eye lo descubrió en mayo de 2009
Jack Hall, architect
John "Jack” Hughes Hall was born in 1913 into a well-to-do family on Long Island. He graduated from Princeton University in 1935. Between ‘35 and ‘46 he traveled, wrote for newspapers and served in the army.
He first came to Wellfleet in the late ‘30s, taking to the landscape immediately which he described as ‘manageable’. He bought 180 acres and a very old farm compound on Bound Brook Island for $3,500 dollars from Katie Dos Passos, wife of the writer John Dos Passos.
Jack Hall and his close friends, Jack Phillips and Hayden Walling, were the three self-taught, designer/builders in Wellfleet who created a welcoming environment for the European Modernists who arrived in the mid ‘40s. In 1946, Hall started his own design build practice in Wellfleet which he continued inter-mittently until he retired. Projects included the Peter’s Hill Restaurant building, the Hatch Cottage, and many studios, renovations and additions.
Beginning in 1956, he worked for a number of firms in New York City including Nardin and Ra-doczy, Tom Lee Ltd., Hughes & Hood and George Nelson and Company.
His study of industrial design led to work on a number of major traveling exhibitions for the US Information Service including Graphics USA in ’63 with Ivan Chermayeff (son of Serge Chermayeff). While with Hughes and Hood he designed many showrooms in the United States and Europe for the Fieldcrest Mills Company.
In 1959 he spent four months in Moscow helping to assemble ‘The Jungle Gym,’ George Nelson’s contribution to the American National Exhibition. He worked with Charles and Ray Eames on a light fixture in 1964 and designed a café table for the Museum of Modern Art’s restaurant.
Hall taught at Parsons School of Design’s Industrial Design Department in 1957-58 and had a simu-ltaneous private architectural practice in New York, executing many townhouse renovations (including one for his friends, Serge and Barbara Chermayeff).
Although when Hall first came to Wellfleet he had an old Rolls Royce and was sometimes referred to as the ‘Squire of Bound Brook,’ he become a beloved fixture in town, especially after moving there full time in the early ‘70s.
He was a serious, lifelong, painter and writer. Hall’s last wife, Marty, was close to Connie Breuer and often would sing at parties while Connie accompanied on jazz piano. Jack Hall died in the winter of 2003 in Wellfleet.
cementery San Vito, 31030 Altivole Treviso, Véneto, Italia, San Vito Altivole
guardado por 3 personas
CARLO SCARPA (1906, Venecia - 1978, Sendai, Japón)
eye lo descubrió en diciembre de 2008
One of Carlo Scarpa's most iconic and seminal built works (and a project so close to his heart that a space in it was saved for his own use) the Brion family cemetery is host to this month's stunning Wallpaper* fashion story 'Death in Veneto'.
Brion-Vega Cemetery, Carlo Scarpa
Click here to see more of Scarpa's cemetery and behind the scenes of the fashion shoot.
Scarpa (1906-1978) designed the Brion-Vega in San Vito d'Altivole, near Italy's Treviso, as an extension to the family's existing cemetery. The architect developed the geometrical concrete composition over a 10-year period, with works finally reaching completion in 1978.
The L-shaped plot includes a complex of five buildings; a small chapel, the entrance hall, a small steel-and-wood pavilion on an island in the site's water pond, the main tomb, and an open-air structure covering the graves.
Aiming to create a poetic resting place as much as a sculptural memorial in a green, calming garden, Scarpa used well-thought-out design features; for example, the cemetery walls are not higher than the surrounding field's plants, discreetly merging the structure into the landscape. Within the site, there is also a small island with no apparent access for visitors, which perhaps works as a metaphor for the afterlife.
The architect himself rests, vertically, in the cemetery walls, after passing away in 1978 during a trip to Japan - the same year that his last masterpiece was finished.
una joyita brasilera
eye lo descubrió en julio de 2009
Lina Bo Bardi
su casa y ahora:
O Instituto Lina Bo e P.M. Bardi foi fundado em 1990 para divulgar e promover a cultura e as artes brasileiras no Brasil e no exterior. Através da difusão cultural, o Instituto oferece ao público acesso a aspectos relevantes e poucos conhecidos do pensamento e da produção artística e cultural do país.
O Instituto, por meio de exposições, publicações, vídeos, palestras, conferências e mesas redondas, é uma realidade indiscutível no panorama cultural nacional, como era o desejo de dois dos maiores incentivadores das artes no Brasil.
Doada em 1995 pelo Professor Bardi para abrigar a Sede do Instituto, a Casa de Vidro foi tombada pelo CONDEPHAAT como patrimônio histórico em 1987. Projetada em 1950 por Lina Bo Bardi para ser a residência do casal, a Casa abriga hoje parte da coleção de arte particular adquirida ao longo dos anos por Lina Bo e Pietro Maria Bardi.
+34 943 62 22 29
guardado por 7 personas
ver más restaurantes en Irun
eye lo descubrió en septiembre de 2009
Hay enclaves míticos, y la ermita de san marcial es uno de ellos, dominando la bahía de txingudi y con vistas desde Biarritz hasta san sebastian por la costa y con las imponentes peñas de Aia a su espalda...
Ahí han abierto este sitio milagroso, pues milagro es una carta como las de antes una cocina de tu abuela con un punto perfecto y unos precios de antes del euro casi...en fin, bacalao ajoarriero delicioso, piparras fritas sublimes, arroz con leche para llorar de emocion...un fichaje como hacia tiempo,claro de la mano de los dueños de Solbes, tiendas dealimemtacion selectas de Irún y Hondarribia
guardado por 4 personas
eye lo descubrió en diciembre de 2008
The complex by Rem Koolhaas forms a new nexus for the academic and residential corridors of IIT’s Main Campus.
The McCormick Tribune Campus Center is located at the historic 120-acre (50-hectare) campus of the Illinois Institute of Technology (IIT) in Chicago.
The campus, designed by Mies van der Rohe who became the head of IIT's architecture program in 1938, after the closure of the Bauhaus, is bordered by an expressway and divided in half by the elevated trains.
Rather than disguising the elevated railway Koolhaas encircles it as it crosses the top of the building.
The railway has a huge impact on IIT's character: to proclaim a new beginning we enclosed the section above the campus centre in an acoustically isolating stainless steel tube, releasing the potential of the land surrounding it and creating a crucial part of IIT's image.
The new Campus Center includes two primary components: A 10,690 square meter, one-story building, sheathed in metal and glass, and a 161 meter (530 feet) long stainless steel tube that sits directly above the building’s roof, significantly muffling the noise and vibration generated by passing trains.
The one-story building serves a wide variety of student activity functions that include a welcome center, coffee bar, auditorium and meeting rooms, university bookstore, post office, convenience store, and computer room. The building is entered through a 20 foot tall glass portrait of Mies.
The interior layout was inspired by pre-existing footpaths, that criss-crossed under the train tracks, formed by students walking back and forth between residence halls and classroom buildings on the IIT Main Campus during the past 70 years.
The diagonal walkways are paved with shiny aluminum tiles, the walls are layers of transparent and translucent panels.
A long glass wall in the Welcome Center displays the portraits of several IIT founders.
A lower level computer room, with a 93-foot-long lighted shelf, is painted a bright red.
By Rem Koolhaas:
How to inhabit a given territory with only half the population that animated it in the 1970s? To us the conundrum implies a building that is able to (re)urbanise the largest possible area with the least amount of (built) substance. Illinois Institute of Technology's situation is exacerbated by the no-man's-land either side of the elevated railway.
The physical heart of the campus is our project. By not stacking activities, but by positioning each programmatic particle as part of a dense mosaic, our building contains the urban condition itself.
To capture the sum of the student flows, the web of lines that connect the eastern and western campus destinations are organised through the campus centre to differentiate activities into streets, plazas and urban islands. Without fragmenting the overall building, each part is articulated according to its specific needs and positioned to create neighbourhoods (24-hour, commercial, entertainment, academic, utilitarian), parks and other urban elements in miniature.
The main federating element is the roof, a continuous concrete slab that shields the centre from the noise of the elevated railway while unifying the heterogeneity below.
Completed Fall 2003
Client:Illinois Institute of Technology
Local architect:Holabird & Root
M&E Engineer:Skidmore Owings & Merrill
Civil Engineer: Terra Engineering
Rem Koolhaas will receive the Royal Gold Medal at the RIBA (Royal Institute of British Architects) in London on February 18, 2004.
Given in recognition of a lifetime's work, the Royal Gold Medal is approved personally by the Queen of England and is given annually to a person or group of people whose influence on architecture has had a truly international effect.
un obra maestra
eye lo descubrió en diciembre de 2008
Pierre Chareau 1928/32
Interior designer Chareau joined efforts with licensed architect Bernard Bijvoet to design what would be part gynological clinic for Dr. Dalsace and part private residence for the doctor and his wife, Annie. The remarkable Maison de Verre (glass house) was inserted into an existing building and is one of the greatest houses of the International Style, adding materials the movement had never used before in such an extent to create a work of architectural genius -- a structure that is fully functional and fully aesthetic in its simplicity. The steel frame allowed for complete freedom of internal space. The glass block wall itself, is able to stand alone without a heavy frame breaking its pattern. Ventilation through the glass block wall is provided by a series of movable traps. A not-so-complicated weight and pulley system opens the window panels, allowing for natural ventilation. This unique system causes a minimum of visual impact on the glass facade of the structure
+358 20 7480123
guardado por 8 personas
ver más agencias de viajes en Helsinki
alvar aalto studio
eye lo descubrió en noviembre de 2008
Written for Virtual Finland by Hanni Sippo and Arne Heporauta
In the early 1950s Aalto’s office received large commissions, among them two institutions of higher learning. Aalto’s home office and the Ratakatu office in the Finnish Engineering Society building of his own design, became too small. In 1954, Aalto designed a spacious studio in Munkkiniemi, completed in November the following year.
Situated at Tiilimäki 20, the building is only a few minutes walk from Aalto’s home at Riihitie, and the staff of both former offices fit there easily. The building was designed to be a studio, for in Aalto’s opinion you could not create architecture in a regular office space. The outlying location was an added bonus, providing the architects with peace and quiet.
The two-storey building is situated on a slope so that when looking from the street, most of the building cannot be seen and there is no hint of the spacious inner yard within the grounds. The house does not open itself to the passer-by: its closed nature is emphasised by the brick wall facing the street. To quote Aalto: ‘The studio turns its back on the street in an almost Oriental manner, opening instead towards the intimate central garden, which rises like an amphitheatre and doubles as a lecture hall.’
Aalto’s own office room dominates the first floor. The ceiling of the wedge-like studio room rises high in the main space, and the windows of the curved wall open onto the yard. The other architects worked in the long drawing hall, where natural light is skilfully utilised. When needed – with a competition deadline nearing, for example – extra desks were placed in Aalto’s own room as well. The ground floor houses the administrative office, the housekeeper’s rooms, a dining room, storage space and a garage.
In 1963, the building was provided with a two-storey extension behind the brick wall outlining the inner yard. Its first floor was a workspace, and the ground floor had a dining hall known as the Tavern.
In time, it became evident that the building required renovation. The first condition assessments were made in the late 1990s and the planning of the renovation began in 2002. The board of the Alvar Aalto Foundation appointed a building committee consisting of board members Vilhelm Helander and Martti Huhtamäki and the architects Esa Laaksonen and Hanni Sippo. A-konsultit Architects were chosen for architectural design. Magnus Malmberg Consulting Engineers was responsible for structural design, Trilogon Engineering Bureau for HPAC planning, and Sähkö-Ohmi for electricity planning. Garden design was done by the landscape designer Gretel Hemgård.
The main contractor in the project was Laatukuutio Oy. The roof was repaired by Lemminkäinen Oyj. Electrical wiring was led through the original ducts. Ventilation work was subtle, and windows were repaired with thoroughly dry heartwood taken from parts of the storage room. The original light fittings were repaired, the furniture cleaned, the walls and the ceilings painted. All in all, the building met contemporary standards, yet retained the spirit of Aalto’s studio.
Published September 2005 / Updated July 2008
+351 226 059 400
guardado por 27 personas
ver más auditorios en Oporto
oir música en un edificio espectacular
eye lo descubrió en octubre de 2007
edificio fundamental de KOOLHAAS y de Oporto.
aqui os dejo info proporcionada por OMA‚ la firma de arquitectura de Koolhaas.
After Porto was selected one of the two cultural capitals of Europe in 2001‚ the Minister of Culture and the city of Porto founded Porto 2001‚ an organisation which was to initiate and prepare different urban and cultural interventions for the city of Porto. In this context five international architectural practices‚ amongst which was OMA‚ were invited to participate in a restricted competition for a new concert hall to be positioned in the historical centre of Porto‚ the Rotunda da Boavista.
Since this part of Porto was still a city ‘’intact’’‚ OMA chose not to articulate the new concert hall as a segment of a small scale circular wall around the Rotunda da Boavista but to create a solitary building standing on the new‚ more intimate square connected to the historical park of the Rotunda da Boavista and enclosed by three urban blocks. With this concept‚ issues of symbolism‚ visibility and access were resolved in one gesture.
Through both continuity and contrast‚ the park on the Rotunda da Boavista‚ after our intervention‚ is no longer a mere hinge between the old and the new Porto‚ but it becomes a positive encounter of two different models of the city.
This century has seen an architecturally frantic attempt to escape from the tyranny of the notorious ‘’shoe-box’’ shaped concert hall. However‚ after researching the acoustic quality of existing concert halls we had to conclude together with our acoustic specialist that the best halls in the world have a shoe box shape.
This left us with the questions:
Where to innovate in a case of a traditional typology like the concert hall?
Most cultural institutions serve only part of a population. A majority knows their exterior shape‚ only a minority knows what happens inside.
OMA addressed the relationship between the Concert Hall and the public inside as well as outside the building by considering the building as a solid mass from which were eliminated the two shoe-box-shaped concert halls and all other public program creating a hollowed out block. The building reveals its contents to the city without being didactic; at the same time the city is exposed to the public inside in a way that has never happened before.
The ‘’remaining spaces’’ between the exposed public functions consist of secondary serving spaces such as foyers‚ a restaurant‚ terraces‚ technical spaces and vertical transport.
A continuous public route connects all public functions and “remaining spaces” located around the Grand Auditorium by means of stairs‚ platforms and escalators: the building becomes an architectural adventure. The loop creates the possibility to use the building for festivals with simultaneous performances; the House of Music.
The building provides a large amount of rehearsal rooms‚ soloist rooms and dressing rooms to house the Porto Philharmonic Orchestra and to provide in addition facilities to external and guest performers.
During the Design Phase OMA researched new materials and new applications of existing and Portuguese materials exclusively for Casa da Musica such as; the corrugated glass for the windows of the Auditoria‚ the used tiles for different rooms and the chairs‚ canopy and wall finish in the Grand Auditorium.
Casa da Musica is visually and spatially defined by its striking faceted exterior from which its conventional interior spaces have been extracted. The buildings 400mm thick faceted shell and the two 1m thick walls of the
main auditorium are the buildings primary load carrying and stability
system.The auditorium walls act as internal diaphragms tieing the shell
together in the longitudinal direction.
Arup and OMA researched the concrete mix for external facades.
Project: Casa da Música
Status: Competition 1999‚ 1st Prize.
Client: Porto 2001 / Casa da Música
Program: Main Building 22.000m2 Grand Auditorium 1.300 seats. Small Auditorium 350 seats‚ 8 Rehearsal Rooms with recording facilities‚ Music shop‚ Cyber and Educational facilities‚ VIP room‚ Restaurant and Roof Terrace. Carpark 27.000m2 for 600 cars.
Partners-in-Charge: Rem Koolhaas and Ellen van Loon
Competition: Rem Koolhaas‚ Fernando Romero Havaux‚ Isabel Silva‚ Barbara Wolff‚ Uwe Herlijn
Team: Adrianne Fisher‚ Michelle H
+34 972 77 02 07
guardado por 16 personas
ver más hoteles en l'Escala
años 60 del siglo XXI
pegado a las ruinas de las ciudades griega y posterior romana de empuries.
si wallpaper lo encontrara, sería portada.
un sitio paradisiaco, como solo en los años 60 se podía construir, sobre el agua.
barato, un 10, sofisticado, retrochic y hasta snob desde algun pto de vista
se come muy bien
un clasico abandonado
eye lo descubrió en noviembre de 2007
una joya de la época abandonada a su suerte
Amancio Williams - 1943-1945
Esta casa fue encarada primordialmente como una forma en el espacio que no anulara la naturaleza. La forma es al mismo tiempo, en su totalidad, estructura. Y esta estructura se muestra al desnudo, en su calidad aunténtica: el hormigón que la constituye está a la vista, martelinado y tratado químicamente. Forma, estructura y calidad son pues aquí una sola cosa.
La casa está construida en un terreno que forma parte de un parque de gran belleza. El terreno, cruzado por un arroyo que lo divide en dos, tiene acceso por un solo lado. El arroyo corre por una hondonada preciosa. La casa ha hecho la reunión de las dos partes del terreno y esta sobre su accidente principal, donde la naturaleza llega a su mayor lirismo. Allí, por contraposición, está colocada la obra humana.
Su estructura, planteada en tres dimensiones, es netamente espacial. En la historia de la arquitectura configura el primer intento de una estructura verdaderamente tridimensional que trabaja como un conjunto armónico integral y no como un grupo de piezas yuxtapuestas. La lámina curva trabaja simultáneamente, por medio de los tabiques verticales, con la losa plana de la planta principal y con las barandas-vigas que la rodean. estas barandas descargan los voladizos y llevan las cargas, a través de pórticos y tabiques a las fundaciones, contribuyendo a desviar hacia la tierra el empuje de la lámina curva.
El hormigón armado fue estudiado especialmente en laboratorios con los ensayos necesarios. Fue vibrado. En su faz externa se lo martelinó y trató químicamente para dejar a la vista su construcción.
El interior de la casa está casi integramente construido en placa de madera; toda esta construcción fue realizada y montada como un conjunto en un taller de carpintería, luego fue desmontada y llevada a la obra donde se la armó definitivamente. Amancio Williams realizó esta obra no sólo como arquitecto sino como constructor y capataz.
La obra insumió centenares de planos, 430 días de inspección y 120 viajes de ida y vuelta Buenos Aires-Mar del Plata, de 900 km cada uno. Es así como pudo obtenerse una extraordinaria precisión: el error de la estructura es menor de 1/2 cm y el de las piezas delicadas menor a 2 mm.
La vivienda fue construida para el compositor argentino Alberto Williams, padre del arquitecto.
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