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معماری
شنبه 14 آبان 1390برچسب:, :: 0:54 ::  نويسنده : بابک

3XN Architects have recently completed the Museum of Liverpool.

Traditional facades often deal with interruptions – windows for example.  I wish to create a holistic kind of architecture, and a patterned façade ties the building together into one sculptural entity.  By creating the pattern into a relief, as we did with the Museum of Liverpool, we give the façade an element of variation, as the changing light and shadow affect the relief’s expression.  Origami is an inspirational art form for me – and it is one of the ideals that I put emphasis on when I work with the younger architects at 3XN.  This is not just because of the aesthetics that come out of applying patterns, but also because using patterns can also create an efficiency in the amount of materials used in the façade’s design.  This is the case in the Museum of Liverpool – here the pattern we used resulted in less wastage of stone material.

Kim Herforth Nielsen, Principal and Creative Director, 3XN Architects

3XN Museum Liverpool Pete Carr 2 600x389 Museum of Liverpool | 3XN Architects

Museum of Liverpool, image courtesy 3XN Architects | Photo by Pete Carr

3XN Liverpool sketch 600x273 Museum of Liverpool | 3XN Architects

Museum of Liverpool - Sketch, drawing courtesy 3XN Architects

 

3XN’s Museum of Liverpool: More than a Building, More than a Museum

The new Museum of Liverpool, opening on July 19th will not only tell the story of its importance as one of the World’s great ports or about its cultural influence, such as with the Beatles phenomenon.  It will also serve as a meeting point for History, the People of Liverpool and visitors from around the globe.  Therefore, according to the Architect, Kim Herforth Nielsen, the structure functions as much more than just a Building or a Museum.

3XN Museum Liverpool Philip Handforth 006 600x420 Museum of Liverpool | 3XN Architects

Museum of Liverpool, image courtesy 3XN Architects | Photo by Philip Handforth

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Museum of Liverpool, image courtesy 3XN Architects | Photo by Philip Handforth

The Result of a Rigorous Process

As the largest National Museum to be built in the UK in over 100 years, and situated on a UNESCO World Heritage Site next to Liverpool’s famous ’Three Graces,’ Principal Architect and Creative Director at 3XN Kim Herforth Nielsen was fully aware of the magnitude of the challenge, when it came to designing the new Museum of Liverpool.

This is one of the largest and most prestigious projects in 3XN’s 25 year history.  The Museum’s design is a result of a very rigorous process, where it was of utmost priority to listen to the city inhabitants, learn the city’s history and understand the potential of the historical site that the Museum now sits upon.

3XN Museum Liverpool Pete Carr4 600x398 Museum of Liverpool | 3XN Architects

Museum of Liverpool, image courtesy 3XN Architects | Photo by Pete Carr

The result is a dynamic low-rise structure which enters into a respectful dialogue with the harbour promenade’s taller historical buildings.  This interaction facilitates a modern and lively urban space.  The design is reminiscent of the trading ships which at one time dominated the harbour, while the façade’s relief pattern puts forward a new interpretation of the historical architectural detail in the ‘Three Graces.’  The enormous gabled windows open up towards the City and the Harbour, and therefore symbolically draw history into the Museum, while at the same time allow the curious to look in.

3XN Museum Liverpool Pete Carr6 600x399 Museum of Liverpool | 3XN Architects

Museum of Liverpool, image courtesy 3XN Architects | Photo by Pete Carr

A Nexus

The Museum lies along the Mersey River in the center of Liverpool, and will function as a nexus, in that it physically connects the Harbour promenade with the Albert Dock, which today contains restaurants, museums and boutiques.  The outdoor areas around the Museum offer seating with views to the water adding to the dynamic urban environment and serving as a meeting point for locals and visitors alike.  The theme is carried through into the Museum of Liverpool’s central atrium, with its sculptural sweeping staircase leading up to the galleries further encouraging social interaction.  All of these functions result in Kim Herforth Nielsen choosing to describe the Museum as a structure that unites Liverpool.

This Museum connects the city together on many levels – physically, socially and architecturally.  The idea of creating a Museum as a nexus in both physical and symbolic expression has been central from the start.  I am very satisfied to see that this ideal is carried out to the full in the completed structure.

A striking new addition to Liverpool

Dr David Fleming OBE, Director of National Museums Liverpool, is thrilled with 3XN’s design and looks forward  to welcoming visitors to the museum:

To design the building we appointed Danish architects 3XN, who responded to our requirement (…) The resulting structure is a striking addition to the Liverpool cityscape.  I can’t wait to open the doors to visitors to show off our new museum and encourage others to discover more about this extraordinary city.

3XN liv b dra p500 01 600x374 Museum of Liverpool | 3XN Architects

Museum of Liverpool - Level 1 floor plan, drawing courtesy 3XN Architects

3XN liv b dra p500 02 600x374 Museum of Liverpool | 3XN Architects

Museum of Liverpool - Level 2 floor plan, drawing courtesy 3XN Architects

3XN liv b dra p500 03 600x374 Museum of Liverpool | 3XN Architects



3XN_liv_b_facade_handsketches_05

3XN_liv_c_dra_section200_02

Architect: 3XN
Location: Mann Island, Liverpool, United Kingdom
Client: National Museums Liverpool
Size: 13.000 m2
Engineer: Buro Happold
Award: 1st prize in Invited competition 2004
Completion: 2005-2011
Size: 12.500 m2
Engineer: Buro Happold
Landscape Architect: Schønherr
Awards: Miami Bienal 2006 Silver Medal
Program: Culture | Museum
Photographers: Philip Handforth, Richard White & Pete Carr

+












شنبه 14 آبان 1390برچسب:, :: 0:54 ::  نويسنده : بابک

 October 1, 2011

The Cinema Center in Busan, South Korea, designed by Wolf D. Prix/COOP HIMMELB(L)AU, the new home of the Busan Film Festival (BIFF), was inaugurated with a grand opening on 29 September 2011 in the presence of the president of South Korea. The innovative building combines open space, cultural program, entertainment, technology and architecture in a novel way. Over 800 guests, among them the Mayor of Busan, the cultural minister, the sports minister as well as film celebrities attended the ceremony.

AwardBusanPx City of Busan 600x455 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Image © City of Busan

The president of South Korea Lee Myung-bak emphasized in his opening speech the architectural achievement accomplished with the special feature of the Busan Cinema Center – the worldwide largest cantilivered roof.

Since the Busan Cinema Center is the greatest and the most beautiful one for exclusive cinema use, the Busan International Film festival will be top 3 film festival in the world.

Lee Myung-bak, the president of South Korea

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Busan Cinema Center, image © Woochang Choi Korea

As part of the festivities Wolf D. Prix, the co-founder of the Austrian architecture studio COOP HIMMELB(L)AU received as the first architect in South Korea the honorary citizenship of the city of Busan from the hands of Mayor Hur Nam-sik. The award is the highest recognition conferred by the city to personalities who have promoted Busan’s standing in Korea or abroad. Just a few days ahead of the start of the 16th Busan International Film Festival Wolf D. Prix in company with Hur Nam-sik will inaugurate the COOP HIMMELB(L)AU exhibition “Architecture is the Media and the Media is the Message” and give a lecture on “The Possibility of the Impossible“.

P 0508 02 Woochang Choi 600x400 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center, image © Woochang Choi Korea

After winning the competition for this project in 2005 construction started in the same year. The roof’s ceiling surface is completely equipped with LED projectors which allows for unique visual spectacles highlighting the Busan Cinema Center. The dynamically illuminated ceiling will serve as the center’s communication platform with visitors and passers-by. A free span of 85 meters and a roof surface of 60 x 120 meters makes the roof the worldwide largest cantilevered roof. The complex comprises about 60.000 m2 of performance, event, gastronomy and administrative spaces and has a capacity of up to 6,800 visitors.

P 0508 03 Woochang Choi 600x400 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center, image © Woochang Choi Korea

The upcoming events of the opening festivities:

04 October 2011: Opening of the COOP HIMMELB(L)AU exhibition “Architecture is the Media and the Media is the Message” at the Busan Design Center
05 October 2011: “The Possibility of the Impossible”, lecture by Wolf D. Prix at the Busan Design Center
06 October 2011: Opening of the 16th Busan International Film Festivals BIFF

P 0508 04 Woochang Choi 600x400 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center, image © Woochang Choi Korea

+ Project description by COOP HIMMELB(L)AU

Busan Cinema Center / Busan International Film Festival, Busan, South Korea (2005 – 2011)

The basic concept of this project was the discourse about the overlapping of open and closed spaces and of public and private areas.

P 0508 diagrams all 600x120 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center - Diagrams, drawing © COOP HIMMELB(L)AU

While the movie theaters are located in a mountain-like building, the Center’s public space is shared between an outdoor cinema and a huge public space which is called Red Carpet Area – i.e. reception area.

P 0508 R08 ISOCHROM 600x409 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center, drawing © ISOCHROM.com, Vienna

The Red Carpet Area is actually three-dimensional: across a ramp which leads along a double cone the guests of honour reach the reception hall. Each of the two areas is overarched by a huge roof, one of them measuring 60 x 120 meters – the size of a soccer field – and cantilevering 85 meters.

The project, Wolf D. Prix / COOP HIMMELB(L)AU’s first in South Korea, addresses the theme of the roof as an architectural element – a topic which COOP HIMMELB(L)AU has been concerned with for a long time. Already in the Renaissance and the Baroque era the roof is transformed into a cupola, thereby achieving a particular significance. But it was Oscar Niemeyer and Le Corbusier who define the roof not anymore as a mere element of protection, but as a frame for the most diverse concepts. In Niemeyer’s house in Rio de Janeiro the roof is no longer following the floor plan, but is framing the view on the surroundings and nature. The roof of the Unité d’Habitation in Marseille of Le Corbusier is itself a landscape through its sculptural articulation.

Based on these ideas COOP HIMMELB(L)AU developed the roofs of the BMW Welt in Munich and of the Busan Cinema Center. The construction as a column-free roof covering a space comes closest to the idea of a “flying” roof, which is further differentiated by its three-dimensionally articulated ceiling and therefore not only a horizontal projection screen.

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Busan Cinema Center - Program, drawing © COOP HIMMELB(L)AU

Concept
The Busan Cinema Center – A multifunctional urban plaza
COOP HIMMELB(L)AU’s design for the Busan Cinema Center and home of the Busan International Film Festival (BIFF) provides a new intersection between public space, cultural programs, entertainment, technology and architecture creating a vibrant landmark within the urban landscape.

LED saturated outdoor roof elements acting as a virtual sky connect building-objects and plaza-zones into a continuous, multifunctional public urban space.

P 0508 R07 ISOCHROM 600x400 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center, drawing © ISOCHROM.com, Vienna

Media, technology, entertainment and leisure are merged in an open-architecture of changeable and tailored event experiences. The result is a responsive and changing space of flows acting as an urban catalyst for cultural exchange and transformation.

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Busan Cinema Center - Level +01, drawing © COOP HIMMELB(L)AU

P 0508 P02 level +03 600x464 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center - Level +03, drawing © COOP HIMMELB(L)AU

Project Description
The concept envisions an urban plaza of overlapping zones including an Urban Valley, a Red Carpet Zone, a Walk of Fame and the BIFF Canal Park. The urban plaza is formed by building and plaza elements sheltered by two large roofs that are enabled with computer programmed LED outdoor ceiling surfaces. The larger of the roofs includes a column-free cantilever of 85 meters over a multifunctional Memorial Court event plaza. The urban zones of the complex are formed by individual and recognizable building objects placed below the outdoor roofs. The building objects contain theater, indoor and outdoor cinemas, convention halls, office spaces, creative studios and dining areas in a mixture of sheltered and linked indoor and outdoor public spaces. The design of these spaces supports flexible, hybrid functionality that can be used both during the annual festival period and day-to-day use without interruption.

P 0508 P03 level +04 600x464 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center - Level +04, drawing © COOP HIMMELB(L)AU

The urban zones defined by functional surfaces in plan are further articulated in a sectional dialogue between stone-clad “ground” forms of the Cinema Mountain and BIFF Hill, and the metal and LED clad “sky” elements of the roofs. The materiality of the building objects differentiates the spaces and articulates the architectural concept. Through their shape, placement and materiality, the various parts create a dynamic and informal tension between the ground and the roof.

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Busan Cinema Center - Section B-B, drawing © COOP HIMMELB(L)AU

Architecture and Cinema – the Main Roof
The dynamic LED lighting surface covering the undulating ceilings of the outdoor roof canopies gives the Busan Cinema Center its symbolic and representative iconographic feature. Artistic lighting programs tailored to events of the BIFF or the Municipality of Busan can be created by visual artists and displayed across the ceiling in full motion graphics, creating a lively urban situation at night, but also visible during the day.

Imbedded in the architecture the lighting surfaces serve as a communication platform for the content of the Busan Cinema Center. Light as art, which is at the very nature of cinema, creates a unique and memorable atmosphere for the public urban plaza and architecture of the BCC.

P 0508 P04 level +06 600x477 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center - Level +06, drawing © COOP HIMMELB(L)AU

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Busan Cinema Center - Level +08, drawing © COOP HIMMELB(L)AU

Double Cone, Café and Roof Restaurant
The Double Cone is the symbolic landmark entrance element to the Busan Cinema Center and serves as the connective element between the Cinema Mountain and the BIFF Hill. Designed as a steel web drum on top of a series of radial concrete fin walls, the Double Cone also is the only vertical structural support for the large cantilevered roof acting as a large, singular column.
During day-to-day use, the ground level of the Double Cone contains a public café with outdoor seating, and the upper level links to a world-class restaurant, bar and lounge within the roof volume with views overlooking the APEC park and river beyond.

During the festival the Double Cone marks the Red Carpet Zone and VIP entrance to the “Busan Cinema Center”, and can be used as a pre-event space for VIP’s on the ground level, or as a pre-staging area for transfer to the Red Carpet procession to the outdoor cinema stage, or to the upper levels of the Cinema Mountain or BIFF Hill foyers via the red carpet spiralling ramp and bridges suspended from the roof.

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Busan Cinema Center - Section 1-1, drawing © COOP HIMMELB(L)AU

Cinema Mountain
The Cinema Mountain is a multifunctional building containing both a 1,000 seat multifunctional theater with fly-tower and full backstage support, and a three-screen multiplex comprised of a 400-seat and two 200-seat Cinemas. Separate entrances and foyers are provided for theater and cinema respectively, however the foyers and circulation are designed so that they can be combined depending on operational preferences.

Complete structural separation between the theater and the cinemas ensures optimal noise isolation for the theater space, which is designed as a first-class, flexible hall with seating on two levels and optimal sight lines and adjustable acoustics. A flexible proscenium type stage with side stages and fly-tower accommodates movable acoustical towers used to close down the stage volume for concerts and operatic theater, but can be easily moved for theater, musicals and other staged events. The stage includes a fore-stage lift that can provide additional seating, an orchestra pit or stage extension as preferred. Horizontally tracking curtains along the walls of the audience chamber can be hidden or deployed to adjust the acoustics of the space.

Urban Valley / Outdoor Cinema
The Urban Valley combines a flexible flat ground surface and large stepped tribunes of the BIFF Hill as seating for a 4,000 seat Outdoor Cinema. The Valley is sheltered by a large sculpted outdoor roof with an LED ceiling surface and is oriented towards a flexible stage and screen area on the outside of the Eastern façade of the Cinema Mountain. Accommodation for purpose built projection screens, stages, loudspeaker and lighting arrays are provided allowing for exterior performances to share the interior theater’s backstage facilities.

P 0508 R06 ISOCHROM 600x400 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center, drawing © ISOCHROM.com, Vienna

BIFF Hill
The BIFF Hill is a ground surface formation creating the tribune seating space of the outdoor cinema and accommodating the concourse, the convention hall, the BIFF-center, the BIFF-offices and the visual media center. Given the flexible organization of the ground plan, it can be easily adapted to the different requirements during festival and day-to-day usage.

Red Carpet Zone
During the BIFF festival, or for other special events, the Red Carpet Zone is created by a special drop-off and media-event processional entrance at the Double Cone entrance element. A red carpet can be extended from the Double Cone event space and photo position to the south through the park and along a pier. VIP’s can enter from limousines along the street edge, or arrive by boat from the pier. Various options are provided for the red carpet circulation from the Double Cone to the different event and performance spaces depending on the scenario preferred, including a vibrant spiralling ramp from the staging level of the event space to the VIP restaurant lounge of the upper roof or to the BIFF Hill and Cinema Mountain on upper levels of the foyers. During non-event periods the Red Carpet Zone acts as the symbolic entryway into the Busan Cinema Center complex.

P 0508 structural integrety  safety 600x424 Opening of COOP HIMMELB(L)AUs Cinema Center in Busan

Busan Cinema Center - Structural integrety, drawing © COOP HIMMELB(L)AU

Memorial Court & Walk of Fame
The Walk of Fame contains the Memorial Court as a public plaza. Our proposal is to imbed sources in the ground surface projecting holographic images of the stars, directors, producers and the like who have been made a part of the Walk of Fame. Their avatars inhabit the memorial court as permanent residents; however their programs can be changed to show variable aspects of information over time or in relation to specific BIFF- events.

During non-event times the Memorial Court is used as a grand entryway to the Cinema Mountain and contains an outdoor dining area of the Double Cone Café overlooking the park and water beyond.

Due to the column-free sheltered roof above, the public plaza of the Memorial Court is a multi-functional event space that can be utilized for BIFF- or Busan City- events without interrupting the day-to-day activities of the Busan Cinema Center, or simultaneously with other events in the additional spaces.

BIFF Canal Park
The BIFF Canal Park is proposed as an extension of the open network of public programs into the planned riverside park, and as a linking element between the river and the cinema complex. A new pedestrian footbridge is proposed to connect the Busan Cinema Center site with the park across the Boulevard to the South connecting the Double Cone with the APEC Park. An additional outdoor event ‘bowl’ is proposed surrounded by canals that can provide public and private boat access to the project site. Space for a future extension of the Busan Cinema Center project is proposed as an island among the canals, further integrating the cultural functions of the Busan Cinema Center project with the surrounding public space and landscape environment.

+ Project credits / data

Team
Planning:
COOP HIMMELB(L)AU | http://www.coop-himmelblau.at/
Wolf D. Prix / W. Dreibholz & Partner ZT GmbH
Design Principal/ CEO: Wolf D. Prix
Project Partner: Michael Volk
Project Architect: Günther Weber
Design Architects: Martin Oberascher, Jörg Hugo
Project Team: Sergio Gonzalez, Rob Henderson, Guthu Hallstein, Matt Kirkham, Veronica Janovska, Dieter Segerer, Markus Baumann, Jasmin Dieterle, Anja Sorger, Jana Kucerova, Jan Brosch, Ivana Jug
3D Design: Renate Weissenböck, Jan-Ruben Fischer
Model: Paul Hoszowski, Ernst Stockinger, Vincenzo Del Monaco, Johannes Spiesberger, Markus Erhardt, Hyoung Sub, Marc Werner
Photography: Markus Pillhofer
Competition Team: Victoria Coaloa, Rob Henderson, Paul Hoszowski, Jörg Hugo, Irakli Itoni, Alex Jackson, Matt Kirkham, Shannon Loew, Mona Marbach, Jens Mehlan, Tom Wiscombe, Burcu Bicer, Etienne Chanpenios, Monika Heliosch, Akvile Rimantaite
Renderings: Armin Hess/Isochrom

Client: Municipality of Busan:
Kim, Byung-Heui; Cho, Seung-Ho; Chai, Young-Eeon; Seo, Myoung Seok
User: Busan International Film Festival:
Choi, Yoonna; Oh, Seok-Geun; Kim, Dong-Ho
Competition Organizer: Busan International Architectural Culture Festival Organizing Committee: Yeonjegu Jungangro, Korea

Local Partner: Heerim Architects & Planners, Seoul / Korea:
Jeong, Young Kyoon; Eu, Sung Mo; Lee, Mog Woon; Kang, In Soo; Kim, SeoniI; Shin, Dong Young; Chang, Hyo Sup

Structural Engineering: B+G Ingenieure, Bollinger und Grohmann GmbH Frankfurt / Vienna, Germany/ Austria:
Klaus Bollinger, Jan Lüdders, Daniel Pfanner, Astrid Münzinger, Jürgen Asmussen
Jeon and Partner, Seoul / Korea:
Jeon, Bong-soo, Yoon, Heum-hak, Kim, Dong-gwan, Ms. Nam, Jung-hwa, Lee, Jang-hong, Ms. Han, Hye-hwa, Kim, Seung-a, Yi, Joon

Mechanical, Electrical Engineering: Arup, Berlin, Germany:
Bryan Cody, Till Pasquai, Tobias Burkhart, Akif Berkyuerek

Lighting Design: Har Hollands, Eindhoven, Netherlands

Wind Studies: Wacker Ingenieure, Birkenfeld / Germany:
Jürgen Wacker, Michael Buselmeier

Façade Consulting to CHBL: Face of Building, Oberpullendorf / Austria:
Johannes Stimakovits, Harald Weidinger

Theater Consulting to CHBL: Artec, New York / USA:
Tateo Nakajima, Ed Arenius, Ted Pyper

Chronology
Competition: (1st Prize) 11/2005
Start of Planning: 01/2007
Start of Construction: 10/2008
Completion: 10/2011
Scheduled Opening: 29/09/2011

Project Data
Site Area: 32,100 m²
Net Floor Area (interior spaces): 51,067 m²
Gross Floor Area (interior spaces): 57,981 m²
Built-up Area: 10,005 m² (without roofs)
Cubage: 349,708 m³

Building Costs: about EUR 100 Mio
Costs per m²: 1.725 EUR/m² (excl. exterior spaces)

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شنبه 14 آبان 1390برچسب:, :: 0:54 ::  نويسنده : بابک


May 4, 2009

consolacion hotel camprubi i santacana architects mood 550x552 Consolación Hotel | Camprubí i Santacana architects
consolacion hotel camprubi i santacana architects mood 01 550x550 Consolación Hotel | Camprubí i Santacana architects

Spain based Camprubí i Santacana Arquitectes has designed a wonderful hotel located in Teruel, Spain. The Consolación is a small hotel with just 12 rooms. The 10 cubes are oriented to get the best view to the landscape and another 2 rooms are in old residence at first level.

+ Press release below and images provided by YELLOW, a Barcelona based agency specialized in architecture and design

HOTEL CONSOLACION – The luxury of the essential

Barcelona, May 2009. It will no longer be so easy to overlook Monroyo, in the heart of the county of Matarraña in Teruel (Spain). The usual stopovers to buy some of its ham or pick some wild mushrooms or truffles in season can now be lengthened thanks to a striking new hotel on the outskirts of the town, next to the Consolación Hermitage.

The hotel designed by the firm of Camprubí i Santacana Arquitectes is an innovative project comprising a central house containing the services and communal areas, plus ten rooms built independently.


consolacion hotel camprubi i santacana architects mood 03 550x366 Consolación Hotel | Camprubí i Santacana architects

The hotel, which has borrowed the name of the hermitage, is notable for its close links with the natural world. For a start, the rooms are not classical hotel bedrooms but individual cubes clad with wood, set 100 m from the hotel’s central nucleus on a hillside reached via a natural garden of rosemary and thyme. They are called kubes: 36 sq. m of simple, almost minimalist architecture. Black slate floor, a bathtub dug out of the selfsame floor, a bathroom with a separate shower, a suspended chimney, an armchair and a reading lamp.

consolacion hotel camprubi i santacana architects mood 02 550x367 Consolación Hotel | Camprubí i Santacana architects

Each kube has a large west-facing window and terrace, framing a view exclusively confined to rolling hills shrouded in pine trees, with not a single building in sight. Total privacy.

Once inside the Consolación, it is difficult to leave. All the spaces in the central nucleus are flexible, as well as being interconnected to establish a sense of overall unity. Thus, the rest area can be used as a lounge or meeting room, while the reception turns into a bar at night.

consolacion hotel camprubi i santacana architects mood 09 550x550 Consolación Hotel | Camprubí i Santacana architects

The kitchen, which is usually out of bounds in a hotel, is a meeting point in the Consolación. It is open at all times and there is always food and drunk available on the counter. Breakfast, lunch and dinner are served in an old outhouse that has been converted into a dining room made of stone, wood, steel and glass. The dishes are based on seasonal produce from Matarraña.

The interior design in the Consolación is marked by its essentiality and comfort. Most of the fixed furniture forms part of the architecture. Warm, noble materials such as slate, copper-treated pine, wengue and metal sheeting dominate both the bedrooms and the central nucleus.

consolacion hotel camprubi i santacana architects mood site plan 550x391 Consolación Hotel | Camprubí i Santacana architects

Site Plan courtesy Yellow

The Consolación is a small hotel with just twelve rooms. Ten of these are kubes and the other two occupy the first floor of the hermitage’s old residence – a baroque building, like the church, although the hermitage is much older (14th century). The dimensions, the organization of the space and, above all, the concept of a hotel geared towards its guests are ideally suited to the organization of meetings of small groups or seminars.

The project is rounded off by an outdoor swimming pool overlooking the entire landscape, in a setting of the utmost privacy and peacefulness. This degree of isolation would be impossible in a normal hotel. The Consolación, however, was built with a view to friendly and enjoyable tranquillity, inspired by the architecture of Craig Ellwood, a mixture of the Germanic rationalism of Mies van der Rohe and the informalism of southern California.

If guests want to leave the hotel, what better than the Way of Santiago, which runs through the hermitage gate on the section between Tortosa and Zaragoza? There are, however, many other routes nearby, for both walkers and bikers, and these are popular with hunters and painters. Many of these paths lead to the River Matarraña, which can be crossed on walkways spanning the narrower canyons. Other routes come to an end in caves with prehistoric paintings that have been declared heritage sites.

+ Project credits

Architect: Camprubí i Santacana Arquitectes
Project: Consolación Hotel
Location: Teruel, Spain
Photograher: Jaime Font Furest

+ About architect, Camprubí i Santacana Arquitectes

After several years of joint collaborations, in 2004 the architects Estela Camprubí Amat (born Barcelona, 1966) and Eugènia Santacana (born Barcelona, 1967) formed the firm Camprubí i Santacana Arquitectes. Their long list of projects embraces both housing and city planning. The firm also won first prize in the Masía de Can Vic Young Architects’ Competition in 2006 and first prize in the INCASOL competition – 50 homes in Cambrils (in collaboration with Oriol i Eduard Bosch Arquitectes).

+ All images/drawings courtesy Yellow + Camprubí i Santacana Arquitectes


شنبه 14 آبان 1390برچسب:, :: 0:54 ::  نويسنده : بابک
1



The 1970’s lecture hall building of the Montan university Leoben has been extensively refurbished to meet current standards. In addition to an energy refit, the upgrading of the whole building technology and adaption to suit the needs of the physically disadvantaged the building’s range of functions was extended.

Paul ott MuL plusMOOD 9 600x391 Montan University Leoben Building | Gangoly & Kristiner Architekten

Montan University Leoben Building, image courtesy Gangoly & Kristiner Architekten | Photo by Paul Ott

Paul ott MuL plusMOOD 8 600x600 Montan University Leoben Building | Gangoly & Kristiner Architekten

Montan University Leoben Building, image courtesy Gangoly & Kristiner Architekten | Photo by Paul Ott

An elevated structure was placed in front of the existing building to both clear the urban situation and to enlarge the existing foyer. The foyer now ensures that lectures can be held at the same time as conferences, that parties –both official and student – can take place at the campus and that students find an informal meeting and working place. The capacity of the lecture halls has been expanded and additional seminar rooms have been placed in the structure.

Paul ott MuL plusMOOD 3 600x600 Montan University Leoben Building | Gangoly & Kristiner Architekten

Montan University Leoben Building, image courtesy Gangoly & Kristiner Architekten | Photo by Paul Ott

Paul ott MuL plusMOOD 5 600x450 Montan University Leoben Building | Gangoly & Kristiner Architekten

Montan University Leoben Building, image courtesy Gangoly & Kristiner Architekten | Photo by Paul Ott

The design is equally concerned with preserving the historic core of the building and with giving it a contemporary apperance. The existing orthogonal arrangement has been elaborated and transformed into the new-built structure. The destinct color scheme strenghtens the impression of a funcitionalist design.

MuL gangoly kristiner plusMOOD site plan 600x681 Montan University Leoben Building | Gangoly & Kristiner Architekten

Montan University Leoben Building - Site plan, drawing courtesy Gangoly & Kristiner Architekten

MuL gangoly kristiner plusMOOD groundfloor 600x295 Montan University Leoben Building | Gangoly & Kristiner Architekten

Montan University Leoben Building - Ground floor plan, drawing courtesy Gangoly & Kristiner Architekten

MuL gangoly kristiner plusMOOD first floor 600x232 Montan University Leoben Building | Gangoly & Kristiner Architekten

Montan University Leoben Building - 1st floor plan, drawing courtesy Gangoly & Kristiner Architekten


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Paul-ott_MuL_plusMOOD 6
+ Project credits / data

Project: Lecture Hall Building for the Montan University Leoben
Location: Leoben, Austria
Competition: 2007
Start of construction: July 2008
Completion: September 2009
Floor area: 3.070m²
Built-up area: 5.871m²
Cubage: 27.931m³
Capacity: 3 lecture halls for 180-280 students, 2 seminar rooms, main auditorium for 500 students, canteen
Typology: Education | Refurbishment / Extension

Architect: Gangoly & Kristiner Architekten | http://www.gangoly.at/
Project manager: DI Irene Kristiner
Collaborators: DI Kerstin Wissounig, DI Ulrike Wallnöfer, DI Hans Schaffer, DI Julia Lainer, DI Markus Kutschach
Client: BIG Bundesimmobiliengesellschaft mbH
Structural consultant: Wendl ZT-GmbH, Graz
Construction physics/acoustics: Dr. Gerhard Tomberger, Graz
Mechanical services/electrical concept: dieHaustechniker, Jennersdorf
Fire protection consultant: Norbert Rabl Ziviltechniker GmbH
Photographer: Paul Ott



شنبه 14 آبان 1390برچسب:, :: 0:54 ::  نويسنده : بابک


Mexico-based firm REC Arquitectura has designed the Central Library in Morelos, Mexico.

+ Project description by REC Arquitectura

The building complex is conceived in sub elements, each element rationally positioned and connected to one another with three generating ideas: culture, cultivation and domesticity.

REC Biblio Principal 600x287 Central Library UAEM | REC Arquitectura

Central Library, render courtesy REC Arquitectura

The wagons:
Volumes dedicated to book collection and reading rooms with clean circulations, but above all with close proximity between books and reading tables, echoing the way it occurs at home and its domesticity in having things within close reach.  The building structure is flexible for additions, modifications or reproductions within the same site or serving as models for different places inside or outside the university campus.

The “L” Building:
This volume serves as boundary for the central space and contains administrative, public and service spaces such as: multi-purpose rooms, videotheque, hemerotheque, auditorium for 143 people, theses, computer and meeting rooms, cubicles, chief of services, private collections, restrooms, book storage, machinery room, clean water cistern and rainwater cistern.

Lobby/Vestibule:
The double high space performs different functions and the resulting form is entirely rational.   The main access features a 5.6m glass curtain with a concave silhouette designed to protect the space from isolation, likewise, columns and different structural elements are projected towards the exterior in order to work as brise – soleil. Inside, the building’s main facade works as a canvas to deploy a timeline in which historical facts are xerographied within the architecture; divided vertically in modules of 1.2 meters width to show chronologically key moments in history from 1500 B.C. to 2000 A.D.; and horizontally in learning areas, looking for a recreational strategy to interrelate important events in history in a holistic context.

REC Biblio Interior 600x339 Central Library UAEM | REC Arquitectura

Central Library, render courtesy REC Arquitectura

Central Patio/Central Courtyard:
The central patio with a raindrop shape offers, aside from natural light and ventilation, a triple function of the building with its context; first, it seems like an interior street that ends with a natural mound in the exterior, second, if observed from the wagons, the building is perceived as if the viewer were on the outside, and finally, when the visitor is located at the last wagon towards the main access, the central patio seems confined with a local tree species called “gold rain”, this is the way in which the same volume allows the viewer, depending on his position, to experience a street, a building from the outside and a central courtyard.

Agriculture:
This action embraces self resources, society and education; instead of proposing landscape design and gardening which would eventually need future budget for maintenance, the library landscape strategy is focused on partnering with the faculty of agriculture to surround the building context with orchards and vegetable gardens, interrelating the library socially with another university faculty and allowing the faculty of agriculture to gather and concentrate its land needs while creating synergy within more areas of knowledge.

REC 92 DIA Y TARDE 600x648 Central Library UAEM | REC Arquitectura

Central Library - Lighting diagram, drawing courtesy REC Arquitectura

Light:
The lighting strategy was based on the idea of light bouncing in one or two surfaces at least, this effect would generate a different light intensity in the interior; for example, in the wagons, the three skylights would received different illumination since the way they are place embrace light from the dawn to light from the dusk.  The skylight of one of the wagons was oriented towards the north in order to have homogeneous natural light, in the double high stairs and multipurpose rooms, the roof walls were conically shaped in order to look for zenital light; finally, there was left a gap between the double high space ceiling and the elongated bar in order to take advantage of the 12pm light bouncing against a orange surface to provide warmth light at noon.

REC 92 PLANTA PB PRIMER NIVEL 600x732 Central Library UAEM | REC Arquitectura

Central Library - Floor plans, drawing courtesy REC Arquitectura

+ Project credits / data

Project: Central Library, UAEM
Location: Av. Universidad No. 1001, col. Chamilpa, Cuernavaca, Morelos. c.p.62209
Year: 2010 (project), 2011 (Under Construction)
Construction: 3,630 m2
Team: Gustavo Lira, Ivan Garcia, Ulises Rodriguez, Alejandro Albarran, Daniel Ceceña, Maria J. Jimenez, Ivan Recoder y Gerardo Recoder
Typology: Culture | Library



شنبه 14 آبان 1390برچسب:, :: 0:54 ::  نويسنده : بابک



BM3 Architecture was recently placed for an International Competition for a new Faculty of Engineering at the University of Cyprus.

The brief for this project was to produce a sustainable master plan the new University Building in Cyprus with opportunity for future expansion. This involved designing several buildings that include a Structural & Earthquake engineering laboratory, Department of civil & environmental engineering, Deanery & Common space, Department of electrical & Computer engineering and Department of mechanical & manufacturing engineering.

University building of Cyprus BM3 night shot 600x360 Shortlisted for new engineering campus, University building of Cyprus  BM3 Architecture

Render courtesy BM3 Architecture

To achieve these objectives of the brief it was decided that the departments MME, ECE and CEE should focus on a communal central space which will contain the Deanery, Common Use Spaces and Department of Architecture Spaces at the heart of The Faculty. The main entrances to each department will be from this central space. Users will converge in this space encouraging interaction and creating a focal point for all departments. Secondary entrances from the east and the west will create links with the rest of the campus. An open space at the centre of the site allows for good air movement and daylight penetration as well as opening up views of the Aronas Mountain and the Athalassa Forest. The circulation spaces in the square between departments are complemented by outdoor teaching and social spaces.

University building of Cyprus BM3 2 600x360 Shortlisted for new engineering campus, University building of Cyprus  BM3 Architecture

Render courtesy BM3 Architecture

It was decided that the CEE building would sit to the south of the site next to the road due the frequent deliveries of materials to the larger laboratories. This building is surrounded by a ‘dry moat’ allowing light to the lower level.

University building of Cyprus BM3 SITE PLAN 600x601 Shortlisted for new engineering campus, University building of Cyprus  BM3 Architecture

Site plan, drawing courtesy BM3 Architecture

The site layout encourages the interaction of students between departments through a central communal space. This concept is continued in the design of each of the department buildings. From the main entrance into each department you enter the department ‘hub’ illuminated by a north lit atrium. From this hub is access to the laboratory ‘wings’.

University building of Cyprus BM3 3 600x360 Shortlisted for new engineering campus, University building of Cyprus  BM3 Architecture

Render courtesy BM3 Architecture

University building of Cyprus BM3 CONCEPT split level Shortlisted for new engineering campus, University building of Cyprus  BM3 Architecture

Concept diagram, drawing courtesy BM3 Architecture

Having divided The Faculty into separate buildings it is vital that it still reads as a whole. The laboratory wings are generally single aspect and face north-south with the corridor on the south side. The external walls to the corridors are largely glazed, and therefore, naturally lit protected from solar gain by horizontal louvres. The labs are relatively shallow in plan allowing for good day lighting and natural ventilation when required. East and west elevations have horizontal and vertical shading to control a range of sun angles. The inclined elevations around The Faculty Square also help to enclose the space and connection between the department buildings. These principles have been adopted on each department for continuity tying the building together.

The Structural and Earthquake Engineering Laboratory is designed as a landmark building on the southern elevation denoting the gateway into the site. The cladding is positioned giving the appearance of ‘cracks’ synonymous with its function.

Similar materials have been used on each department building for unity. The elevations are largely glazed. This was a key objective avoiding the need for artificial lighting and providing good views out improving the working environment and views in adding to the activity of the spaces around The Faculty. Other main facing materials are a fractal patterned aluminium cladding and fair faced concrete. The aluminium will have a matt finish avoiding glare issues. This cladding with the fractal pattern gives the building a machine like, ‘high tech’, aesthetic appropriate for this type of building. The main building structure is concrete due to its thermal properties and is expressed as a facing material where appropriate.

Aluminium louvers and canopies around the windows help articulate the elevation while moderating the natural environmental impact. The roofs are generally covered in a single ply membrane which can be easily formed to a curve where necessary.

Throughout The Faculty the colour green has been used. It has been a considered choice not just in its appropriate aesthetic qualities when set it the steel grey of the fare face concrete, but also in its mood enhancing properties. Being in the centre of the spectrum, it is the colour of balance .When the world about us contains plenty of green, this indicates the presence so we are reassured by green, on a primitive level. Green is associated with tranquillity and balance and also represents nature and harmony. This is the very essence of all pure engineering principle, where Man’s endeavour to create and solve should ultimately lead to balance and harmony.

University building of Cyprus BM3 4 600x360 Shortlisted for new engineering campus, University building of Cyprus  BM3 Architecture

Render courtesy BM3 Architecture

Landscaping has been an important part of this master plan. A variety of external spaces have been created. The Faculty Square has a mix of larger open social spaces and tiered seating areas. External spaces have to be shaded to create a pleasant environment, and this is done not only by the placement of the buildings, and shading devices but also by the introduction of carefully selected trees.

Each building is designed to deal with the high summer temperatures and sunlight using sustainable solutions. Focus was given on the Orientation of the buildings on the site to ensure that solar gains can easily be controlled. Thermal mass has been introduced into the buildings fabric by exposing the concrete soffit. This will regulate internal temperatures and dampen and delay variations in outdoor air temperature.

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Section, drawing courtesy BM3 Architecture

Careful consideration has been given to controlling solar gains. The facades facing south have a simple horizontal louvre to control mid-season and summer solar heat gains. The facades facing north make maximum use the north light using large windows and through good design need for artificial lighting has been minimised.

To reduce energy consumption, the aquifer beneath the site will be used for heating and cooling. The groundwater, typically at 18°C, will be used directly for cooling in the building without the need for an electric chiller for the majority of the year. 140m2 of photovoltaic’s (PV) will be integrated into the buildings roofs. The PV will power the aquifer pumping system and all general mechanical ventilation fans. Solar thermal panels will be located on the roof to provide at least 50% of the annual energy to heat the domestic how water for the buildings.

BM3 Architecture has successfully achieved a University Building that sits harmoniously within its surroundings, reacting and working with its environment, but also, in creating a building that inspirers and compliments its users with elegant but practical, well-formed spaces.


University building of Cyprus_BM3_car parkhttp://plusmood.com/wp-content/uploads/2011/10/University-building-of-Cyprus_BM3_long-section-good-2.jpghttp://plusmood.com/wp-content/uploads/2011/10/University-building-of-Cyprus_BM3_long-section-good.jpghttp://plusmood.com/wp-content/uploads/2011/10/University-building-of-Cyprus_BM3_long-section.jpg
University building of Cyprus_BM3_section of deanery
+ Project credits / data

Project: Faculty of Engineering, University building of Cyprus
Client: University of Cyprus
Location: Nicosia, Cyprus
Cost: €45 Million
Structural Engineers: Buro Happold
M&E: KAL Engineers
Program: Education

+ All images and drawings courtesy BM3 Architecture


شنبه 14 آبان 1390برچسب:, :: 0:54 ::  نويسنده : بابک



Zaha Hadid, two times winner of the Stirling Prize, celebrates the launch of her third London project, the Roca London Gallery

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شنبه 14 آبان 1390برچسب:, :: 0:54 ::  نويسنده : بابک




Hotel Lone, the first design hotel in Croatia, is situated in the Monte Mulini forest park, Rovinj’s most attractive tourist zone, located in the immediate vicinity of the legendary Eden Hotel and the new Monte Mulini hotel. The surrounding grounds and parkland is a unique and protected region of the Monte Mulini forest on the Lone Bay.

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Hotel Lone, image courtesy 3LHD Architects

3LHD 142 Hotel Lone photo by 3LHD 16 600x400 Hotel Lone in Croatia | 3LHD Architects

Hotel Lone, image courtesy 3LHD Architects

The term design hotel is meant to illustrate this as a space that nurtures the concept of an interesting and functional design. Created by a team of renowned Croatian creatives comprised of a new generation of architects, conceptual artists, product, fashion and graphic designers. The Architects from studio 3LHD were responsible for the design and construction of the hotel building. In addition to the overall architecture, the interiors and the furniture were designed and chosen especially for the hotel in order to achieve a distinct and recognizable identity. The designers from Numen / For Use designed the furniture. The fashion studio I-GLE designed the staff uniforms and other textiles. Artist Silvio Vujicic created graphics on fabrics for the rooms. Installations in the hotel lobby were made by a group of innovative artists: Ivana Franke – “Room for running ghosts”; Silvio Vujicic – “In the hanging garden no one speaks” and the fashion studio I-GLE – textile compositions No1, No2, No3. Studio92 designed the Wellness & Spa center, while Studio Kappo did Landscape design.  The agency Bruketa & Žinic OM conceived and oversaw the visual identity of the hotel.

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Hotel Lone, image courtesy 3LHD Architects

The hotel’s identity is recognized through the external design of the building, with a facade that is defined by dominant horizontal lines – terrace guards designed to evoke the image of slanted boat decks. The building’s floorplates contract from level to level going up, creating an elevation that is tapered at all angles. The site’s complex terrain with dramatic altitude changes determined the locations of internal facility spaces through a dynamic interweaving of public areas and guest suites at all levels. The specific Y shaped ground plan enabled a: rational & functional organizational scheme; quality views from all rooms; and the grouping of public facilities around a central vertical lobby. The main lobby connects common spaces on all levels, creating a central volume of impressive height and scale with interesting views in and around where all vital functions of the hotel take place.

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Hotel Lone, image courtesy 3LHD Architects

When designing the interior, 3LHD and the designers from Numen/For Use chose the surrounding ambiance as the hotel’s signature visual element which also defined all views of the interior. With that in mind, the walls in the rooms are covered with mirrored panels, distributed in a random pattern which reflects ambient light and Mediterranean greenery, pulling them deeply into the interior, filling it with the exterior. The greenery also reflects on the glossy surfaces of ceilings in public areas, intensifying the effect of the surrounding plants.

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Hotel Lone, image courtesy 3LHD Architects | Photo by Nikola Radeljkovic

The visualy light and open space of the lobby is covered in white stone surfaces and beige-golden fabrics, the oval lines of the mezzanine guards and the furniture enhance the fluid character of the space and are in contrast with the intimate, subdued tones of the rooms and suites where the atmosphere is calmer, materials warmer (wood and carpets), the colors darker and lighting dimmer. The entire design of the hotel is based on contrasts (black, white, wood) and fabrics as the unifying element, varying from a fluid thin veil in the restaurant, through functional but dynamic wall coverings in the rooms, to the richly decorative mural in the lobby.

The key to the concept was the awareness of the necessity to avoid the sterility of most hotel facilities; that is why the designers used textiles with rich textures and quality oak veneer treated with eco-friendly lacquers, which give the visual and tactile impression of untreated massive wood. This material is usually too rustic but in this execution it manages to integrate walls and spaces into a harmonious composition through contemporary design and purified, spatially articulated shapes of paneling that overflow into furniture.

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Hotel Lone, image courtesy 3LHD Architects

The conceptual assumptions used in the design of the hotel and its interior show evidence of a deep respect towards the achievements of hotel architecture on the Adriatic Coast from the previous century, combining it with a strong modernity expressed primarily in materials, functions and typologies and consequently in architectural forms.

Hotel’s facilities

The hotel has 236 rooms and 12 suites. 16 rooms offer an exclusive experience of a private massage pool built in the room’s terrace. All the rooms are suitable for all types of guests. Rooms with king-size beds, twin beds or connected rooms are suitable for families.

The hotel has three restaurants “L”, “ON” and “E”, two bars, a jazz club and a mini club.

One of the main characteristics of the hotel is the state of the art high-quality conference center with 4 conference halls, several meeting rooms, and a VIP lounge fully equipped with the most advanced technology and an accompanying bar.

The hotel’s lowest level has a wellness center inspired by the Mediterranean. Besides a big pool there is a fitness center, massage rooms, a relaxation zone with a vitality bar, saunas and hydro massage pools – so called “sunken rooms”.

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Hotel Lone - Ground floor plan, drawing courtesy 3LHD Architects

3LHD 142 Hotel Lone drawings floor plan 1 600x424 Hotel Lone in Croatia | 3LHD Architects

Hotel Lone - L1 floor plan, drawing courtesy 3LHD Architects

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Hotel Lone - Sections, drawing courtesy 3LHD Architects

Furniture design
Numen/For use, Nikola Radeljkovic, Sven Jonke, Christoph Katzler

The common denominator, exquisitely designed furniture, connects all the hotel’s areas. Most of the furniture are carefully selected manufactured pieces, but also includes items made especially for this hotel by the well known design group Numen/For Use.

To achieve immediate recognizability of the interior, the Numen/ForUse group chose probably their most famous furniture piece, the Satyr armchair (Wallpaper award for Best World Sofa 2007), as an object with character and strong identity. The Satyr is present in all rooms with different colors of textile depending on the room’s position. Another signature piece found in all rooms is the lamp made by Dekor from Zabok and designed especially for the Hotel Lone. The lamps also differ in materials used for lampshades depending on the position in the room. During the day they “drown” in their background and dematerialize their volume, while at night, when turned on, they enhance the comfortable and warm atmosphere of the room.

Most of the furniture in the public spaces is also designed by Numen/For Use, the series of seating elements Transform, Y chair and C chair produced by the famous Italian furniture company Moroso. Some of the furniture is made from massive oak, tables XYZ and models X-L and X-Z are from the Element program made by Intera, Zagreb. Intera also made the specialized foldable armchairs for terraces and chaises with integrated parasols. These products were made especially for the Hotel Lone and in the future will be available to the public. In this way the development of this hotel becomes more than just another tourist project – it represents a driving force for the development of domestic production of designer furniture, which should serve as a role-model to all investors in Croatian tourism.

To avoid the classic ideal of Gesamtkunstwerk, the furniture in Hotel Lone is not bound to only one designer name or collection but rather consists of a variation of designer pieces. For example, the Tio collection by the design duo Chris Martin and Magnus Elebäck from Massproduction; Tropicalia chair by Patricia Urquiola for Moroso, the 1966 collection by Richard Schultz for B&B Italia;  and an especially interesting piece we would like to single out is the conference chair GF 40/4 by David Rowland for Howe, which was designed more than 40 years ago and still represents a timeless model for a conference chair.

3LHD 142 Hotel Lone photo by 3LHD 23 600x400 Hotel Lone in Croatia | 3LHD Architects

Hotel Lone, image courtesy 3LHD Architects

Staff uniforms and selection of textile objects design
I-GLE, Nataša Mihaljcišin, Martina Vrdoljak Ranilovic

A cult favourite of the Croatian fashion scene, designer duo I-GLE use their distinctive approach and style when designing all the textiles at Hotel Lone. A special project was to design hotel staff uniforms. Modern and simple, made of high quality and comfortable fabrics with an emphasis on the personality of people who represent certain positions in the context of a hotel, employee uniforms provide a pleasing visual identity that fits well into the hotel’s overall image. I-GLE participated in designing and choosing the fabrics for all textile items: curtains and drapes, tablecloths, napkins, sheets…

Spatial installation Room for running ghosts
Ivana Franke, artist

Materials: Aluminum tubes, PFA monofilament (fishing line), steel wire.
Dimensions: Diameter 8.7 m

In her work, internationally renowned visual artist Ivana Franke explores the relationship between phenomena and materiality by questioning the experience of spatial dimensions and human perception. Her large installation made as a tensegrity structure – structure in which stability is attained by tension and compression of elements, while at the same time solid objects do not touch each other, is featured in the lobby’s central area. Within the monumental spatial volume of the lobby, the installation draws a visually transparent system of dense spatial intervals, which enables reading the space’s dimensions through the space itself.

A fragile construction woven in the air has found its momentary balance. In front of our eyes it unfolds multiple spaces which soon disappear and evade our memory of where they are. This structure is in fact a room of uncountable corners, for unbalanced Ghost walking, meditation on infinity or wondering fragility…

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Hotel Lone, image courtesy 3LHD Architects | Photo by Cat Vinton

Cycle of graphics M1 – M15
Silvio Vujicic, artist

Screen printing (serigraphy) on textiles

All the rooms and suites are decorated with unique graphics by the well-known Croatian artist Silvio Vuji?i?. The graphics are based on an exploration of Istrian cultural heritage and frescoes from the 15th century. The details from frescoes, more precisely samples of patterns from the dresses of martyrs, were often used as motifs by painters, graphic artists and weavers during that century. The patterns were copied, used in other media and transferred from graphic to textile art and then to frescos and vice versa. In his graphics, Silvio Vujicic uses these textile patterns from frescoes again and returns them to their original medium: graphics and textile. Produced as serigraphy on white cotton canvases, the graphics contain the signatures of old masters and draw attention by the unique technique of their production while simultaneously engaging with the motives of creased curtains. The samples of draperies from frescoes were reconstructed from the St. Catherine’s Church in Lindar (1409), St. Mary’s Church in Dvigrad (cca. 1470-1484) and St. Mary’s Church in Škrilinah in Beram (1474).

Installation In the hanging garden no one speaks
Silvio Vujicic, artist

Plants Adiantum Raddianum, plants Asplenium Nidus, garden soil, wood, water, metal, lights
Dimensions: 730 cm x 480 cm x 150 cm

Silvio Vujicic’s installation “In the hanging garden no one speaks” adorn the wall of the lobby next to the entrance and rises up two floors. A type of bio-machine is made from supports of different lengths and sizes that carry the rhythmic arrangement of wooden baskets with live plants and create a form that resembles a curtain. Irrigation and fogging systems enable the sustainability of the installation.

Art installations – Composition No.01, Composition No.02, Composition No.03
I-GLE, Nataša Mihaljcišin, Martina Vrdoljak Ranilovic

Materials: textile, metal, nylon thread

The designers from the studio I-GLE made their artistic contribution to the hotel in the form of three installations that will adorn the front desk and the lobby. The compositions are made from textiles in dark colors, of different textures and rich weaving that simulate the dynamics of natural phenomenon characteristic for the seaside ambiance through rhythmic folds and diffraction of light on the surface of the textile.

Visual identity
Bruketa&Žinic OM / Davor Bruketa, Nikola Žinic (creative directors), Nebojša
Cvetkovic (art director, illustrator, designer), Ivan Cadež (copywriter),
Martina Ivkic (account executive), Vesna curašin (production manager)

Hotel Lone is a virtual shop window of the South-Eastern European creative industry. Its visual identity was designed by the agency Bruketa & Žinic OM, with several awards one of the most lauded agencies in this part of the world.

The visual key is inspired by the central lobby, the most impressive volume of the hotel, which rises up throughout the entire building’s height. This is the area where hotel’s wings are juxtaposed with the adjacencies of most important facilities, this serves as the origin of all activities. It is the hotel’s “heart”. Therefore, that shape was chosen as the symbol that changes depending on which part of the hotel it is used for, or in other words, from which perspective it is observed.

The “heart” is the driving force of all activities in this inspiring place that will serve as a venue for relaxation as well as business meetings. Therefore, it was derived from illustrations which combine the disparate and makes up the basis for a huge poster 2 x 4.2 meters in size. All the applications of visual identity are derived from this big poster divided into twelve parts. Therefore, each application is part of the unique common picture, such as the hotel itself, made up from different parts of domestic creative industry, becoming its own shop-window.

+ Project credits / data

Hotel Lone, Rovinj, Istria, Croatia
Program: leisure, tourism
Status:  completed

Project start date: 01.09.2006
Project end date: 31.05.2010
Construction start date: 01.05.2010
Construction end date: 01.07.2011

Address: Monte Mulini Zone
City:  Rovinj
Croatia: Croatia
Geolocation: 45°4’21” N, 13°38’23” E
Type:  invited competition
Competition prize: first

Site (m2): 22157
Size (m2): 29476
Volume (m3): 107704
Footprint (m2): 6017
Level (m): 27.74

Client: Maistra d.d.
Project management: Abilia d.o.o.

Author: 3LHD

Project team:
Silvije Novak, Tatjana Grozdanic Begovic, Marko Dabrovic, Saša Begovic, Ljiljana Dordevic, Ines Vlahovic, Željko Mohorovic, Krunoslav Szorsen, Nives Krsnik Rister, Dijana Vandekar, Tomislav Soldo, Ana Deg

Project team collaborators:
Margareta Spajic, Ana Coce, Dragana Šimic, Sanja Jasika, Eugen Popovic, Leon Lazaneo, Ljerka Vucic

Interior: 3LHD / Numen/For Use
Furniture design: Numen/For Use – Sven Jonke, Nikola Radeljkovic, Christof Katzler
Staff uniforms and selection of textile objects design: I-GLE
Art installations:

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شنبه 14 آبان 1390برچسب:, :: 0:54 ::  نويسنده : بابک

Danish architectural practice 3XN is one of two finalists in the prestigious competition to design Dublin’s new National Concert Hall. The competition was initiated in 2008 and the shortlist of renowned architects was soon narrowed down to two competing teams lead by Danish Architects; 3XN and Henning Larsen Architects. It is quite unique that two Danish studios come head to head in the final round of an international competition of this scope. Both teams have delivered spectacular designs for a world class concert hall to meet the client’s high ambitions for the project. Unfortunately the competition has now been cancelled due to lack of financing as a result of Ireland’s fragile economic situation and the client will not appoint a final winner.

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Dublin National Concert Hall, render courtesy 3XN architects

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Dublin National Concert Hall, render courtesy 3XN architectsarchitects

+ Project description by 3XN

3XNs proposal for the Dublin National Concert Hall is a sculptural showcase which creates a magnificent new home for music, while also providing a framework for the historical context upon which the new concert hall sits. The new building provides a zone where the urban and park settings come together expressing their own symphony in addition to the music coming from within.

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Dublin National Concert Hall, render courtesy 3XN architectsarchitects

Dublin National Concert Hall is composed of three sculptural volumes, each of which contains its own unique Concert Hall. The three Halls are linked at the Grand Entrance through the historic Butler building and via a plinth; with the organic foyer promoting flow and social interaction between the three Halls. As amongst buildings in a city, the foyer flows between the Halls like small lively streets that contract and expand to meet the demands of the new structure.

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Dublin National Concert Hall, render courtesy 3XN architectsarchitects

From the grand main entrance at Earlsfort Terrace through the floating foyers and down into the historic Iveagh Gardens, the city’s urban environment quite distinctly meets and transitions into the park. From the garden side, a transparent façade cascades down from the three Concert Hall volumes drawing the gardens forth into the foyer and extending into a new public plaza towards Hatch Street.

Dublin National Concert Hall 3XN plusMOOD 6 595x334 Dublin National Concert Hall | 3XN architects

Dublin National Concert Hall, render courtesy 3XN architectsarchitects

Dublin National Concert Hall 3XN plusMOOD 8 595x420 Dublin National Concert Hall | 3XN architects

Dublin National Concert Hall, render courtesy 3XN architectsarchitects

Acoustically, Dublin Concert Hall was planned to be amongst the top Concert Halls in the world. Working with the leaders in acoustics (Larry Kierkegaard from Chicago), stage design (Charcoal Blue from London) and lighting (Steven Scott from Denmark), 3XN has aimed to surpass the expectations. The programming is such that the three Halls complement each other in size, function and acoustic objectives. Hall 1 is designed to be reminiscent of the fine lines and interior of a fine classical wooden instrument; providing a warm intimacy between musicians and patrons. Hall 2 should be restored to its original glory with its classic layout and respect for tradition. Hall 3 is designed to be the most flexible and multi-functional of the three Halls.

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Dublin National Concert Hall_3XN_plusMOOD 9
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+ Project credits / data

Project: National Concert Hall
Location: Earlsfort Terrace, Dublin, Ireland
Client: National Development Finance Agency (NDFA)
Size: 28,232 m2
Competition: One of two final contestants in invited competition 2008
Architect: 3XN
Engineer: DBFL, Varming, MSA, G4S
Contractor: PJ Hegarty & Sons
Consultants: International Public Partnership, Amber Infrastructure, Kirkegaard Associates (acousticians), Charcoalblue, (Theatre Consultant), Nolan Ryan Tweeds (quantity surveyor)



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Designed by OODA, the scheme engages with the natural topography, articulating a multi-levelled building and integrating the different cultural activities and program seamlessly. The dominant flow circulation, flexibility and concept strategy enables full accessibility.

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Busan Opera, render courtesy OODA

The design concept creates spaces that blur the difference between building and landscape, intensifying the fluidity between interior and exterior spaces, indoor and outdoor venues. The formal approach is driven from the natural proportion of the program merged with inspirational themes (like sea shells – music – and butterfly typical pacific fish) that allows the building to assume its own unique charm and identity. The formal image with its vibrant and meaningful presence helps to create a brand new-age landmark for South Korea as a strong symbolic voice to the world.

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Busan Opera, render courtesy OODA

Like an iconic shell sound towards the sea.

The Opera Auditorium has a pioneering and innovative design concept, it is as flexible and efficient as it is elegantly sculpted. The center area can rotate around itself so in the same space it is possible to have an Opera with all its requirements, but also some more intimate concert and a centered stage venue allowing to have audience all around.

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Busan Opera, render courtesy OODA

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Busan Opera, render courtesy OODA

The Multi Purpose Theatre has its own identity and articulation. According the design concept it could be used from multiple perspectives and programmatic needs.

The auxiliary facilities (high level restaurants, café/bars, shopping, convention center, exhibition space, banquet hall, event room, etc) flows all along the both main structures creating a perfect bind between all.

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Busan Opera, render courtesy OODA

The building envelope is devised as a continuous skin that is embedded with multiple levels of program. Natural light, cross ventilation, access and views become the key operators of the transition between interior and exterior.

The organic morphology blends perfectly with the landscape and it’s designed to become landscape and to symbolize the new Busan Spirit and identity.

+ Project credits / data

BUSAN OPERA HOUSE INTERNATIONAL COMPETITION
BUSAN, S.KOREA 2011
Team: OODA | http://www.OOD-A.com
Diogo Brito, Rodrigo Vilas-Boas, Francisco Lencastre, Francisco Rugeroni, Ezhil Vigneswaran, Francisca Lopes dos
Santos
Result: Settled



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