Posted by the editors on Thursday, 7 March 2013
Architecture: Zaha Hadid: Changsha Meixihu International Culture & Art Center: “..the capital of the south central chinese province of hunan is in the midst of incredible population growth and rapid urban development. at the center of a stimulus worth 130 billion USD is the idyllic meixihu lake, now primed for an ambitious set of cultural projects. zaha hadid’s winning design for the ‘changsha meixihu international culture and art center’ broke ground in october after distinguishing itself as a composition of serpentine curves forming a complex that contains a contemporary art museum, a multipurpose hall, a hotel, and various ancillary facilities. the central plaza emphasizes the pedestrian urban experience by helping to create incidental meeting areas and generating cultural capital in form of a sculpture garden and expansive exhibition space. views of the lake are framed by the museum’s three-petal form, unfurling around a central atrium. outward views are afforded by ribbons of glazing and balconies that serve the dual purpose of admitting daylight into the galleries. the multipurpose hall is a pointedly variable space, with public access to retail areas and restaurants nestled in a sunken courtyard. the focal point of the plan comes by way of the grand theater, slated to be the largest performance venue in the city with an 1800 seat capacity. new zealand-based acoustic engineers at marshall day won a december bid to optimize sound performance in the central auditorium. the three major programs, while discrete buildings, are linked by sinuous passageways, curved white planes and an architecture of baroque intonations..”
See some of our other posts on work by Zaha Hadid Architects:
image: © zaha hadid architects; article: Designboom
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Posted in Architects, Architecture, Architecture & Design in China, Architecture + Design, Awards, Contemporary Architecture, contemporary design, Cultural Architecture, Design, Designalog, Galleries, Hospitality Architecture, Mixed-Use Architecture, Product Design, Public Architecture, Public Facilities, Retail Architecture | Tagged: archdaily, Architecture, Changsha Meixihu International Culture & Art Center, China, Concrete, Courtyards, Cultural Architecture, Design, Designalog, Designboom, Galaxy Soho by Zaha Hadid Architects, glass, Hunan, Italy, Marshall Day, Miami: America’s Next Great Architectural City?, Milan, Museums, New Zealand, Pierres Vives by Zaha Hadid Architects, Port House by Zaha Hadid Architects, Retail Architecture, Z Boat by Zaha Hadid Architects, Zaha Hadid, Zaha Hadid Architects, Zaha Hadid Office Tower Citylife Milano, Zaha Hadid: Changsha Meixihu International Culture & Art Center, Zaha Hadid’s Riverside Museum wins European Museum Academy Micheletti Award 2012 | Leave a Comment »
Posted by the editors on Saturday, 26 January 2013
Architecture: Adriana Varejão Gallery by Tacoa Arquitetos: “..Inhotim Centro de Arte Contemporânea is located in Brumadinho, a village near Belo Horizonte, the capital of Minas Gerais state, Brazil. A personal initiative of the mining industry businessman Bernardo Paz, the museum has an unusual architectural concept. Instead of sum up all its installations into a unique building, it is composed of many pavilions spread out in a park of approximately 35 hectares..The Adriana Varejão Gallery was commissioned to shelter two works of the artist acquired by the museum and exhibited at Cartier Foundation: the sculpture Linda do Rosário and the polyptych Celacanto Provoca Maremoto (with the further development of the project, the artist created another four works for the building). The project should occupy a hillside with a small slope (typical of the topography of Minas Gerais, composed of old and smooth hills) partially surrounded by the native forest, an area formerly used to store containers. The original topography was modified for this new use: a huge displacement of earth has cut it, creating the great horizontal plane necessary to the storage..The orientation of the project aimed to recompose the site’s original topography and inserting on it an artificial element: a regular block in reinforced concrete (prestressed wasn’t necessary), partially inserted in the hillside. The building structure is composed by an irregular retaining wall that gains the space in the ground floor and receives the loads of the block, in its deepest part, through two beams, in the middle, through 4 columns integrated in the wall..The building was also conceived as a spiral path that connects two different levels of the park, alternating moments of contraction/passage and expansion/exhibition: from the ground floor, (1, contraction) in the middle of the water pound, in a narrow promenade, away from the building; (2 expansion: Varejão’s piece Panacea Phantastica, a tile bench with drawings of hallucinatory plants) The small square plaza of the groundfloor; (3 contraction) The promenade turns to the building; (4 expansion: the sculpture Linda do Rosário and the paiting The Collector) the ground floor, inside the hill, below the concrete block; (5 contraction) The stairs; (6 expansion, the polyptych Celacanto provoca maremoto) The first pavement, inside the concrete block; (7 contraction) The ramp; (8 expansion: another tile bench, now with drawings of birds, Passarinhos-from Inhotim to Demini) The terrace, above the concrete block; (9 contraction) The bridge. And vice versa..” Interesting form; contextual, materials, interior volume sensibility..
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image: © Eduardo Eckenfels; article: ”Adriana Varejão Gallery / Tacoa Arquitetos” 20 Jan 2013. ArchDaily.
Posted in Architects, Architecture, Architecture + Design, Contemporary Architecture, contemporary design, Cultural Architecture, Design, Designalog, Galleries, Interiors, Museums | Tagged: Adriana Varejão Gallery, Adriana Varejão Gallery by Tacoa Arquitetos, archdaily, Architecture, Belo Horizonte, Bernardo Paz, Brazil, Concrete, Cultural Architecture, Design, Designalog, glass, Inhotim Centro de Arte Contemporânea, Materiality, Minas Gerais, South America, Stone, Tacoa Arquitetos | Leave a Comment »
Posted by the editors on Friday, 30 November 2012
Architecture: Perot Museum of Nature and Science by Morphosis: “..Museums, armatures for collective societal experience and cultural expression, present new ways of interpreting the world. They contain knowledge, preserve information and transmit ideas; they stimulate curiosity, raise awareness and create opportunities for exchange. As instruments of education and social change, museums have the potential to shape our understanding of ourselves and the world in which we live..As our global environment faces ever more critical challenges, a broader understanding of the interdependence of natural systems is becoming more essential to our survival and evolution. Museums dedicated to nature and science play a key role in expanding our understanding of these complex systems..The new Perot Museum of Nature and Science in Victory Park will create a distinct identity for the Museum, enhance the institution’s prominence in Dallas and enrich the city’s evolving cultural fabric. Designed to engage a broad audience, invigorate young minds, and inspire wonder and curiosity in the daily lives of its visitors, the Museum will cultivate a memorable experience that will persist in the minds of its visitors and that will ultimately broaden individuals’ and society’s understanding of nature and science..The Museum will strive to achieve the highest standards of sustainability possible for a building of its type. High performance design and incorporation of state of the art technologies will yield a new building that will minimize its impact on the environment..This world class facility will inspire awareness of science through an immersive and interactive environment that actively engages visitors. Rejecting the notion of museum architecture as neutral background for exhibits, the new building itself becomes an active tool for science education. By integrating architecture, nature, and technology, the building demonstrates scientific principles and stimulates curiosity in our natural surroundings..The immersive experience of nature within the city begins with the visitor’s approach to the museum, which leads through two native Texas ecologies: a forest of large native canopy trees and a terrace of native desert xeriscaping. The xeriscaped terrace gently slopes up to connect with the museum’s iconic stone roof. The overall building mass is conceived as a large cube floating over the site’s landscaped plinth. An acre of undulating roofscape comprised of rock and native drought-resistant grasses reflects Dallas’s indigenous geology and demonstrates a living system that will evolve naturally over time..The intersection of these two ecologies defines the main entry plaza, a gathering and event area for visitors and an outdoor public space for the city of Dallas. From the plaza, the landscaped roof lifts up to draw visitors through a compressed space into the more expansive entry lobby. The topography of the lobby’s undulating ceiling reflects the dynamism of the exterior landscape surface, blurring the distinction between inside and outside, and connecting the natural with the manmade..Moving from the compressed space of the entry, a visitor’s gaze is drawn upward through the soaring open volume of the sky-lit atrium, the building’s primary light-filled circulation space, which houses the building’s stairs, escalators and elevators. From the ground floor, a series of escalators bring patrons though the atrium to the uppermost level of the museum. Patrons arrive at a fully glazed balcony high above the city, with a bird’s eye view of downtown Dallas. From this sky balcony, visitors proceed downward in a clockwise spiral path through the galleries. This dynamic spatial procession creates a visceral experience that engages visitors and establishes an immediate connection to the immersive architectural and natural environment of the museum..The path descending from the top floor through the museum’s galleries weaves in and out of the building’s main circulation atrium, alternately connecting the visitor with the internal world of the museum and with the external life of the city beyond. The visitor becomes part of the architecture, as the eastern facing corner of the building opens up towards downtown Dallas to reveal the activity within. The museum, is thus, a fundamentally public building – a building that opens up, belongs to and activates the city; ultimately, the public is as integral to the museum as the museum is to the city..” Article includes excellent photos by the renowned architectural photographer Iwan Baan..
See our post on another project by Morphosis: Residential Architecture: The FLOAT House – Make it Right by Morphosis Architects.
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image: ©Iwan Baan, Courtesy of Morphosis; article: ”Perot Museum of Nature and Science / Morphosis” 20 Nov 2012. ArchDaily. <http://www.archdaily.com/295662>
Posted in Architects, Architecture, Architecture + Design, Contemporary Architecture, contemporary design, Cultural Architecture, Design, Designalog, Museums | Tagged: archdaily, Architecture, Cultural Architecture, Dallas, Design, Designalog, Iwan Baan, Morphosis, Museums, North America, Perot Museum of Nature and Science, Perot Museum of Nature and Science by Morphosis, Texas, The FLOAT House – Make it Right by Morphosis Architects, US | Leave a Comment »
Posted by the editors on Thursday, 11 October 2012
Architecture: Museum of Contemporary Art Cleveland by Farshid Moussavi: “..This six-sided building covered in mirrors is the new home for the Museum of Contemporary Art Cleveland in Ohio, USA by London-based architect Farshid Moussavi..The four-storey building, which opened this weekend, features faceted walls clad in mirrored black stainless steel and replaces the museum’s former address in the loft of an old playhouse complex..Visitors to the museum arrive inside a full-height atrium, where the structure of the walls is left exposed and the surfaces have been painted bright blue..White staircases lead up to galleries on each of the floors, including a large top floor exhibition space where the ceiling is coloured with the same blue paint as the walls to offer an alternative to the standard ‘white-cube’ gallery..Located at the intersection of two major avenues, the museum faces onto a new public square by landscape architects James Corner Field Operations and has entrances on four of its elevations for flexibility between different exhibitions and events..As the Museum of Contemporary Art Cleveland is a non-collecting museum, it places extra emphasis on public programmes and events, which will take place inside a double-height multi-purpose space on the building’s ground floor..Farshid Moussavi Architecture completed the project in collaboration with architects Westlake Reed Leskosky, who are based in Cleveland..Farshid Moussavi launched her studio just over a year ago..” (slideshow included in article..)..
See our other posts on work by James Corner Field Operations:
image: Dean Kaufman; article: Dezeen
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Posted in Designalog | Tagged: Architecture, Art Museums, Atriums, Cleveland, Cultural Architecture, Design, Designalog, Dezeen, Farshid Moussavi, High Line at the Rail Yards Design Unveiled, James Corner Field Operations, James Corner Field Operations - Fast Company 50 Most Innovative Companies, James Corner Field Operations Team Wins Navy Pier Competition, Landscape Architecture, Landscape Architecture: Queen Elizabeth Olympic Park by James Corner Field Operations, London, Mirrored Cladding, Museum Architecture, Museum of Contemporary Art Cleveland, Museum of Contemporary Art Cleveland by Farshid Moussavi, Museums, North America, Ohio, PIERSCAPE by James Corner Field Operations, Section 2 of the High Line (New York City), Slideshows, steel, USA, Westlake Reed Leskosky | Leave a Comment »