ie School of Architecture

una casa fundamental

arquitecto: Bonet Castellana, Antoni (1913-1989)
proyecto-obra 1949-1962
restauracion: Fernando Alvarez Prozorovich y Jordi Roig

RESTAURACION Y DETALLES
vitruvius.com.br/arquitextos/arq055/arq055_01_e.asp

ie School of Architecture lo descubrió en diciembre de 2008

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etiquetas: bonet castellana , bovedas tabicadas

Villa privada en Ordos 100, Estudio Barozzi Veiga

El propósito de este proyecto del Estudio Barozzi Veiga es encontrar una expresión original para que el programa fuera compatible con la belleza del lugar y los condicionantes climáticos.
Este proyecto intenta trasladar la idea de esencia y pureza presente en el contexto. Es un espacio que absorbe e intensifica el carácter del lugar.
En contraste con el irregular paisaje en el que se encuentra, el planteamiento de la casa es el de una forma pura, un perfecto cuadrado. El edificio aparece como un cubo monolítico, que se alza desde la tierra como una piedra arcaica. Este edificio puro está definido por dos elementos esenciales: un patio acristalado y una expresiva cubierta.
El patio remite a las casas chinas tradicionales, organizadas alrededor de un patio. Al mismo tiempo, permite a la casa cambiar su clima interior del invierno al verano, y ofrece la posibilidad de crear un complejo mundo interior con diferentes relaciones visuales y espaciales.
La cubierta define la casa como la solidificación de una tienda nómada, un elemento que cubre, protege y enmarca el lugar.
El resultado es un cubo introvertido caracterizado por su expresiva cubierta. En este sentido, vivir en el interior está asociado a la sensación de estar bajo una tienda, una piel protectora, una vela extendida.

ie School of Architecture lo descubrió en marzo de 2010

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etiquetas: barozzi veiga , china , ordos 100

Villa Savoye Explanation

Done at Poissy from 1929 to 1931, the freeness of the Dom-Ino system let Le Corbusier find and apply the 5 points in architecture that are gathered in this villa.

The supports (pilotis) are precisely calculated, spaced regularly and used to elevate the first floor off the damp ground. The interior walls are independent of the support system, can be arranged in a free plan, the curving ground floor wall is determined by the turning radius of the motor car that would convey the family here from Paris. The driveway extends under the house, between the pilotis, and continues past the main entrance to a three-car garage and the maid’s quarter. From the ground-level entrance hall the visitor has the choice of climbing the sculptural stair or ascending the ramp (which links all three levels) to the second floor. Here, the horizontal window is made possible by the support system; assuring illumination and an unobstructed view from the living room over the clearing in which the house sits to the forested hills enclosing the site. The large living room is separated by an enormous sliding glass door from the exterior patio and the ramp that continues to the upper level, the flat slab of the roof is used for domestic purposes as a terrace with sculptural windscreen walls. The façade, also independent of the structural supports, could be freely designed and the result was that all four elevations are essentially identical, consisting of a ribbon of windows and openings running the width of the facade at the second floor level.

Le Corbusier’s choice of interior finishes and fittings reflects his enthusiasm for industrial products and his admiration for the functional aspects of ocean liners. The entrance hall alone has unglazed ceramic tile flooring; simple pipe nails, painted black; a pedestal washbasin, freestanding in the hallway; and industrial light fixtures, directed upward to provide reflected light. Skylights, painted intense blue, provide softly colored light reflecting off the white wall surfaces on the second floor.

The artful incorporation of varied spatial experiences and light within a simple geometric container testifies to the mastery of form Le Corbusier had achieved by 1930.

Fernando Jimenez Salmeron, BA Architecture 2008

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etiquetas: 5 points of architecture , dom-ino , le corbusier , s. xx

'me encanta, uno de mis favoritos'

arquitecto:
Halldor Gunnløgsson

Halldor Gunnløgsson was son of the merchant Halldor Johannes Gunnløgsson and the actress Else Sten. He graduated from senior school in 1937 and continued at the Royal Danish Academy of Fine Arts, School of Architecture, in Copenhagen, from which he graduated in 1942. Among his teachers were Kay Fisker and Steen Eiler Rasmussen. Just after his final examinations during the Second World War he left for Sweden and stayed in the neighbouring country during the years 1942-44.
During his career he travelled to North and South America, Japan, and the Near East, and the inspiration found on these trips are delicately conditioned to a Scandinavian design fundamental to his buildings. He spent his teaching career at the School of Architecture of the Royal Danish Academy of Fine Arts in Copenhagen, where he was initially employed as an instructor, before becoming a lecturer in 1956. He was appointed professor in the building arts in 1959, and dean in 1969. From 1961-62 he was employed as a Visiting Professor at Massachusetts Institute of Technology in the United States. Gunnløgsson was one of the leading figures in the Danish modernist architecture, especially in the field of detached houses. His personal interpretations of the modernist Western-American and the traditional Japanese architectural traditions were shaped by a consciousness of specific local qualities and demands. Using materials like wood and stone combined with a limited range of colours the impression of his works is simple and minimalist, though at the same time very precious.

meamnet.polimi.it/archive/029/029m1.html

ie School of Architecture lo descubrió en septiembre de 2011

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EL NIETO DE WRIGHT SIGUE LA ESTELA DE SU ABUELO

Eric Lloyd Wright Architecture and Planning is committed to the continuing evolution of Organic Architecture through the integration of ecological design principles and material considerations.
We are dedicated to working with the natural environment and local communities using traditional and innovative materials and technologies that lessen the environmental impact of building construction and use. Our work emphasizes the relationship between the architecture, the client and the site. We focus on the use of natural and non-toxic materials, passive climatic considerations and alternative construction and energy systems to create architectural spaces that nourish the soul and lift the spirit while also promoting social and environmental responsibility.Eric Lloyd Wright is an architect and founder of Wright Way Organic Resource Center in Malibu, CA. During Eric's early years in architecture, he was an apprentice to his grandfather, Frank Lloyd Wright and his father, Lloyd Wright. His portfolio includes the restoration and renovation of Frank Lloyd Wright and Lloyd Wright works as well as residences and institutional buildings of his own design.
Eric's current focus is on the evolution of Organic Architecture and Green Building design. His design philosophy is rooted in the integration of ecology, social responsibility and beauty. Through Eric's years of design experience, he has developed an understanding that it is not the physical walls and roof, but the space within a building that forms its character - its soul. He gives careful thought to a project's physical, social and spiritual environment, with a focus on appropriate materials, quality, craftsmanship, and careful detailing. Eric believes that one of the most important aspects of the design process is the relationship between the client, the site and the architect. It is the client and site, together with the architect, that shape the design of a project

ie School of Architecture lo descubrió en diciembre de 2008

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etiquetas: architect , frank lloyd wright , home , studio

Address: Strandvejen 413, 2930 Klampenborg
Constructed: 1951
Function: Residential and commercial
Architect: Arne Jacobsen
Landscape architect: Arne Jacobsen
Client: Arne Jacobsen
Rebuilt: The house has been restored and returned to Realea A/S from 2005-07
Description:
The house is part of the terrace houses, Søholm, South of Bellavista at Strandvejen in Klampenborg.

The houses are built in staggered rows and with the units divided by a middle section which makes each house stand out as an independent composition.
The buildings were erected between 1945 and 1953 in three stages, each with its own type of houses all designed by Arne Jacobsen.

The house was planned both as a private home and as a studio for Arne Jacobsen himself. He lived and worked in the house from 1951 and until his death in 1971.
Through his many different types of work from buildings to furniture and handicrafts, Arne Jacobsen (1902-1971) positioned himself strongly and personally in Danish architecture and design. The 18 terraced houses in the Søholm complex together with the Bellavista, the Bellevue Teatret and the Bellevue Badet in Klampenborg all contributed to giving Arne Jacobsen his international breakthrough.

ie School of Architecture lo descubrió en septiembre de 2011

listas: EUROPA_dinamarca , s_XX , use_LANDSCAPE , use_RESIDENTIAL_HOUSING_individual , use_RESIDENTIAL_VIVIENDA_colective

etiquetas: arne jacobsen

Vivienda unifamiliar en Bunyola, Mallorca. Por Francisco Cifuentes

Intervenir en un lugar como éste es entender a una comunidad de casas acostumbradas a compartir la cotidianidad con paredes de piedra, patios, escaleras, terrazas…
La vivienda ocupa uno de los bordes extremos de la pendiente ocupada por el núcleo de la población de Bunyola.
Se llega a la casa mediante una escalera donde nos espera un porche que articula la casa y su colocación en el lugar. A un lado una nave vacía contiene los usos comunes. A otro lado los usos más íntimos se recogen del exterior.
Pensar como subir el material se convirtió en una fase más del proyecto que se resolvió mediante el uso de un helicóptero.
El espacio doméstico se va dilatando y contrayendo de manera sucesiva para adaptarse a los sucesivos incidentes que se producen en el lugar, y extraer de esta forma los recursos más adecuados para la calificación significativa del espacio interior. Una de las calles que recorren el casco edificado en sentido vertical parte el edificio en dos partes, una de ellas la que concentra el espacio de noche y otra la de día, a las que debe añadírsele una serie de espacios porticados, estudios y patios exteriores que contribuyen a la calificación del espacio doméstico.
El material básico son bloques cerámicos, que se combinan direccionalmente para conseguir los efectos deseados, y se revisten para conseguir uniformidad con las construcciones del entorno.

ie School of Architecture lo descubrió en marzo de 2010

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etiquetas: bunyola , francisco cifuentes , mallorca , premios fad

Architect: Smiljan Radic Clarke
Location: Los Lirios, Rancagua, Chile
Collaborators: Danilo Lazcano, Gonzalo Torres
Structural Engineer: Claudio Assar Olguín
Technical Inspection: Smiljan Radic
Contractor: Eugenio Durán
Constructive System: Masonry
Project Year: 2005
Construction Year: 2006
Site Area: 1600 sqm
Constructed Area: 210 sqm
Photographs: Gonzalo Puga

ie School of Architecture lo descubrió en octubre de 2009

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etiquetas: acero , casa , courtyard , house , ladrillo , masonry , patio , steel , wall

una joyita en NY

Philip Johnson (in association with Landis Gore and Frederick C. Genz, Architects) 1949-1950

One of the earliest examples of Mies van der Rohe's brand of modernism in New York City is Philip Johnson's Rockefeller Guest House. Designed for Blanchette Hooker Rockefeller, the house was praised at the time by critics for its simplicity and elegance. Ada Louise Huxtable described it as:

"sophisticated . . . handsome, unconventional."

The home was primarily intended as a place for social gatherings, and as a modern art gallery for its owner. Its design was based largely on Mies' sketches for the IIT campus buildings as well as his drawings for unbuilt court houses. Designed at a time when Johnson was primarily designing private residences, the Guest House makes use not only of the architectural vocabulary that he favored at the time, but also of the proportions that he would use in future residences (like the Hodgenson House and the Oneto House, both of which have front doors and surrounding windows nearly identical to the façade and fenestration that Johnson used to enclose the small courtyard in the Rockefeller Guest House).

In the late 1940's and early 1950's, Johnson had built only single-story structures, and thus when faced with the dilemma of how to design a façade with a second floor, he turns to Mies van der Rohe's sketches, and places a second floor almost entirely of glass. The relationship between this design and that of the Wiley House is apparent, when one considers that both have a substantial first floor made of stone or brick (in this case red brick walls laid in a Flemish bond) with a second floor of glass, though the urban context of the Rockefeller Guest House limits the top floor to being just a one sided version of the all glass pavilion which sits atop the Wiley House. This division between floors also allows for the separation of public and private functions, something which Johnson no doubt picked up from Marcel Breuer during his time at Harvard. The second floor, which was meant to be a bedroom, has seldom if ever been photographed.

The home is one room wide, and upon entering, the living room stretches far back until it is book-ended by floor to ceiling windows that closely mimic the façade's layout. The living room space has white brick walls and features lighting fixtures designed by Mr. Johnson. Beyond the windows, there is a small courtyard that features a prime example of Philip Johnson's concept of "safe danger". In the courtyard, visitors must carefully walk on square travertine stepping-stones and avoid falling into the shallow reflecting pool on either side. It is perhaps details such as these, as well as Johnson's wit and attention to detail, that have made this house so desirable overtime. The home was sold at auction for $11 million. Previous to being sold at auction, The Rockefeller Guest House was donated by the Rockefellers to the Museum of Modern Art in 1955, after which it had its share of owners. Johnson himself rented the home and lived there from 1971 to 1979. The home was given landmark status by the Landmarks Preservation Commission in December 2000.

Bellon 2004

ie School of Architecture lo descubrió en diciembre de 2008

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etiquetas: brick , ladrillo , patio , philip johnson

Architect Philip Johnson, born in Cleveland, Ohio in 1906, has become one of architecture's most potent forces. Before designing his first building at the age of 36, Johnson had been client, critic, author, historian, museum director, but not an architect. In 1949, after a number of years as the Museum of Modern Art's first director of the Architecture Department, Johnson designed a residence for himself in New Canaan, Connecticut for his master degree thesis, the now famous Glass House. Philip Johnson was the first recipient ot the prestigious Pritzker Architecture Prize when it was established in 1979.

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etiquetas: acero , philip johnson , steel