.83億次的頁面瀏覽量，對於建築系學生而言，更是不可或缺的學習資源。透過交通局的積極推動，由丁尺建築師事務所所設計的「柳營火車站前轉乘環境優化工程」，成功入選該網站，為全球讀者所見。柳營火車站的轉變
王銘德局長指出，在過去，柳營火車站前廣場因缺乏周全的規畫，使得公車無法直接進入站區，旅客往往需在中山西路的站牌處下車，步行近500公尺才能轉乘其他交通工具，這不僅不便，也缺乏適當的遮風蔽雨設施。轉乘環境的全面提升
在交通局的努力下，終於獲得中央公路局的資助，完成了柳營火車站前的轉乘環境優化工程。這個工程不僅增加了公車迴轉空間和停靠區，還納入了奇美醫院接駁車的考量。此外，還同時設置了汽機車停車格、計程車格位、汽車臨時停車區、以及自行車停放區，整體規畫有效串連了柳營站區的行人空間。黃卓仁建築師的設計巧思
公共運輸處處長吳俁之表示，該優化工程由黃卓仁建築師所領導的丁尺建築師事務所設計。除了滿足基本的交通功能需求外，他們還運用現代設計手法，創造了視覺上具有穿透節奏感的獨特風格。風雨走廊的設計靈感來自於柳營地區稻田中的蜻蜓翅膀，採用金屬薄屋頂以產生漂浮感，並允許光線自然滲透。柱腳的十字變斷面鋼柱設計，更展現了建築的輕盈與優雅。小型工程的大影響力
吳俁之處長深信，雖然柳營火車站前轉乘環境優化設計屬於小型公共工程，但其所展現的深度和匠心不容小覷。能夠入選ArchDaily網站，不僅是對該工程的高度肯定，也期許透過這種精緻而實用的規畫，創造出更優質的交通設施公共空間，同時為地方打造獨特的門戶形象與美好記憶。
2023年12月13日 星期三
津川恵理追尋建築大師腳步，揭秘馬賽公寓的1個獨特發現
津川恵理Eri Tsugawa的世界建築探索之旅
津川恵理，一位傑出的日本建築家，1989年出生，於2013年畢業於京都工藝纖維大學，隨後在2015年完成了早稻田大學創造理工學術院的學業，加入美國建築師事務所Diller Scofidio＋Renfro工作，並於2019年創立ALTEMY，以及於2020年成為東京藝術大學的教育研究助理之後，津川恵理開始了她對世界各地建築的深入探訪。津川恵理與柯比意（Le Corbusier）的設計啟示
女建築師津川惠理在學生時代便對全球範圍內的建築充滿了濃厚的興趣，她曾踏上了為期約一個月的旅程，專門為了體驗和學習世界各地的建築風格。在這次旅行中，她特意前往法國馬賽，只為了一睹由著名法國建築師柯比意（Le Corbusier）設計的「ユニテ・ダビタシオン（Unité d'habitation 馬賽公寓）」。當她走過濃密的森林，那幢建築獨特而色彩鮮明的外觀便隱約出現在她眼前，讓她為之驚艷。ユニテ・ダビタシオン（Unité d'habitation 馬賽公寓）的卓越建築美學
柯比意（Le Corbusier）的「ユニテ・ダビタシオン（Unité d'habitation 馬賽公寓）」是其「光輝都市」計劃的具體實現，這座8層高、共有337戶的建築在1945年至1952年間建成。津川恵理進入這棟大廈的內部，立刻感受到了這裡獨特的建築美學。她偶遇的居民熱情地邀請她參觀他們的住宅，這讓她有機會近距離感受柯比意（Le Corbusier）所提倡的「身體尺度」設計理念。Charlotte Perriand的設計影響
在ユニテ・ダビタシオン（Unité d'habitation 馬賽公寓）的設計中，柯比意（Le Corbusier）的弟子Charlotte Perriand的影響不容忽視。她設計的家具不僅存放日用品，而且易於取用，進一步實現了適合身體尺度的居住空間。津川恵理通過這次探訪深刻地體會到了，真正豐富的生活不在於物質的多寡，而在於與自身需求相匹配的設計。ユニテ・ダビタシオン（Unité d'habitation 馬賽公寓）的室內與城市風光
這座建築內的居室雖然不大，但從其中可以欣賞到周邊城市的動人風景。每個居住單位不僅在空間上緊湊，更在上下層間展現出不同的風貌，充分展現了在有限空間內創造豐富生活的可能性。光與影在ユニテ・ダビタシオン（Unité d'habitation 馬賽公寓）的共用空間
在ユニテ・ダビタシオン（Unité d'habitation 馬賽公寓），建築細節的魅力尤為顯著。共用空間中的手欄和門把等，都巧妙地使用了貼合身體曲線的設計。此外，外界光線透過連續的木窗帶入室內，猶如在建築空間的畫布上勾勒出光與影的畫作。津川恵理渴望再次訪問這個地方，以建築家的身份重新體驗那裡的魅力。2023年12月5日 星期二
學甲動保教育園區規劃曝光 二億元打造動物樂園
學甲動保教育園區啟動 - 學甲多功能動物保護教育園區動土儀式
在台南市學甲區，一個多功能的動物保護教育園區——學甲多功能動物保護教育園區正在蓄勢待發。該園區將於一百一十四年十二月完工，特別針對學甲地區的遊蕩犬提供優先收容。此外，這個寵物公園化的設計不僅為當地居民提供了一個休憩與運動的好去處，也期望促進地方發展，同時確保居民的安全。五日舉行的動土祈福儀式，特邀了慈濟宮保生二大帝、南鯤鯓代天府玉皇大帝等多位神尊，共同祈求這項公共工程順利進行。郭書勝建築師事務所設計監造
學甲多功能動物保護教育園區由郭書勝建築師事務所設計監造。這不僅彰顯了郭書勝對於建築藝術的獨特見解，也展現了其對於動物保護和公共空間設計的深刻理解。園區的規劃與設計歷經多年與地方溝通及專家學者的審議，最終形成了一個集動物保護、教育及社區休閒於一體的綜合空間。園區全面規劃 - 學甲動保教育園區設施
台南市農業局表示，該園區的設立總經費達二億零九百萬元，佔地約二公頃。園區內設施豐富，包含動保教育館、動物收容館，並以公園化概念進行設計。園區內還有多功能廣場區、運動設施、小農市集廣場等，周邊則進行綠美化植栽，並設有生態滯洪池。這些設施不僅提升了園區的功能性，也為學甲地區帶來了獨特的景觀。園區的共榮與未來發展 - 學甲動保教育園區未來展望
台南市農業局致力於推動園區成為在地共榮的建設。未來，園區將規劃為環境教育的場域，預計每年吸引約三萬名學生和遊客到訪學甲，實現教育、休閒、觀光等多功能融合。這將有助於帶動大北門區觀光廊帶的整體發展，成為地區的一大亮點。貓咪與人共存的完美之家「凹の家」今井博康的夢想空間設計
「凹の家」與今井博康的設計理念
「凹の家」位於日本千葉縣松戶市，由今井博康（Hiroyasu Imai）精心構畫，是一個為了夫婦與兩隻貓共同生活而進行的中古公寓全面翻修室內設計案。在僅有的65平方米的空間裡，設計師力求創造出既適合人類又適合貓咪的舒適生活環境。他不僅考慮到了人類的需求，也深入了解貓咪的視角（包括其生態、習性和安全性），並巧妙地將這些考量融入設計之中。「凹の家」的空間重塑
在「凹の家」的設計過程中，今井博康將原有住宅的簡單田字型格局進行了改造，減少了房間的數量，並將原本分散的水回り（住宅中需要用水的地方，像是流理台、浴室、廁所等））整合為一體。這樣的改動不僅讓空間更加開闊，還創造出一條既變化多端又有深度的動線規劃。此外，房間的間隔被一些功能性的架子、懸浮的廚房和洗手間所取代，地板和牆壁之間留出了35公分的間隙。這35公分懸空的牆壁不僅為人類提供了分隔功能，同時也為貓咪創造了一個像廣場般的大型活動空間，同時也像野貓藏身於車底般提供了一個隱蔽的休憩場所。「凹の家」也是「貓咪之家」，今井博康為貓咪設計的每一個細節
在這個獨特的家中，設計師今井博康巧妙地為貓咪設計了許多活動空間和多樣化的動線。例如，架子中的階梯、窺視孔、梁下的貓步道等，這些設計不僅擴大了貓咪的活動領域，還提供了立體化的遊戲體驗。這樣的設計不僅使貓咪能夠自在地活動，也極大提高了整個居住空間的使用效率，如空調系統和機器人掃地機的效能都因為這樣的設計而得到改善。此外，其他的架子空洞則被用作投影機和試聽設備等功能性用途。「凹の家」的設計哲學
「凹の家」的設計展現了今井博康對於私人住宅室內設計的獨特視角。他將人類以外的生物和物品的需求納入考慮，創造出了一個既簡約又多功能的生活空間。在這個空間中，不同的生物和物品（如人類、貓、孩子、機器人掃地機等）共存，他們的習性和活動範圍在同一空間中得到了和諧的融合。這種設計不僅提高了居住的舒適度，也豐富了居住空間的多樣性和活力。今井博康（Imai Hiroyasu）簡介
今井博康（Imai Hiroyasu）是1992年出生於新潟縣，2015年自長岡造形大學造形學部畢業後，加入隈研吾建築都市設計事務所，擔任主任技師。他不僅於關東、新潟活動，更是在多個著名作品中扮演重要角色，如南三陸311紀念館、明治神宮博物館等。他的設計理念，旨在發掘場所、建築和人的本質價值，創造最大限度地生活化的設計。此外，今井博康也在建築設計競圖中獲得多項殊榮，包括2023年JACK全國翻新理念競賽的準大獎和JERCO關東甲信越支部翻新競賽的優秀獎，2022年雪國居住空間競賽優秀獎。2008年6月17日 星期二
2008西班牙世博會主場館 Zaragoza Bridge Pavilion-Zaha Hadid
Zaragoza Bridge Pavilion, a pavilion by Zaha Hadid Architects at Zaragoza Expo 2008 that doubles as a pedestrian bridge across the river Ebro in Zaragoza, Spain.
The pavilion, and the expo itself, opened this weekend.
Zaragoza Expo 2008 is dedicated to water and sustainable development.
[info]
ZARAGOZA BRIDGE PAVILION [ZARAGOZA, SPAIN] 2005-2008
PROGRAM: Interactive exhibition area focusing on water sustainability, integrating a pedestrian bridge to perform as gateway for the Zaragoza Expo 2008.
CLIENT: Expoagua Zaragoza 2008
ARCHITECTS: Design Zaha Hadid with Patrik Schumacher
Project Architect: Manuela Gatto
Project team:
CONSULTANTS: Engineers ARUP Associates
Cost Consultants: ARUP Associates / IDOM
Artists: Golan Levin and Zach Liebermann, Christian Moeller
SIZE:
ZARAGOZA BRIDGE PAVILION [ZARAGOZA, SPAIN]
The Zaragoza Bridge Pavilion is organized around 4 main objects, or 「pods」 that perform both as structural elements and as spatial enclosures. The Bridge Pavilion design stems from the detailed examination and research into the potential of a diamond shaped section - which offers both structural and programming properties. As in the case of space-frame structures, a diamond section represents a rational way if distributing forces along a surface.
Underneath the floor plate, a resulting triangular pocket space can be used to run utilities. Floors inside each pod are located at the Expo principal levels: +201.5m (the soffit of the bridge is at +200m, flood protection minimum level of the Ebro River at the location of the Bridge Pavilion) +203m, +206m and +207.5m for the upper level.
The diamond section has also been extruded along a slightly curved path. The extrusion of this rhombus section along different paths has generated the four separate 『pods' of the Bridge Pavilion. The stacking and interlocking of these truss elements (the 『pods'), satisfies two specific criteria: optimizing the structural system, and allowing for a natural differentiation of the interiors, where each pod corresponds to a specific exhibition space.
By intersecting the trusses/pods, they brace each other and loads are distributed across the four trusses instead of a singular main element, resulting in a reduction in size of load-bearing members.
The pods are stacked according to precise criteria - aimed at reducing the section of the bridge as much as possible where the span is longer (approximately 185m from the island in the middle of the river to the right bank), and enlarging it where the span is shorter (85m from the island to the Expo riverbank). One long pod spans from the right riverbank to the island, where the other three are grafted into it, spanning from island to left bank.
This interlocking of the pods has given the design many exciting possibilities. Interiors become complex spaces, where visitors move from pod to pod though small in-between spaces that act as filters - or buffer zones. These zones diffuse the sound and visual experience from one exhibition space to the next, allowing for a clearer understanding of the installation content within each pod. The identity of each pod remains thoroughly readable inside the pavilion, almost performing as a three-dimensional orientation device.
Spatial concern is one of the main drivers of this project. Each zone within the building has its own spatial identity; their nature varies from complete interior spaces focused on the exhibition, to open spaces with strong visual connections to the Ebro river and the Expo.
Natural surfaces have been investigated when designing the Pavilion's exterior surfaces. Shark scales are fascinating paradigms both for their visual appearance and for their performance. Their pattern can easily wrap around complex curvatures with a simple system of rectilinear ridges. For the Bridge Pavilion, this proves to be functional, visually appealing and economically convenient.
The building's envelope plays an essential role in defining its relation to the surrounding environment and atmospheric variations. The project has been designed to allow its interior to be thoroughly enlivened by the effect of atmospheric agents, such as the Tramontana wind blowing along the Ebro and, the strength of Zaragoza's sunshine.
During the Expo, a single weathering layer will enclose the building to protect it from rain. This Shark scale skin will be generated by a complex pattern of simple overlapping
shingles. Some shingles can rotate around a pivot, allowing for temporary opening or closing of part of the façade. The pattern of shingles overlapping each other gives the Bridge Pavilion the widest variety of natural light via several degrees of aperture sizes: from rays piercing through tiny apertures - to wide, full size openings. Large apertures are located on the lower level, in correspondence with either end of the bridge, allowing for the greatest degree of visual contact with the river and the Expo.
The pavilion, and the expo itself, opened this weekend.Zaragoza Expo 2008 is dedicated to water and sustainable development.[info]
ZARAGOZA BRIDGE PAVILION [ZARAGOZA, SPAIN] 2005-2008
PROGRAM: Interactive exhibition area focusing on water sustainability, integrating a pedestrian bridge to perform as gateway for the Zaragoza Expo 2008.CLIENT: Expoagua Zaragoza 2008ARCHITECTS: Design Zaha Hadid with Patrik Schumacher
Project Architect: Manuela Gatto
Project team:
Fabian Hecker Matthias Baer, Federico Dunkelberg, Maria Jose Mendoza, Jose' Monfa, Marta Rodriguez, Diego Rosales, Guillermo Ruiz, Lucio Santos, Hala Sheikh, Marcela Spadaro, Anat Stern.
CONSULTANTS: Engineers ARUP Associates
Cost Consultants: ARUP Associates / IDOM
Artists: Golan Levin and Zach Liebermann, Christian Moeller
SIZE:
Total Surface 6415 m2
Exhibition Surface 3915 m2
Pedestrian Bridge 2500 m2
ZARAGOZA BRIDGE PAVILION [ZARAGOZA, SPAIN]
The Zaragoza Bridge Pavilion is organized around 4 main objects, or 「pods」 that perform both as structural elements and as spatial enclosures. The Bridge Pavilion design stems from the detailed examination and research into the potential of a diamond shaped section - which offers both structural and programming properties. As in the case of space-frame structures, a diamond section represents a rational way if distributing forces along a surface.
Underneath the floor plate, a resulting triangular pocket space can be used to run utilities. Floors inside each pod are located at the Expo principal levels: +201.5m (the soffit of the bridge is at +200m, flood protection minimum level of the Ebro River at the location of the Bridge Pavilion) +203m, +206m and +207.5m for the upper level.The diamond section has also been extruded along a slightly curved path. The extrusion of this rhombus section along different paths has generated the four separate 『pods' of the Bridge Pavilion. The stacking and interlocking of these truss elements (the 『pods'), satisfies two specific criteria: optimizing the structural system, and allowing for a natural differentiation of the interiors, where each pod corresponds to a specific exhibition space.By intersecting the trusses/pods, they brace each other and loads are distributed across the four trusses instead of a singular main element, resulting in a reduction in size of load-bearing members.The pods are stacked according to precise criteria - aimed at reducing the section of the bridge as much as possible where the span is longer (approximately 185m from the island in the middle of the river to the right bank), and enlarging it where the span is shorter (85m from the island to the Expo riverbank). One long pod spans from the right riverbank to the island, where the other three are grafted into it, spanning from island to left bank.This interlocking of the pods has given the design many exciting possibilities. Interiors become complex spaces, where visitors move from pod to pod though small in-between spaces that act as filters - or buffer zones. These zones diffuse the sound and visual experience from one exhibition space to the next, allowing for a clearer understanding of the installation content within each pod. The identity of each pod remains thoroughly readable inside the pavilion, almost performing as a three-dimensional orientation device.
Spatial concern is one of the main drivers of this project. Each zone within the building has its own spatial identity; their nature varies from complete interior spaces focused on the exhibition, to open spaces with strong visual connections to the Ebro river and the Expo.
Natural surfaces have been investigated when designing the Pavilion's exterior surfaces. Shark scales are fascinating paradigms both for their visual appearance and for their performance. Their pattern can easily wrap around complex curvatures with a simple system of rectilinear ridges. For the Bridge Pavilion, this proves to be functional, visually appealing and economically convenient.
The building's envelope plays an essential role in defining its relation to the surrounding environment and atmospheric variations. The project has been designed to allow its interior to be thoroughly enlivened by the effect of atmospheric agents, such as the Tramontana wind blowing along the Ebro and, the strength of Zaragoza's sunshine.
During the Expo, a single weathering layer will enclose the building to protect it from rain. This Shark scale skin will be generated by a complex pattern of simple overlapping
shingles. Some shingles can rotate around a pivot, allowing for temporary opening or closing of part of the façade. The pattern of shingles overlapping each other gives the Bridge Pavilion the widest variety of natural light via several degrees of aperture sizes: from rays piercing through tiny apertures - to wide, full size openings. Large apertures are located on the lower level, in correspondence with either end of the bridge, allowing for the greatest degree of visual contact with the river and the Expo.
2008年6月16日 星期一
Cladding designs at the cutting edge
Source from
Cladding designs at the cutting edge
13 June 2008
By Cathy Strongman
Advances in technology mean that cladding can take on increasingly elaborate decorative forms. Cathy Strongman looks at three of the latest projects to exploit this approach, taking their inspiration from tree branches, flowers and Polish folk-art
Project: Polish Pavilion, Expo 2010
Architects: Wojciech Kakowski, Natalia Paszkowska and Marcin Mostafa
Location: Expo 2010, Shanghai
The architects have drawn on the Polish-inspired theme of a folk-art paper cut-out to create both the form and architectural d�cor of the exhibition space. 「We didn't wish the design to be literally folklorish, a mechanical multiplication of conventionally approved set patterns,」 says the architects. 「The intention was for the structure d�cor to draw on and make reference to tradition, but ultimately to be that tradition's contemporary reinterpretation, a creative extension into the present day by way of inspiration rather than replication」. They also wanted the pavilion to be a significant landmark and to stand out among the other pavilions during both the day and evening.
The exterior envelope is made from laser-cut plywood.
The exterior envelope is made from impregnated laser-cut plywood mounted on glued wood construction modules with flitch panels. Panel wall elements made of glass, polycarbonate, hydro or UV-resistant materials are mounted on the outer side of the modules. In addition, semi-transparent PCV or Tyvek-type material membranes will be mounted on the interior surface.
The architects chose these materials because of the transient nature of the project. They hope that the materials will be reused or that the entire building will be reconstructed in a Polish city after the Expo. The architects are also exploring the possibility of using the plywood elements cut from the elevation to produce indoor and outdoor furniture for the space.
By day, light filters through the cut-out patterns of the elevation and creates a distinctive pattern on the interior membrane of the building, enabling visitors to experience the theme of the pavilion from both inside and out. By night the appearance of the elevation will change as different colours of light penetrate the voids in the building's outer shell.
Different colours of light will alter the pavilion's appearance at night
The structure's slanted shape both complements the overall theme by suggesting a folded sheet of paper, and creates an exciting and flexible space for exhibitions, live performances and the necessary services. The partial roof created by the fold in the building provides shelter for an open-air restaurant and queuing visitors. The entrance opens onto a hall containing the information centre, a restaurant and a shop. Visitors then proceed to the main, full-height exhibition area, where the solid inner walls of the pavilion act as screens on which images of Polish city life are projected. The concert hall, located above the entrance roof, can be accessed from this area. Auxiliary functions are in the lowest part of the building, underneath the outdoor ramp which leads to the rooftop.
Carrying on their journey, visitors enter the main exhibition space. The floor gradually rises and leads to terraced stairs that double up as an auditorium when performances are taking place below. The stairs lead to the exhibition ramp, which rises to a bar and a final area for display.
Finally, the last stretch of the ramp leads to the roof terrace. Here visitors can take in the views before walking back down the external ramp back to the entrance.
Project: Flower House
Architect: A&J Burridge
Location: Highland Housing Fair, Inverness
Andrew and Jane Burridge have designed this three-bedroom house and separate live/work unit for the Highland Housing Fair. The fair, based on an event that has taken place in Finland for the last 40 years, will see 54 housing units, each with a strong sustainable agenda, built on a 5ha site south of Inverness. The design competition was concluded earlier this year and the Fair will open in August 2009. The houses will subsequently be on sale to the public.
This 130sq m house will be a timber construction - a prefabricated cross-laminated panel system. Its design incorporates many sustainable features including generous amounts of cellulose insulation, solar hot water panels, rainwater harvesting and whole house ventilation with heat recovery.
CNC technology will be used to cut the flower shapes from the sweet chestnut cladding
But from an aesthetic point of view, what really stands out is the flower-strewn cladding. This forms a monolithic surface over the walls and the roof of the building, and is constructed from untreated sweet chestnut. The flowers are to be cut out of the cladding using CNC technology (additional cladding will be inserted where the insulation would otherwise be exposed). Windows are standard units with flowers cut into the cladding on top, although the Burridges are investigating the possibility of CNC cutting the massive timber panels to form flower shaped openings.
�The design is still under development but we're trying to make a house that will appeal to the general public as well as having serious architectural intent,� says Andrew Burridge. �We chose flowers because we feel a lot of ecological houses take themselves a bit too seriously. You can still take the subject seriously and create a house with character.�
Construction of the Flower House will start early next year.
Project: Saint Cyprien auditorium and movie theatre
Architect: Serero Architects
Client: South Roussillon Community Council
Location: Saint Cyprien, France
The external concrete shell shades the lobby and auditorium.
Elevation
The canopy of the Auditorium et Salle Video Transmission Haute Resolution, which is due to start on site this autumn, was inspired by the trees that surround it.
「Trees are often a source of inspiration to me,」 says David Serero, founder of French practice Serero Architects. 「They are complex structures elaborated from simple rules, growing coherently and continuously in time and space. The efficiency of those structures is based on notions of redundancy and differentiation in opposition to the concepts of modern engineering such as optimisation and repetition,」 he adds.
The auditorium is set in parkland and the irregular appearance of the roof takes its form from the silhouettes of the surrounding sycamores, acacias, oaks and poplars. This creates a canopy over the concrete auditorium, which the practice describes as a 「pebble」 put under 「foliage」. By responding to the rhythm of the trees, the building becomes part of the landscape rather than an isolated object within it.
To create a final design for the building's external envelope, Serero Architects created a computer script with which to study various branching tree patterns. The cladding structure consists of a double concrete shell. The external shell acts as a canopy, protecting the lobby and the auditorium from the sun. The internal shell, make of concrete and glass, regulates the temperature and ventilation within the building.
Egg-shaped perforations allow natural light to enter the building from above, creating a dappled effect on the foyer floor and the auditorium walls. Towards the end of the day, artificial lights positioned on the sides of the oculus progressively compensate for the lowering light levels, before fully replacing the natural light once it is dark.
The auditorium placed within the external shell of the building is designed to perform both as a concert hall and a cinema. The interior is lined with timber slats and variable density insulation to achieve appropriate acoustics for both cinema and classical music performances.
The ceiling's complex geometry diffuses sound to the whole audience and creates an enveloping atmosphere. Seats are arranged in seven zones of different sizes, which allows the seating to be rearranged depending on the event that is taking place.
The building's foyer, showing the dappled lighting on the floor.
The auditorium interior is lined with timber slats.
Exploded axonometric
-
Diagram illustrating the design process from branch pattern of trees to the concrete structure.
Cladding designs at the cutting edge
13 June 2008
By Cathy Strongman
Advances in technology mean that cladding can take on increasingly elaborate decorative forms. Cathy Strongman looks at three of the latest projects to exploit this approach, taking their inspiration from tree branches, flowers and Polish folk-art
Project: Polish Pavilion, Expo 2010
Architects: Wojciech Kakowski, Natalia Paszkowska and Marcin Mostafa
Location: Expo 2010, Shanghai
The architects have drawn on the Polish-inspired theme of a folk-art paper cut-out to create both the form and architectural d�cor of the exhibition space. 「We didn't wish the design to be literally folklorish, a mechanical multiplication of conventionally approved set patterns,」 says the architects. 「The intention was for the structure d�cor to draw on and make reference to tradition, but ultimately to be that tradition's contemporary reinterpretation, a creative extension into the present day by way of inspiration rather than replication」. They also wanted the pavilion to be a significant landmark and to stand out among the other pavilions during both the day and evening.
The exterior envelope is made from laser-cut plywood.
The exterior envelope is made from impregnated laser-cut plywood mounted on glued wood construction modules with flitch panels. Panel wall elements made of glass, polycarbonate, hydro or UV-resistant materials are mounted on the outer side of the modules. In addition, semi-transparent PCV or Tyvek-type material membranes will be mounted on the interior surface.
The architects chose these materials because of the transient nature of the project. They hope that the materials will be reused or that the entire building will be reconstructed in a Polish city after the Expo. The architects are also exploring the possibility of using the plywood elements cut from the elevation to produce indoor and outdoor furniture for the space.
By day, light filters through the cut-out patterns of the elevation and creates a distinctive pattern on the interior membrane of the building, enabling visitors to experience the theme of the pavilion from both inside and out. By night the appearance of the elevation will change as different colours of light penetrate the voids in the building's outer shell.
Different colours of light will alter the pavilion's appearance at night
The structure's slanted shape both complements the overall theme by suggesting a folded sheet of paper, and creates an exciting and flexible space for exhibitions, live performances and the necessary services. The partial roof created by the fold in the building provides shelter for an open-air restaurant and queuing visitors. The entrance opens onto a hall containing the information centre, a restaurant and a shop. Visitors then proceed to the main, full-height exhibition area, where the solid inner walls of the pavilion act as screens on which images of Polish city life are projected. The concert hall, located above the entrance roof, can be accessed from this area. Auxiliary functions are in the lowest part of the building, underneath the outdoor ramp which leads to the rooftop.
Carrying on their journey, visitors enter the main exhibition space. The floor gradually rises and leads to terraced stairs that double up as an auditorium when performances are taking place below. The stairs lead to the exhibition ramp, which rises to a bar and a final area for display.
Finally, the last stretch of the ramp leads to the roof terrace. Here visitors can take in the views before walking back down the external ramp back to the entrance.
Project: Flower House
Architect: A&J Burridge
Location: Highland Housing Fair, Inverness
Andrew and Jane Burridge have designed this three-bedroom house and separate live/work unit for the Highland Housing Fair. The fair, based on an event that has taken place in Finland for the last 40 years, will see 54 housing units, each with a strong sustainable agenda, built on a 5ha site south of Inverness. The design competition was concluded earlier this year and the Fair will open in August 2009. The houses will subsequently be on sale to the public.
This 130sq m house will be a timber construction - a prefabricated cross-laminated panel system. Its design incorporates many sustainable features including generous amounts of cellulose insulation, solar hot water panels, rainwater harvesting and whole house ventilation with heat recovery.
CNC technology will be used to cut the flower shapes from the sweet chestnut cladding
But from an aesthetic point of view, what really stands out is the flower-strewn cladding. This forms a monolithic surface over the walls and the roof of the building, and is constructed from untreated sweet chestnut. The flowers are to be cut out of the cladding using CNC technology (additional cladding will be inserted where the insulation would otherwise be exposed). Windows are standard units with flowers cut into the cladding on top, although the Burridges are investigating the possibility of CNC cutting the massive timber panels to form flower shaped openings.
�The design is still under development but we're trying to make a house that will appeal to the general public as well as having serious architectural intent,� says Andrew Burridge. �We chose flowers because we feel a lot of ecological houses take themselves a bit too seriously. You can still take the subject seriously and create a house with character.�
Construction of the Flower House will start early next year.
Project: Saint Cyprien auditorium and movie theatre
Architect: Serero Architects
Client: South Roussillon Community Council
Location: Saint Cyprien, France
The external concrete shell shades the lobby and auditorium.
Elevation
The canopy of the Auditorium et Salle Video Transmission Haute Resolution, which is due to start on site this autumn, was inspired by the trees that surround it.
「Trees are often a source of inspiration to me,」 says David Serero, founder of French practice Serero Architects. 「They are complex structures elaborated from simple rules, growing coherently and continuously in time and space. The efficiency of those structures is based on notions of redundancy and differentiation in opposition to the concepts of modern engineering such as optimisation and repetition,」 he adds.
The auditorium is set in parkland and the irregular appearance of the roof takes its form from the silhouettes of the surrounding sycamores, acacias, oaks and poplars. This creates a canopy over the concrete auditorium, which the practice describes as a 「pebble」 put under 「foliage」. By responding to the rhythm of the trees, the building becomes part of the landscape rather than an isolated object within it.
To create a final design for the building's external envelope, Serero Architects created a computer script with which to study various branching tree patterns. The cladding structure consists of a double concrete shell. The external shell acts as a canopy, protecting the lobby and the auditorium from the sun. The internal shell, make of concrete and glass, regulates the temperature and ventilation within the building.
Egg-shaped perforations allow natural light to enter the building from above, creating a dappled effect on the foyer floor and the auditorium walls. Towards the end of the day, artificial lights positioned on the sides of the oculus progressively compensate for the lowering light levels, before fully replacing the natural light once it is dark.
The auditorium placed within the external shell of the building is designed to perform both as a concert hall and a cinema. The interior is lined with timber slats and variable density insulation to achieve appropriate acoustics for both cinema and classical music performances.
The ceiling's complex geometry diffuses sound to the whole audience and creates an enveloping atmosphere. Seats are arranged in seven zones of different sizes, which allows the seating to be rearranged depending on the event that is taking place.
The building's foyer, showing the dappled lighting on the floor.
The auditorium interior is lined with timber slats.
Exploded axonometric
-
Diagram illustrating the design process from branch pattern of trees to the concrete structure.
Franz Kafta Society Center by Steven Holl
Architect Steven Holl has completed the interior of the Franz Kafka Society in Prague, Czech Republic.
Created in collaboration with Czech architect Marcela Steinbachová of Skupina, the centre features a rotating shelf-lined door between a room filled with black bookshelves and another lined with white ones.
Here's some text from Holl:
–
Steven Holl and Marcela Steinbachová complete interior project for the Franz Kafka Society Center in Prague.
In collaboration with the Czech architect Marcela Steinbachová (Skupina) Steven Holl Architects has realized the interiors for the
Franz Kafka Society in a small courtyard building of a tenement house not far from where writer Franz Kafka once lived. The 172
square meter project is located in close proximity to the Old Town Square in the center of Prague's former Jewish quarter.
The basement of the small one-story building, formerly used for laundry and storage, now houses a space for exhibitions, lectures, and concerts, as well as it accommodates Franz Kafka's private library. On the first level of the building the Franz Kafka Society has located its offices. The previously dark and dismal spaces of the building are now washed in daylight coming through newly inserted windows and skylights that provide unexpected views to the towers of the Maisel Synagogue.
Marcela Steinbachová (Skupina) and Steven Holl Architects have deliberately situated these windows off axis to the interiors. Inside the building new visual connections through openings and inspection holes give its small spaces depth and create visual connections.
All new partitioning in the building, even when carving out spaces for restrooms and a kitchenette, is created exclusively by book shelves. In one half of the building these bookshelves appear in white (offices) and the other half is filled with black bookshelves (entry hall). Coming from the central corridor one only sees black bookshelves and when coming from the offices one encounters white bookshelves.
A 360-degree rotating door between the corridor and the director's offices, black on one side and white on the other, reverses white to black The flat roof of the courtyard building will be covered with cement tiles displaying the plan of the former Jewish Quarter before its demolition in 1896.
This open-air rooftop space will be used for concerts and exhibitions during summer. The courtyard and the courtyard building are accessed through the Franz Kafka bookstore and reference library both interiors designed by Marcela Steinbachovaá (Skupina) The Franz Kafka Society, established in 1990, is a non-governmental non-profit organization.
Its main goal is to contribute to reviving the traditions that gave rise to the phenomenon called Prague German literature, while restoring general awareness of the great significance of cultural plurality in Central Europe, a region where the Czechs, Germans and the Jews have been living together for centuries.
Promoting those traditions, epitomized by the name of Franz Kafka, the Society is devoting systematic attention to his works, seeking to make Kafka's heritage a natural component of the Czech cultural context. The Society pursues its literary evenings, debates, specialized lectures and seminars at the Franz Kafka Society Center. The Society has published over a hundred books to date. Among the Society's members are Günter Grass, the holder of the Nobel Prize for Literature, Israeli writers Amos Oz and Avigdor Dagan (Viktor Fischl), and Polish poet Tadeusz Rózewicz.
For more information on the Franz Kafka Society, please visit www.franzkafka-soc.cz
Steven Holl Architects has realized cultural, civic, academic and residential projects both in the United States and internationally. Steven Holl is a tenured Professor at Columbia University's Graduate School of Architecture and Planning. In 1976 he founded Steven Holl Architects, which has now offices in New York and Beijing with a staff of 63.
Currently under construction is the Linked Hybrid mixed-use complex (Beijing, China) which made it to the third project in TIME magazine's list of upcoming Architectural Marvels of 2007, the Nanjing Museum of Art and Architecture (Nanjing, China), the Vanke Center (Shenzhen, China), Beirut Marina (Beirut, Lebanon), and the Herning Center of the Arts (Herning, Denmark).
In September 2007 Steven Holl Architects opened the renovation of the Interiors for the Department of Philosophy in the Faculty of Arts & Science at New York University (NYU) and last month the office presented its design for the Hudson Yards in New York City. Recently the office has won a number of international design competitions including Herning Center of the Arts (Herning, Denmark), Cité du Surf et de l'Océan (Biarritz, France), Sail Hybrid (Knokke-Heist, Belgium), Meander (Helsinki, Finland) and Vanke Center (Shenzhen, China).
Marcela Steinbachová (1975, Prague) is a young Czech architect that leads her own office Skupina since 2006. She studied architecture at the University of Applied Arts, Prague, at the School of Architecture of the Prague Academy of Fine Arts, the Schule für angewandte Kunst in Vienna and at Cooper Union in New York (video-art, photography).
Currently under construction is the Svetozor cinema in the centre of Prague and among the completed projects are the interiors of the Arena Theatre in Ostrava, the production and administration hall in Hodonín, and the Ostrava Museum permanent collection spaces. Recently Skupina has won the competition for the new Prague Technical Museum.
Since 2002 Marcela Steinbachová leads the Kruh association (The Circle), which aims to draw architecture closer to the Czech public. For more information on Marcela Steinbachova, please visit www.skupina.org
2008年6月13日 星期五
柏克萊藝術博物館 by 伊東豊雄
Source from SFGate
Ahead of the herd: Norman Foster redesigns the elephant house at a Denmark zoo
He doesn't have the name recognition of a Frank Gehry or a Daniel Libeskind, but Toyo Ito is one of Japan's most acclaimed and adventurous architects. Looking at the design for a downtown Berkeley museum that would be his first building in the United States, it's easy to see why.
The white steel walls part and fold like ribbons or drapes. Inside, spaces flow one into the next: a gallery here, a screening room there, a terrace scooped into the facade. It's a refined honeycomb, enlarged to human scale.
If reality measures up to Ito's vision, this home for art could be a sinuous work of art itself when it opens in 2013.
"We want the feeling that nature has - merging and melting," Ito said last week by phone, via an interpreter, from his office in Tokyo. "The spaces will shrink and enlarge, shifting as you move through."
The project involves a new home for UC Berkeley's Berkeley Art Museum and Pacific Film Archive, twins now housed on Bancroft Street in a concrete redoubt from 1970, designed by Mario Ciampi.
Ciampi's building is an architectural tour de force, with the interior spaces fanning out like a stack of heavy cards - but the wide-open form and stone-hard structure limits its adaptability to new forms of art, such as video installations.
Ito takes a different approach to the project he's been working on since the fall of 2006, when the university selected him to design a facility that would blend the functions of the two closely affiliated institutions.
The new site is at Center and Oxford streets, filling half a block that faces the grass and trees of the western edge of the UC Berkeley campus. It also sits within a stone's throw of BART and downtown Berkeley's tallest buildings.
Inside the box
The architectural response by Ito bears no resemblance to the sharp-edged bravado of Libeskind's new Contemporary Jewish Museum, or the Thom Mayne-designed San Francisco Federal Building that opened last year. Instead, Ito has conceived a simple three-story box with each level divided into 16 roughly equal squares.
Then the fun begins.
Instead of a formal procession of rooms, corridor leading to gallery, the spaces bleed one into the next. One gallery might have a fairly traditional form; the next beckons like a calm eddy off a stream. The walls might peel back like curtains at one entrance, or lift up as though an unseen hand is offering you a glimpse behind a veil.
The ground floor of the 139,000-square-foot structure will be the most porous of all. From Center Street, patrons could amble through on a loose diagonal, never paying admission, to another doorway at the corner of Oxford and Addison streets.
Blending traditions
The organic swirl is partly a response to the nature of the institutions, which blend traditional artwork with film screenings and experimental installations. But Ito said he also is drawn by the location, which blurs town and gown, green landscape and gray streets.
"We're not on the campus. We're not in the middle of the city, either," said Ito, whose firm is being assisted by San Francisco's EHDD. "The grid erodes, creating a fluid form."
That fluidity is accented by a structural approach never attempted in the United States at this scale.
The walls that snake through the grid will be engineered to bear the weight of the building, so there'll be no need for freestanding columns. But the walls also will be just 5 inches thick.
Because of the cellular layout - picture an easygoing egg-carton - the weight will be distributed so evenly that the walls will consist of little more than a 3-inch-thick layer of concrete compressed between two inch-thick plates of steel.
Unorthodox as this sounds, it's a natural progression for Ito: His buildings in Japan often start with grids and then whittle away as much structure as possible in pursuit of elegant settings that encourage exploration.
"This is not a place where you only see art," Ito said. "It is various experiences, various media, but all related." As for the engineering, "We have done similar structures in Japan ... this one has curves - but creating a curved surface by weaving steel panels has been done many times in shipbuilding."
The schedule calls for demolition of the existing buildings next year, followed by construction in 2010 and an opening in 2013. The anticipated budget - privately funded, university officials hasten to say - is estimated to be roughly $120 million for construction alone.
As for Ciampi's arts center, it will get a seismic retrofit and be put to new use.
School ties
Beyond the architectural details, Ito's building is fascinating for how it might alter the map of central Berkeley.
Like many university cities, Berkeley pretends there's a solid line between town and gown. Downtown, however, the two increasingly overlap. New apartments often are rented to students; older office space is snapped up for campus spillover.
By placing its new museum on Center Street, UC would make the link visible at the same time it enlivens an area it has tended to treat as a glorified service yard. Indeed, the two buildings now on the site are a parking garage and a printing plant (the United Nations charter was printed there in 1945, causing some Berkeleyans to call for its preservation).
Other projects are simmering. The adjacent block of Center Street - a well-trod path from BART to the campus - may become a plaza. Next door to Ito's site, the university has selected a developer to build a conference center topped by a hotel, though that project is moving slowly.
It's a site charged by the sensitive relationship between the university and the surrounding community. Ito's design offers the chance for a symbol that shows town and gown can gain strength from each other - and that the definition of an art museum is as fluid as the definition of art itself.
Toyo Ito has conceived a simple three-story box with each level divided into 16 roughly equal squares. Illustration courtesy of Toyo Ito & Associates
The new site is at Center and Oxford streets, filling half a block that faces the grass and trees of the western edge of the UC Berkeley campus. It also sits within a stone's throw of BART and downtown Berkeley's tallest buildings. Photo courtesy of UC Berkeley
A rendering of the proposed museum on the western edge of the UC Berkeley campus. The design calls for a structural approach never attempted on this scale in the United States. Illustration courtesy of Toyo Ito & Associates
Construction of the museum, which will showcase traditional art with installations and film screenings, is expected to begin in 2010. Illustration courtesy of Toyo Ito & Associates
Chronicle graphic by Todd Trumbull
Ahead of the herd: Norman Foster redesigns the elephant house at a Denmark zoo
He doesn't have the name recognition of a Frank Gehry or a Daniel Libeskind, but Toyo Ito is one of Japan's most acclaimed and adventurous architects. Looking at the design for a downtown Berkeley museum that would be his first building in the United States, it's easy to see why.
The white steel walls part and fold like ribbons or drapes. Inside, spaces flow one into the next: a gallery here, a screening room there, a terrace scooped into the facade. It's a refined honeycomb, enlarged to human scale.
If reality measures up to Ito's vision, this home for art could be a sinuous work of art itself when it opens in 2013.
"We want the feeling that nature has - merging and melting," Ito said last week by phone, via an interpreter, from his office in Tokyo. "The spaces will shrink and enlarge, shifting as you move through."
The project involves a new home for UC Berkeley's Berkeley Art Museum and Pacific Film Archive, twins now housed on Bancroft Street in a concrete redoubt from 1970, designed by Mario Ciampi.
Ciampi's building is an architectural tour de force, with the interior spaces fanning out like a stack of heavy cards - but the wide-open form and stone-hard structure limits its adaptability to new forms of art, such as video installations.
Ito takes a different approach to the project he's been working on since the fall of 2006, when the university selected him to design a facility that would blend the functions of the two closely affiliated institutions.
The new site is at Center and Oxford streets, filling half a block that faces the grass and trees of the western edge of the UC Berkeley campus. It also sits within a stone's throw of BART and downtown Berkeley's tallest buildings.
Inside the box
The architectural response by Ito bears no resemblance to the sharp-edged bravado of Libeskind's new Contemporary Jewish Museum, or the Thom Mayne-designed San Francisco Federal Building that opened last year. Instead, Ito has conceived a simple three-story box with each level divided into 16 roughly equal squares.
Then the fun begins.
Instead of a formal procession of rooms, corridor leading to gallery, the spaces bleed one into the next. One gallery might have a fairly traditional form; the next beckons like a calm eddy off a stream. The walls might peel back like curtains at one entrance, or lift up as though an unseen hand is offering you a glimpse behind a veil.
The ground floor of the 139,000-square-foot structure will be the most porous of all. From Center Street, patrons could amble through on a loose diagonal, never paying admission, to another doorway at the corner of Oxford and Addison streets.
Blending traditions
The organic swirl is partly a response to the nature of the institutions, which blend traditional artwork with film screenings and experimental installations. But Ito said he also is drawn by the location, which blurs town and gown, green landscape and gray streets.
"We're not on the campus. We're not in the middle of the city, either," said Ito, whose firm is being assisted by San Francisco's EHDD. "The grid erodes, creating a fluid form."
That fluidity is accented by a structural approach never attempted in the United States at this scale.
The walls that snake through the grid will be engineered to bear the weight of the building, so there'll be no need for freestanding columns. But the walls also will be just 5 inches thick.
Because of the cellular layout - picture an easygoing egg-carton - the weight will be distributed so evenly that the walls will consist of little more than a 3-inch-thick layer of concrete compressed between two inch-thick plates of steel.
Unorthodox as this sounds, it's a natural progression for Ito: His buildings in Japan often start with grids and then whittle away as much structure as possible in pursuit of elegant settings that encourage exploration.
"This is not a place where you only see art," Ito said. "It is various experiences, various media, but all related." As for the engineering, "We have done similar structures in Japan ... this one has curves - but creating a curved surface by weaving steel panels has been done many times in shipbuilding."
The schedule calls for demolition of the existing buildings next year, followed by construction in 2010 and an opening in 2013. The anticipated budget - privately funded, university officials hasten to say - is estimated to be roughly $120 million for construction alone.
As for Ciampi's arts center, it will get a seismic retrofit and be put to new use.
School ties
Beyond the architectural details, Ito's building is fascinating for how it might alter the map of central Berkeley.
Like many university cities, Berkeley pretends there's a solid line between town and gown. Downtown, however, the two increasingly overlap. New apartments often are rented to students; older office space is snapped up for campus spillover.
By placing its new museum on Center Street, UC would make the link visible at the same time it enlivens an area it has tended to treat as a glorified service yard. Indeed, the two buildings now on the site are a parking garage and a printing plant (the United Nations charter was printed there in 1945, causing some Berkeleyans to call for its preservation).
Other projects are simmering. The adjacent block of Center Street - a well-trod path from BART to the campus - may become a plaza. Next door to Ito's site, the university has selected a developer to build a conference center topped by a hotel, though that project is moving slowly.
It's a site charged by the sensitive relationship between the university and the surrounding community. Ito's design offers the chance for a symbol that shows town and gown can gain strength from each other - and that the definition of an art museum is as fluid as the definition of art itself.
Toyo Ito has conceived a simple three-story box with each level divided into 16 roughly equal squares. Illustration courtesy of Toyo Ito & Associates
The new site is at Center and Oxford streets, filling half a block that faces the grass and trees of the western edge of the UC Berkeley campus. It also sits within a stone's throw of BART and downtown Berkeley's tallest buildings. Photo courtesy of UC Berkeley
A rendering of the proposed museum on the western edge of the UC Berkeley campus. The design calls for a structural approach never attempted on this scale in the United States. Illustration courtesy of Toyo Ito & Associates
Construction of the museum, which will showcase traditional art with installations and film screenings, is expected to begin in 2010. Illustration courtesy of Toyo Ito & Associates
Chronicle graphic by Todd Trumbull
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