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 Sunday, 3 March 2013
Architecture: ‘The Artistic and the Beautiful’: Frank Lloyd Wright’s Wide-Ranging Views (audio interview): “..In 1957, two years before his death, Frank Lloyd Wright sat down with WNYC (ndlr: radio) to discuss his design philosophy, exhibiting his trademark eloquence and blistering opinions. The year of this interview marks an explosion of commissions for Wright, who by then had been practicing architecture for 70 years..
Wright mainly designed homes until 1957-58, when he took on 90 new projects, many for public buildings. Over all, Wright’s last decade was his most prolific, accounting for nearly one-third of his oeuvre. This interview was recorded in his Plaza Hotel apartment where he’d moved two years earlier in order to oversee construction of the Solomon R. Guggenheim Museum, on which he had been working for 14 years. Here, Wright neatly dismisses the project’s many critics, promising “…a new point of view…it’s going to be so enlivening and refreshing that it will make some of these painters quite ashamed of the protest that they issued against it.”
In this interview, Wright also expresses distaste for the nascent designs of Sydney Opera House, as well as the U.S. Air Force Academy structure, whose designers he lambasts as “Poetry Crushers with a capital P.” The Academy’s use of an advisory committee of architects prompts Wright to remark that “an architect is either an inspiration or…he’s merely a committee-mind…a liability.”
Asked whether he’s acquainted with New York’s planned Lincoln Center complex, Wright remarks, “I think it wouldn’t do me any good to become acquainted with it. I suggest the other way around: they become…acquainted with the ones that I’m doing.”
Two notable influences on the young Wright were his itinerant childhood (his father was a traveling minister), and years spent on his uncle’s Wisconsin farm where he “learned…the region in every line and feature…the modeling of the hills, the weaving and fabric that clings to them, the look of it all in tender green or covered with snow or in full glow of summer.” His mother, a school teacher, enhanced his understanding of structure by giving him a set of newly invented blocks developed by revolutionary German educator Friedrich Fröbel whose theories laid the foundations for modern education.
Beyond architecture, Wright is also noted as a singularly influential and innovative urban planner, interior designer, architectural writer, and educator. He is noted for his often prescient, sometimes embattled philosophical and social views, a range well displayed in this broadcast, when in the middle of describing his new designs for homes with children’s playrooms, he can’t help but point out that “the American family should be three, not four…and above that, heavily taxed, more and more as they increase in number.” (Wright fathered seven children.)..
Recognized by the American Institute of Architects as “the greatest American architect of all time,” Frank Lloyd Wright was born in Richland Center, Wis., and went on to design 1,141 structures — including houses, offices, churches, clinics, schools, libraries, bridges, and museums — 532 of which were built. Today, 409 are still standing, nearly one-third of them listed on the National Register of Historic Places. Wright died in 1959, six months before the Guggenheim opened.
Asked what architects could do to help build “a better society and civilization,” Wright slips into an uncharacteristically heartfelt tone, suggesting they “study nature, seriously, intelligently, and with feeling, and appreciation.” He also warns that if New York City doesn’t acquire more green space immediately, it will be “uninhabitable.”
At least four of Wright’s descendants became architects, one of whom, his son John Lloyd Wright, invented Lincoln Logs. Other descendants include an architecture professor, two interior designers, a master woodworker, and the actress Anne Baxter, who is Wright’s granddaughter..” Fascinating…
image: © 2009 The Frank Lloyd Wright Foundation, Scottsdale, Arizona, USA; article: Charis Conn, WNYC, NEH
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Posted in Architects, Architecture, Architecture + Design, Art, Articles, Contemporary Architecture, contemporary design, Cultural Architecture, Design, Design & Decoration, Designalog, Educational Architecture, Exhibitions, Galleries, green, Green Design, Humanitarian Design, Infrastructure Architecture, Institutional Architecture, Interiors, Interviews, Mid-Century Design, Modernism, Museums, Public Architecture, Public Facilities, Public Parks, Residential Architecture, Urban Design | Tagged: 'The Artistic and the Beautiful', 'The Artistic and the Beautiful': Frank Lloyd Wright's Wide-Ranging Views (audio interview), AIA, American Institute of Architects, Anne Baxter, Architects, Architecture, Arizona, Australia, Charis Conn, Design, Designalog, Falling Water, Frank Lloyd Wright, Friedrich Frobel, Guggenheim Museum, Homes, Houses, Housing, Interviews, Lincoln Center, Lincoln Logs, Museum Architecture, Museums, NEH, New York City, North America, Public Parks, Residential Architecture, Scottsdale, Sydney Opera House, The Frank Lloyd Wright Foundation, Urbanism, US, US Air Force Academy, WNYC | Leave a Comment »
Posted by the editors on Monday, 18 February 2013
Architecture: Zaha Hadid Office Tower Citylife Milano: “..the citylife project located in the heart of milan — in the centre of the historic fiera area, immersed in a park of 160,000 square metres..(one of europe’s largest pedestrianized zones) — involved a group of architects rather than a single designer: zaha hadid, arata isozaki and daniel libeskind..citylife brings a new model for work and leisure to the city, an area to be enjoyed on foot or by bicycle, with traffic circulating only underground..at the centre of the project is the business district — three office towers in the ‘piazza delle tre torri’ (square of the three towers): torre isozaki (il dritto, the straight one), torre hadid (lo storto, the twisted one), and torre libeskind (il curvo, the curved one) — torre isozaki will stand 202 m (663 ft)..with 50 floors, among the tallest buildings in italy by roof height. torre hadid will be 170 m (558 ft) high with 44 floors, and torre libeskind will reach a height of 150 m (492 ft) with about 30 floors. the three towers are able to accommodate around 10,000 people, over a total of approximately 130,000 m2. a contemporary art museum, a shopping area with bars and restaurants, and a pavilion for exhibitions, sports, entertainment and fashion shows will supplement the master plan project..”
See some of our posts on other work by:
Zaha Hadid Architects:
image: courtesy of zaha hadid; 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, Institutional Architecture, Retail Architecture, Urban Design | Tagged: Arata Isozaki, Architecture, Bogota International Convention Centre by Zaha Hadid Architects, Capital Hill Residence by Zaha Hadid Architects, Citylife, Daniel Liebeskind, Design, Designalog, Designboom, Europe, Galaxy Soho by Zaha Hadid Architects, Guangzhou Opera House by Zaha Hadid Architects, Hospitality Architecture, In China: Hongqiao Soho (Linkong Economic Park) by Zaha Hadid, Italy, London Aquatic Center by Zaha Hadid, London Aquatics Centre for 2012 Summer Olympics by Zaha Hadid Architects, Mesa Table by Zaha Hadid Architects, Miami Beach Parking Garage by Zaha Hadid, Milan, Milano, Museums, Office Tower Citylife Milano, Office Towers, Pierres Vives by Zaha Hadid Architects, Port House by Zaha Hadid Architects, Sheikh Zayed Bridge by Zaha Hadid Architects, The Secret Garden by Zaha Hadid Architects, urban design, Z Boat by Zaha Hadid Architects, Zaha Hadid, Zaha Hadid Office Tower Citylife Milano, Zaha Hadid: Chinese Gem That Elevates Its Setting by Nicolai Ouroussoff, Zaha Hadid’s Riverside Museum wins European Museum Academy Micheletti Award 2012 | 1 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 »