Sunday 30 December 2012

Azul Historico Restaurant in Mexico City

Azul Historico Restaurant in Mexico City

Restaurant Azul Historico is located half block away from Madero —the new fantastic pedestrian street   at the historic center— and right across the traditional Casino Español.
restaurateur Gonzalo Serrano, teamed up with architects Juan Pablo Serrano, from Serrano Monjaraz Arquitectos and Elías Kababie from Kababie Arquitectos. Gonzalo’s experience in operating successful restaurants in Mexico City found in the ideas of Pablo and Elias exactly what he needed for this space that promises to be the new reference in the historical center of Mexico City.
 The project focused on maintaining the integrity of the original court of the fantastic colonial building that was adapted for the new activity. The magnificent interior facades are the frame that surrounds the restaurant that is sunken among vegetation to provide its guests with a gastronomic experience al fresco. Honoring the great project of architectural reuse of this extraordinary building, Pablo and Elias made the selection of the furniture with reuse and the important location  In some of the tables names of nearby streets, area maps, characters and dates related to the historical center can be read. In the bathroom a couple large copper pots and were used as sinks as a tribute to the Mexican cuisine. To add an industrial touch, burned-out bulbs were placed on a grid on the ceiling to inspire the visitors on the importance of reusing materials that have already completed their useful cycle and may have a new life using the imagination.of the restaurant in mind.


 

 (article from sweetydesign.com )

Bio-Architecture Formosana

Dormitories for ITRI Southern Taiwan Campus / Bio-Architecture Formosana 

 Architects: Bio-Architecture Formosana
Location: Liujia District, Taiwan
Site Area: 52,792 sqm
Floor Area: 6,182 sqm
Year: 2010
Photographs: Courtesy of Bio-Architecture Formosana
 
The whole campus is programmed to be a research environment including building hardware and landscaping software for 1500 people. The overall layout comprises research buildings, cafeteria, dormitories, ecological ponds, bamboo forest, organic green house, and an art district for bamboo kiln.
The site is surrounded by hills in three directions, and fronted by lakes to the west. The layout is aimed not only to have the building cluster fit in the environment but to make the place for the habitat of the existing eco-system. Further, the built site, along with its networked landscape within the whole campus, is expected to be a great place for ecological observation. The building group is formed as part of the landscape vista dialoguing with the topography, and its roofs serve for viewing Chiayi Plain.
The ecological pond in the center of the courtyard may adjust the micro-climate and co-work with a nearby retention pool. With future efforts to cultivate the lake area in the vicinity of the construction site, the experience strolling around the site and its neighborhoods will be characterized with the scenic water body in stepped elevation and in varied scale from manmade to nature.
Bamboo forest is a prosper scene in the campus area, and utilizing this local material helps to reduce carbon footprint of the new construction. The application of bamboo ranges from planting to architectural elements like exterior screening of the staircase, soft partition in the entrance area, and in the courtyard to define the outdoor corridor. Further walking path is planned to circulate to the bamboo forest around the site and to the Bamboo Art Section in the southern campus. Locally produced brick is adopted for the pavement of the semi-outdoor walkway.

(article read in archdaily.com for more info click here

food art

food art :)

Inspiring architects


Kenzo Tange

  "The role of tradition is that of a catalyst, which furthers a chemical reaction but is no longer detectable in the end result. Tradition can, to be sure, participate in a piece of creation, but it can no longer be creative itself."
Kenzo Tange was an architect from Japan, who has won several prestigious awards during the lifespan of his career, among which the Pritzker Prize for Architecture in 1987. He was renowned for blending Japanese traditionalism and world modernism in his works. 

 

 

OLYMPIC ARENA  Tokyo, Japan 



 

"Together with a number of other important projects which Kenzo Tange carried out after 1959, the Olympic stadia in Tokyo can be regarded as the culmination of his career, designed in 1960 and built in 1964, on a par with the highest achievements of the Japanese tradition... The plan [of the larger stadium] is in the form of two semi-circles, slightly displaced in relation to one another, with their unconnecting ends elongated into points. The entrances are located in the concave sides. The roof is supported on two reinforced concrete pillars, and is made up of a system of steel cables onto which enameled steel plates are then soldered. The curving form of the roof serves to make it more resistant to wind, which can reach hurricane force in this region.  



PORTRAITS OF THE MIND

PORTRAITS OF THE MIND

Portraits of the Mind: Visualizing the Brain from Antiquity to the 21st Century (Abrams, November 2010) follows the fascinating exploration of the brain through images. These beautiful black-and-white and vibrantly colored images, many resembling abstract art, are employed daily by scientists around the world, but most have never before been seen by the general public. From medieval sketches and 19th-century drawings by the founder of modern neuroscience to images produced using state-of-the-art techniques, readers are invited to witness the fantastic networks in the brain. 
The book is a bridge between Science and Art. The book  is filled with real life images of brain and its cells. Basically a book 
of study of brain has turned into an artwork.
This can soon lead to new sets of innovative design era. Well
believe it or not these images are far beyond imagination.
The nerve cell - an art inspired from neurons.(made out of metal work)
vibrant colors of the image surely breadth taking

The synapse's image  interpreted by art   



The Author

Carl Schoonover is a neuroscience PhD candidate at Columbia University, the author of Portraits of the Mind, and has written for The New York Times, Le Figaro, and Scientific American. He is a cofounder of NeuWrite, a collaborative working group for scientists, writers, and those in between, and hosts a radio show on WKCR 89.9FM, which focuses on opera, classical music, and their relationship to the brain.


He currently lives in New York City and works on microanatomy and electrophysiology of rodent somatosensory cortex in the Bruno laboratory at Columbia University Medical Center. He is a former NSF Graduate Research Fellow and a 2012 TED Fellow.

Sunday 11 November 2012

YALE ART AND ARCHITECTURE BUILDING

YALE  ART AND ARCHITECTURE BUILDING

The Yale Art and Architecture Building is one of the earliest and best known examples of Brutalist architecture in the United States. The building still houses Yale University's School of Architecture and is located in New Haven, Connecticut.


ABOUT THE BUILDING
- Complex building contains over thirty floor levels in its seven stories
- The dramatic entrance to the building is up a narrow flight of steps that penetrate deeply into the mass of the main volume, between it and the main vertical circulation tower.
 Future extension of the building will simply connect to this.
The strong vertical striations of the corduroy-textured surfaces are obtained by pouring concrete into vertically-ribbed wood forms, that are then stripped away, and concrete edges hand-hammered to expose the aggregate.




This has become Rudolph's favorite treatment for exposed concrete surfaces, because, apart from being an interesting surface, it controls staining and minimizes the effect of discoloration inherent in concrete.
Art works, restrained use of lively colors— mainly orange—and cleverly built-in furnishings enhance the architecture, which is intended 'to excite and challenge the occupants,' says Rudolph.
Thirty-seven changes of level accommodate functional and circulation areas, and since walls are de-emphasized these levels are defined principally by floor and ceiling planes.

Rudolph, like [Louis I. Kahn], is concerned with the method and drama of natural lighting.
Internally the building is organized around a central core space defined by four large concrete slab columns that, similar to the external towers, are hollow to accommodate mechanical services.
At street level, the library occupies a single story side. Above this, with the possibility of looking down into the reading area, is a two-story central exhibition hall, with administrative offices on its mezzanine, and a central, sunken jury pit.
 Starting at the fourth level is the most dramatic space: an architectural zone on five levels, each connected by a few steps,
BUILDING AFTER RENNOVATION BY
 Gwathmey Siegel & Associates Architects
Between the four central piers two skylights rise as giant clerestories, intensifying natural light in the center of the space that receives it on all four sides through peripheral glazing.
Painting and graphic art studios are on the top two levels, with an open terrace for sketching. Finally, there is a penthouse apartment for guest critics, that also has its own terrace.




SOURCES:

+ from archdaily.com
+ from wikipedia.com
+ from greatbuildings.com

Saturday 3 November 2012

Paul Rudolph

Paul Rudolph



 

 

Paul Marvin Rudolph (October 23, 1918 in Elkton, Kentucky – August 8, 1997 in New York, New York) was an American architect and the dean of the Yale School of Architecture for six years, known for use of concrete and highly complex floor plans. His most famous work is the Yale Art and Architecture Building (A&A Building), a spatially complex Brutalist concrete structure.
Born(1918-10-23)October 23, 1918
Elkton, Kentucky
DiedAugust 8, 1997(1997-08-08) (aged 78)
New York
NationalityUnited States
InfluencedMuzharul Islam
BuildingsYale Art and Architecture Building
INTRODUCTION
He moved to Sarasota, Florida and partnered with Ralph Twitchell for four years until he started his own practice in 1951. Rudolph's Sarasota time is now part of the period labeled Sarasota Modern in his career.
Other Sarasota landmarks by Rudolph include the Sarasota County Riverview High School, built in 1957 as his first large scale project. There was a great deal of controversy in Sarasota, where many members of the community appealed for the retention of the historic building after the decision reached in 2006 by the county school board to demolish the structure.
Paul Rudolph's Florida houses attracted attention in the architectural community and he started receiving commissions for larger works such as the Jewett Art Center at Wellesley College. He took over the helm of the Yale School of Architecture as its dean in 1958, shortly after designing the Yale Art and Architecture Building. That building often is considered his masterpiece. He stayed on at Yale for six years until he returned to private practice. He designed the Temple Street Parking Garage, also in New Haven, in 1962.
One of his most iconic houses, the Milam Residence, was designed and constructed between 1959 and 1961. It still stands today on Florida's eastern coast, outside Jacksonville. Instead of modular construction, Rudolph used concrete blocks to construct this two-storied home for the Milam family. These large blocks provide shade for the windows, allowing the Florida home to be easily cooled. This house's iconic seaside facade of stacked rectangles exemplifies the sculptural nature of Rudolph's work during this period. From inside the structure, Rudolf wanted the inhabitants to locate themselves according to mood, so the large 2-story window in the living room contrasts other areas of the home which feel more cave-like and secluded
Whilst Dean of Yale Architecture School Rudolph taught Muzharul Islam, Norman Foster and Richard Rogers, all attending the Masters course as scholarship students.
He later designed the Government Service Center in Boston, First Church in Boston, the main campus of University of Massachusetts Dartmouth (originally known as Southeastern Massachusetts Technological Institute, and later as the Southeastern Massachusetts University), the Jewett Arts Center at Wellesley College, the Endo Pharmaceuticals Building, the Dana Arts Center at Colgate University, and the Burroughs Wellcome headquarters in North Carolina.

HIS WORKS

MILAM RESIDENCE,florida






 


















- Using to yield a front facade that is readable even from a distance, Rudolph explores the separation of interior and exterior spaces as the framework exhibited is independent of the structure behind it.
- Although detached from the program of the house, the rectangles and squares of the orthogonal facade occasionally relate interior rooms at various levels by the formation of sun screens, making the design both visually stimulating and functional.
- Paul Rudolph is known for his intensity and his consistent use of complex floor plans which is evident in this residence as much as in his other buildings.
- The planning of this house beckoned a new design methodology for Rudolph, one about a rigid modular organizational system.
- The spatial variety and satiation of vertical and horizontal spaces are differentiated by frames, walls and floors which are extended to create varying volumes according to program.
- In this example, spatial organization has overpowered structural organization, and the design is thoughtfully considered first by the uses of space.
- The walls and floors are elongated to create elaborate forms which extend south towards a seaside view of the Atlantic Ocean. One of the very few structural purposes served ny these patterns is to block the rays of the blazing Florida sun in high temperatures.
-On the east and west sides of the residence, the dramatic sculptural extrusions were designed as counterparts to reinforce the sectional design and strategy which so wonderfully defines the characteristics of the Milam Residence.
planning
-The floor plan is designed around a central and long double-height living room space, which is lowered two steps below an overlooking dining area to one side and a study area to the other, creating a sitting well.
- The stairs also translate into functional seating, which makes movable furniture superfluous. The shifting of a floor platform and changes of elevation conform to specific spatial characteristics.
- Rudolph aimed to create a variety of moods with a consideration of the programmatic needs of the occupants, “the reading area with its low ceiling and corresponding wall of books, the high ceiling of the main living area with its recessed seating, or the nestlike inglenook set on a level between the living room and the overlook.
- The dining room has a perennial view of the beach and the sea out of a large framed window. Rudolph must have viewed this centralized layout as being successful as many of the subsequent projects he completed had a similar system.
- Rudolph was consistently pushing towards “a renewed concern for visual delight. This is indeed the architect’s prime responsibility, for other specialists can do everything else that he does and, quite often, much better.”



Wednesday 31 October 2012

Eero Saarinen

Eero Saarinen




Eero Saarinen was a Finnish American architect and industrial designer of the 20th century famous for varying his style according to the demands of the project: simple, sweeping, arching structural curves or machine-like rationalism. Wikipedia
Born: August 20, 1910, Kirkkonummi
Died: September 1, 1961, Ann Arbor
ABOUT HIM
INTRODUCTION
- The first major work by Saarinen, in collaboration with his father, was the General Motors    Technical Center in Warren, Michigan. It follows the rationalist design Miesian style: incorporating steel and glass, but with the added accent of panels in two shades of blue.
- The GM technical center was constructed in 1956, with Saarinen using models. These models allowed him to share his ideas with others, and gather input from other professionals.
- With the success of the scheme, Saarinen was then invited by other major American corporations to design their new headquarters: these included John Deere, IBM, and CBS.
- Despite their rationality, however, the interiors usually contained more dramatic sweeping staircases, as well as furniture designed by Saarinen, such as the Pedestal Series.
-In the 1950s he began to receive more commissions from American universities for campus designs and individual buildings; these include the Noyes dormitory at Vassar, as well as an ice rink, Ingalls Rink, and Ezra Stiles & Morse Colleges at Yale University.
-He served on the jury for the Sydney Opera House commission and was crucial in the selection of the now internationally known design by Jørn Utzon.
-Eero Saarinen and Associates was Saarinen's architectural firm; he was the principal partner from 1950 until his death in 1961.
-Under Eero Saarinen, the firm carried out many of its most important works, including the Jefferson National Expansion Memorial (Gateway Arch) in St. Louis, Missouri, the Miller House in Columbus, Indiana, the TWA Flight Center at John F. Kennedy International Airport that he worked on with Charles J. Parise, and the main terminal of Dulles International Airport near Washington, D.C..
- Many of these projects use catenary curves in their structural designs.
REPUTATIONEero Saarinen was elected a Fellow of the American Institute of Architects in 1952. He is also a winner of the AIA Gold Medal in 1962.

BUILDINGS WELL KNOWN

JEFFERSON NATIONAL EXPANSION MEMORIAL (in short : cantenary arch)





The Gateway Arch, or Gateway to the West, is an arch that is the centerpiece of the Jefferson National Expansion Memorial in St. Louis, Missouri. It was built as a monument to the westward expansion of the United States. At 630 feet (192 m), it is the tallest man-made monument in the United States, Missouri's tallest accessible building, and the largest architectural structure designed as a weighted or flattened catenary arch.
The arch is located at the site of St. Louis' foundation,on the west bank of the Mississippi River where Pierre Laclède, just after noon on February 14, 1764, told his aide, Auguste Chouteau, to build a city.
The Gateway Arch was designed by Finnish-American architect Eero Saarinen and German-American structural engineer Hannskarl Bandel in 1947. Construction began on February 12, 1963, and ended on October 28, 1965, costing US$13 million at the time. (approximately $95,900,000 in 2012)The monument opened to the public on June 10, 1967.
Historic events
- Around late 1933, civic leader Luther Ely Smith, returning to St. Louis from the George Rogers Clark National Historical Park in Vincennes, Indiana, beheld the crumbling St. Louis riverfront area and envisioned that building a memorial there would both revive the riverfront and stimulate the economy.
- The association expected that $30 million would be needed to undertake the construction of such a monument. It called upon the federal government to foot three-fourths of the bill ($22.5 million).
 The Jefferson memorial idea emerged amid the economic disarray of the Great Depression and promised new jobs. The project was expected to create 5,000 jobs for three to four years. Committee members began to raise public awareness by organizing fundraisers and writing pamphlets
-Densely covered with trees that it will be a forest-like park, a green retreat from the tension of the downtown city.
Characteristics

 Physical characteristics

- Both the width and height of the arch are 630 feet (192 m). The arch is the tallest memorial in the   United States and the tallest stainless steel monument in the world.
The cross-sections of the arch's legs are , narrowing from 54 feet (16 m) per side at the bases to 17 feet (5.2 m) per side at the top.Each wall consists of a stainless steel skin covering a sandwich of two carbon-steel walls with reinforced concrete in the middle from ground level to 300 feet (91 m), with carbon steel to the peak. The arch is hollow to accommodate a unique tram system that takes visitors to an observation deck at the top.
In January 1970, amid frigid temperatures, the arch shrank 3 inches (7.6 cm). Jefferson National Expansion Memorial superintendent Harry Pfanz said the contraction was normal in cold weather and that safety was not at risk.
-The structural load is supported by a stressed-skin design.
- The arch is resistant to earthquakes and is designed to sway up to 9 inches (23 cm) in either direction while withstanding winds up to 150 miles per hour (240 km/h).
- This hyperbolic cosine function describes the shape of a catenary. A chain that supports only its own weight forms a catenary; in this configuration, the chain is purely in tension.
- Likewise, an inverted catenary arch that supports only its own weight is purely in compression, with no shear. The catenary arch is the stablest of all other arches since "the thrust passes down through the legs and is absorbed in the foundations, whereas in other arches, the pressure tends to force the legs apart.The
- Gateway Arch itself is not a common catenary, but a more general curve of the form y=Acosh(Bx)  This makes it an inverted weighted catenary—the arch is thicker at its two bases than at its vertex.
Visitor center
The underground visitor center for the arch was designed as part of the National Park Service's Mission 66 program. The 70,000 square feet (6,500 m2) center is located directly below the arch, between its legs. Although construction on the visitor center began at the same time as construction for the arch itself, it did not conclude until 1976 because of insufficient funding;  however, the center opened with several exhibits on June 10, 1967. Access to the visitor center is provided through ramps adjacent to each leg of the arch.
The center houses offices, mechanical rooms, and waiting areas for
the arch trams, as well as its main attractions: the Museum of Westward Expansion and two theaters displaying films about the arch. The older theater opened in May 1972; the newer theater, called the Odyssey Theatre, was constructed in the 1990s and features a four-story-tall screen. Its construction required the expansion of the underground complex, and workers had to excavate solid rock while keeping the disruption to a minimum so the museum could remain open. The museum houses several hundred exhibits about the United States' westward expansion in the 19th century and opened on August 10, 1977.
 

Observation area
Near the top of the arch, passengers exit the tram compartment and climb a slight grade to enter the arched observation area. There are 32 windows (16 per side), each measuring 7 by 27 inches (180 mm × 690 mm) and allowing views across the Mississippi River and southern Illinois with its prominent Mississippian culture mounds to the east at Cahokia Mounds, as well as the city of St. Louis and St. Louis County to the west beyond the city.The observation deck, 65 feet (20 m) long and 7 feet (2.1 m) wide, has a capacity of about 160 passengers—the capacity of four trams.On a clear day, one can see up to 30 miles (48 km) from atop the arch.

 Modes of ascension


Interior of the tram capsule in the Gateway Arch
There are three modes of transportation up the arch: two sets of 1,076-step emergency stairs (one in each leg).  a 12-passenger elevator to the 372-foot (113 m) height, and a tram in each leg;
Each tram is a chain of eight egg-shaped, five-seat compartments with a small window on the doors.
 As each tram has a capacity of 40 passengers and there are two trams, 80 passengers can be transported at one time, with trams departing from the ground every 10 minutes.The cars swing like Ferris-wheel cars as they ascend and descend the arch.This fashion of movement gave rise to the idea of the tram as "half-Ferris wheel and half-elevator.The trip to the top takes four minutes; and the trip down takes three minutes. At the top, passengers disembark to a 65 feet (20 m)-long observation area.
Trans World Airlines Flight Center




INTRODUCTION
- The TWA Flight Center or Trans World Flight Center, opened in 1962 as a standalone terminal at New York City's John F. Kennedy International Airport (JFK) for Trans World Airlines. It was designed by Eero Saarinen. The construction of the TWA Terminal began in 1956 and took six years to be completed.
- The form of the TWA Terminal represents a huge bird in mid-air with its wings spread ready for landing. This was made so that it captures the "spirit of flight".
- Portions of the original complex have been demolished, and the Saarinen terminal (or head house) has been renovated, partially encircled by and serving as a ceremonial entrance to a new adjacent terminal completed in 2008. Together, the old and new buildings comprise JetBlue Airways' JFK operations and are known collectively as Terminal 5 or simply T5.
-The TWA Flight Center or Trans World Flight Center,opened in 1962 as the original terminal designed by Eero Saarinen for Trans World Airlines at New York's John F. Kennedy International Airport (JFK) (which was known as Idlewild Airport at the time). Eero Saarinen and his Detroit-based firm were commissioned in 1956 to design the TWA Flight Center and given the directive by the client to capture the spirit of flight. By doing so the building took form of a huge bird with wings spread in flight. Known as an indefatigable architect, Saarinen indicated to his client he needed more time — taking another year to resolve the design.
-The completed terminal was dedicated May 28, 1962 — a year after the architect's death — with Saarinen also winning the AIA Gold Medal posthumously in 1962.
- In December 2005, the Port Authority of New York and New Jersey (PANYNJ) began construction of a new terminal facility — for JetBlue Airways, which occupied the adjacent Terminal 6 and was the airport's fastest-growing carrier — behind and partially encircling Saarinen's original gull-winged building (also known as the head house).
- Peripheral portions of the original facility were demolished to make space for a mostly new 625,000-square-foot (58,100 m2) facility designed by Gensler, including 26 gates to accommodate 250 flights per day and 20 million passengers annually.
- T5 re-opened on October 22, 2008 with JetBlue using an abstraction of the Saarinen terminal's gull-wing shape as the official logo for the event, an abstraction of the new terminal floor plan for the signage and counting down the re-opening via Twitter.
SAARNIN'S DESIGN
- Saarinen's original futuristic design featured a prominent wing-shaped thin shell roof over the main terminal (head house), unusual tube-shaped departure-arrival corridors originally wrapped in red carpet — and critical to the spirit of the design — expansive windows that highlighted departing and arriving jets.
- The concrete shell's evocative shape — which inspired Saarinen to develop special, curved edge ceramic tile to conform to the curvilinear shapes — places the design into the categories of Futurist, Googie, and Fantastic architecture.


-The terminal was also the first with enclosed passenger jetways,closed circuit television, a central public address system, baggage carousels, electronic schedule board and baggage scales, and the satellite clustering of gates away from the main terminal. Food and beverage services included the Constellation Club, Lisbon Lounge, and Paris Café.

  The passage way in the terminal (red carpet)

       The public waiting space
         public address system