2012년 11월 19일 월요일

Martha Schwartz & Charles Waldheim





Martha Schwartz recently gave a one and half hour presentation at Harvard GSD about her firm’s works and recently published book Recycling Spaces: Curating Urban Evolution: The Work of Martha Schwartz Partners. Martha Schwartz is Professor in Practice of Landscape Architecture at the GSD. A landscape architect and artist for over 29 years, she teaches a core studio and design studios focusing on artistic expression in the landscape.

VIDEO CREDIT | Harvard GSD

2012년 11월 12일 월요일

Tepoztlan Lounge in MEXICO CITY

THIS is a real vacation!!!

Source: Dezeen

Travellers visting the Mexican town of Tepoztlan can spend a few nights, months or even years at this three-armed concrete guesthouse by architects Cadaval & Sola-Morales.

Cadaval & Sola-Morales designed the pavilion as the first in a series of new holiday homes in the town, which sits on the outskirts of Mexico City on the edge of the Tepoztlan mountain.

The building has three concave elevations that shape the boundaries of two patios at the back and an egg-shaped swimming pool at the front.

Walls slide back across each elevation, opening the building’s central room out to the garden. ”The lounge is set to be a central communal space for leisure in nature,” explain the architects.

This concept is emphasised by the presence of two trees growing up through the floor and roof, which the architects planned the structure around.

Rooms are contained at the three corners of the building, so that a living room is at one end, a children’s playroom is at another and a kitchen and two washrooms are in the third.

There are no beds in the building, only hammocks suspended across the lounge.

See more recent projects in Mexico, including a bone-like tower of concrete and a weekend house with a perforated facade.

Photography is by Sandra Pereznieto, apart from where otherwise stated.

Here’s a project description from Cadaval & Sola-Morales:

Tepoztlan Lounge

Tepoztlan, is a small town nestled between rocky cliffs located to the south of Mexico City, 50 kilometers away from the vibrant metropolis. With its well preserved historic center and wild countryside, Tepoztlan is a town of legends and deep cultural roots that has been appreciated by writers, poets, artists and musicians over many decades, turning it into their hometown or weekend retreat. Located in this incredible context and surrounded by an astonishing landscape, the Tepoztlan Lounge is the first building completed of a larger project that also includes a series of bungalows of different sizes and designs, which can be rented by years, months or days.

The lounge is set to be a central communal space for leisure in nature, and is located in the perimeter of an incredible lawn; the idiosyncrasy of the project relies on enabling the experience of the carefully manicured lawn while promoting the experience of the wild nature existing in the boundaries of this central space. The project is a negotiation between interior and exterior, a construction of an in-between condition, an inhabitable threshold, which becomes the main space of the project; the limits between the open and the content space merge to produce a single architectural entity.

The design establishes three separate living quarters designed in accordance to the 3 activities planned; each of them is a set space defined by its use, but also by a very clear and simple architectural container: the first holds an open bar with a kitchenette, together with a couple of restrooms and dressing rooms; the second is a play area for children that can also be used as a reading room when temperatures drop at night; and finally the largest container is the living area, an enclosed, tempered and comfortable space for conversation, TV, etcetera. But it is the desire to give continuity between these three separate areas where the project is empowered and becomes meaningful; a continuous space, in full contact with the nature but protected from its inclemency is set up not only to expand the enclosed uses, but also to allow new activities to arise.

And it is through the definition of this central space, through the definition of its shape, that the contiguous courtyards are defined; those are as essential to the project as it is the built architecture, and allows constructing as a whole, single spatial experience. At the same time that the three built containers give continuity to the central space by mans of their use and space, the adjacent patios qualify it, while providing diversity and idiosyncrasy to open space. The design of the swimming pool is part of this same intervention, and responds to the desire to characterize the spaces; its formalization necessarily resonates the layout of the lounge, while incorporating to its nature the possibility of a multiplicity of ways of using water, and plunging on it.

The building is located as a plinth valuing the views of the mountains. The building wants to be respectful to the existing context, and understands that the vegetation and life at open air are the real protagonist. Two impressive trees that are in place are incorporated within the layout of the lounge, as if they were part of the program itself. The Tepoztlan Lounge is constructed in concrete not just for being a inexpensive and labor intensive material in Mexico and to minimize its maintenance, but also to expose its structural simplicity and neutrality towards the astonishing nature.

Above: photograph is by Diego Berruecos 

Name of the project: Tepoztlán Lounge.
Name of the Office: Cadaval & Solà-Morales.
Project: Eduardo Cadaval & Clara Solà-Morales.
Collaborators: Eugenio Eraña Lagos, Tomas Clara, Manuel Tojal.
Structural Engineering: Ricardo Camacho de la fuente.
Location: Tepoztlán, Morelos, México.
Área: 250sqm.
Date: Project: 2009. Construction 2012 


Above: site plan – click above for larger image 


Above: floor plan – click above for larger image 


Above: front elevation – click above for larger image 


Above: east elevation – click above for larger image 


Above: rear elevation – click above for larger image 


Above: west elevation – click above for larger image

2012년 11월 8일 목요일

e(CO)strategia

By Damian Holmes on November 7, 2012


The competition was about rethinking the border between the natural park of Collserola and the City of Barcelona. It has been divided this edge in 16 parts and call it doors. There has been proposals for each door, related to the particular context and situation of this part of the edge.

Taller Sau’s proposal is for the 13th Door, located in the north of the city of Barcelona . This site is also one of the main entrances of the city by car. All these highway lanes have fragmented the urban weave and isolated the neighbourhood of la Trinitat from the city. At the same time the green spaces system has been broken up by the road system and lost its flow.

The main proposals of the project are:

Define the edge between the city and the mountains as a surface, a space occupied by domesticated fields, a place between nature and city where you can find community vegetable gardens, open air green spaces, … domesticated nature between the concrete of the city and the wildness of the natural park.



Recover the flow of the green spaces system of Barcelona metropolitan area, connecting the Collserola natural park with Besòs river and Serra marina, the mountain system on the other side of the highway. Recovering the valley section of the place and getting a stronger and continuous ecosystem. We also include the green spaces system of the city of Barcelona to this huge green system.

Connect “La Trinitat” neighbourhood to the neighbourhoods of its boundaries in order to solve its isolation situation.

In conclusion, weaving biological and urban flows in order to improve society and ecosystem together.


e(CO)stratègia | Barcelona Spain | Taller Sau

Design company | Taller Sau

Project | e(CO)stratègia

Competition | “Les 16 portes de Collserola, porta 13″ Competition

Awards | First prize

Type | Landscape / Urban Planning

Location | Barcelona / Spain

Year | 2012

IMAGE CREDIT | Taller Sau

2012년 10월 29일 월요일

2012 LAGI Winners announced!

Most of my favorites are in the shortlist as chosen by a selection committee in NYC. Not in the 1st place......hmm...

anyway!

1st Place

Scene-Sensor // Crossing Social and Ecological Flows
Artist Team: James Murray, Shota Vashakmadze


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2nd Place

Fresh Hills
Artist Team: Matthew Rosenberg

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3rd Place

PIVOT
Artist Team: Ben Smith, Vee Hu

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4th Place

99 Red Balloons
Artist Team: Scott Rosin, Meaghan Hunter, Danielle Loeb, Emeka Nnadi, Kara McDowell, Jocelyn Chorney, Indrajit Mitra, Narges Ayat, Denis Fleury

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Related post on this blog

2012년 10월 25일 목요일

Designers Should...

The new report says: Designers should persuade clients with numbers not aesthetics.


Source: Dezeen

A tool that lets businesses measure and predict the financial outcomes of investing in design is being developed by a research team in Finland, whose project leader says designers should talk numbers rather than aesthetics to appeal to prospective clients.

The Design ROI tool is a collaboration between 15 Finnish design agencies and a team of academics at Aalto University in Helsinki, which was established in 2010 in the merger of the Helsinki University of Technology, the University of Art and Design Helsinki and Helsinki School of Economics.

“What we’ve set out to do is to create a methodology and metrics to measure the economic impact of design,” project leader Antti Pitkänen told Dezeen. The team analysed more than 40 internationally published academic papers to find out what design strategies businesses are investing in, whether they are benefiting from that investment and how to quantify those benefits.

The researchers also identified four areas of design in which businesses might invest: products; brands; spaces, such as offices and shops; and services, which covers how well a business responds to customers’ needs.

The first prototype of the tool is a complex spreadsheet that calculates the multiple variables affecting the return on investment (ROI) that design can deliver.

“We haven’t created a holy grail, but we’ve really tried to understand the problematics behind design ROI as well as creating some kind of understanding of the ‘ballpark’ return on the investment,” Pitkänen told Dezeen. “So if I invest £100,000, do I get £100,000 back or do I get twice that, or ten times that?”


Although it’s impossible to predict the exact return on an investment, said Pitkänen, the Design ROI tool can indicate a positive or negative result and suggest approximate figures. So while good design brings benefits that can’t be measured, designers should be thinking more about the bottom line if they want to bring clients onside, he continued.

“Design can be approached in a number of different ways. We can look at it on a qualitative basis – something is better than something else, or more beautiful. This is something that designers and design agencies are very efficient in talking about.

“But we also looked at financial measures and other quantitative measures, like the number of visits to a webpage. And with the financial measures, we’re looking at how design influences more money coming into the company, or less money going out.

“We looked at all the benefits that design has, but we focused on the link between design and what effect it has on the bottom line. And not only is it beneficial, but it’s possible to measure it.”

He suggested that designers could attract more clients by avoiding subjective language about the look and feel of a design in favour of talking about the clear financial benefits of investing in design.

“The core of the problem is that design agencies talk to people through references, and what’s very important is talking about the numbers as well,” Pitkänen said. “Once you are able to create metrics and create objectives for projects, then we start creating a better understanding of what the final outcome is. That will also increase the appreciation on the client side of why they’re using design and when design should be used.

“So it’s very much a communication tool, making the client understand how and when to use design, not only ‘I like it’ or ‘I don’t like it’.”


The prototype tool marks the end of the first phase of the Design ROI project. For the next phase, the researchers hope to collaborate with businesses and designers to fine-tune the tool and develop it for wider use.

The full report is available to read and download online, although it is only available in Finnish.

2012년 10월 24일 수요일

Michael Van Valkenburgh discusses Notre Dame Sculpture Park


Construction has begun on a new sculpture park on the southern edge of the University of Notre Dame’s campus. Situated in a wooded, 8-acre dell that lies between the Irish Green and the Compton Family Ice Arena, the new park is a project of Notre Dame’s Snite Museum of Art and the office of the University Architect. It has been designed by the landscape architect Michael Van Valkenburgh who discusses in this short 5 minute video the overall design approach and plants used in the design.

2012년 10월 23일 화요일

Floating Deck over Grand Central Terminal

News: while Foster + Partners think simply increasing capacity is the way to improve New York’s Grand Central Terminal, architecture firm SOM has proposed adding a floating observation deck that slides up and down the sides of two new skyscrapers.

Grand Central's Next 100 by SOM

Grand Central's Next 100 by SOM

Grand Central's Next 100 by SOM

Grand Central's Next 100 by SOM

Grand Central's Next 100 by SOM

Grand Central's Next 100 by SOM



Here’s some more information from SOM: 
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SOM presents vision for Grand Central’s next 100 years

Skidmore, Owings & Merrill LLP (SOM) presented its vision for “Grand Central’s Next 100″ at the Municipal Art Society of New York’s third annual Summit for New York City. Led by partners Roger Duffy, FAIA, and T.J. Gottesdiener, FAIA, SOM’s design transforms the public spaces around Grand Central Terminal, creating new pedestrian corridors for increased circulation and visualizing innovative options for new public amenities.


The Municipal Art Society (MAS) challenged SOM to re-think the public spaces in and around Grand Central Terminal in celebration of the landmark’s centennial. The design challenge coincides with a rezoning proposal from the New York City Department of City Planning, which, if approved, would allow the development of new office towers in the area around Grand Central, thereby increasing the density around the station exponentially.

Grand Central's Next 100 by SOM

The proposed zoning would also require developers to donate to a fund that would make improvements to the infrastructure in the area, including additional access points to the subway platforms and a pedestrian mall on Vanderbilt Avenue. Along with Foster + Partners and WXY Architecture + Urban Design, SOM was one of three architecture firms invited by MAS to present ideas about the future of Grand Central Terminal’s public realm.

Grand Central's Next 100 by SOM

SOM’s vision proposes three solutions, all of which provide improvements – both quantitative and qualitative – to the quality of public space around the station. The first solution alleviates pedestrian congestion at street level by restructuring Privately Owned Public Spaces (POPS) to create pedestrian corridors through multiple city blocks, connecting Grand Central to nearby urban attractors.


The second is a condensing of the public realm through the creation of additional levels of public space that exist both above and below the existing spaces. These new strata would be funded privately but under public ownership – Privately Funded Public Space (PFPS).


The third proposal creates an active, 24-hour precinct around Grand Central Terminal in the form of an iconic circular pedestrian observation deck, suspended above Grand Central, which reveals a full, 360-degree panorama of the city. This grand public space moves vertically, bringing people from the cornice of Grand Central to the pinnacle of New York City’s skyline. It is a gesture at the scale of the city that acts both as a spectacular experience as well as an iconic landmark and a symbol of a 21st-century New York City.


Text & Images from: DEZEEN