Architects: Yasui Hideo Atelier
Location: Karuizawa, Japan
Area: 423 sqm
Photographs: Nacasa & Partners inc
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Sites de CURATION
The Architecture of the City
Actions de concertation citoyenne
Le BONHEUR comme indice d'épanouissement social et économique.
Design participatif : méthodes, théories, approches multimédia.
Les moyens de sondage alternatif : comment "extraire" l'opinion de supports multimédias ?
Le contexte socio-politique de la démocratie participative : la question de "accountability", entre l’évaluation et la transparence.
Modèles et typologies du débat. La médiation de conflits
Entre bonheur et bien-être : quels critères pour mesurer le progrès et la productivité ?
Via association concert urbain
Thanks to the increasing popularity of massive open online courses — or MOOCs as they’re commonly referred to — learning has never been easier (or more convenient). Sites like Coursera and edX offer free classes online from accredited and well-known universities across the globe, including Harvard, MIT and the University of Hong Kong. While some classes are more structured and include a set lesson plan, homework assignments, quizzes and the option to receive a certificate at the end, others can be set at your own pace and approached more independently.
Mexico City-based BuBa Arquitectos proposes a vertical zoo wrapped in lush vegetation that relies on solar power, rainwater and natural ventilation.
Why not take the same theories and technologies used to grow organic produce and raise animals and apply them to build more compact, more sustainable zoos? Proposed by Mexico City-based BuBa Arquitectos, the Vertical Zoo is a balanced and sustainable space where people and animals can coexist in harmony. Wrapped in lush vegetation, the star-shaped building makes use of green building strategies to reduce heat gain, encourage natural ventilation and soak up rainwater. Totally self-sufficient, the tower's aim is to be a sustainable refuge for all animal kingdom species.
Via Lauren Moss
5 Finalists announced in London: Ravensburg Art Museum, Danish Maritime Museum, Antinori Winery, Philharmonic Hall Szczecin and Saw Swee Hock Student Centre LSE
En dos ocasiones anteriores [2013 y 2014] les hemos presentado una selección de documentales imperdibles para arquitectos y este año no es la excepción. Comenzando este 2015, nos hemos sumergido nuevamente en el fascinante y diverso mundo del documental para recopilar una serie de títulos de interés para todos nosotros.
The Architects’ Journal recently published an enigmatic set of renderings, displaying what architect Richard Weston describes as a new genre of high-rise building: the "contextual tower."
The angular skyscraper — officially named after its address, 1 Undershaft — is intended to correlate closely with its surroundings, its form dictated by a careful analysis of adjacent masses to create a structure that combines maximum leasable floor space with the lowest possible visual impact. As low an impact as you can achieve with a 250-meter high building, at least…
Despite his status, Le Corbusier never had the opportunity to build in New York – in fact he only had one chance to build in the United States at all, completing Harvard’s Carpenter Center for the Visual Arts in Cambridge in 1963. But this doesn’t mean his influence isn’t visible all over the Big Apple. Originally published on 6sqft as “Towers in the Park: Le Corbusier’s Influence in NYC,” this article takes a look at three examples where Le Corbusier’s “Radiant City” ideals were transplanted to New York.
Even before taking his first trip to New York in 1935, Le Corbusier described the city as “utterly devoid of harmony.” After seeing it in person, his feelings didn’t soften. He wasn’t impressed by the tall towers, rather stating that they were the product of an inferiority complex, and he thought the city’s leaders were too timid to hire him. He wrote an opinion piece in the New York Times saying that “American skyscrapers have not attained the rank of architecture; rather, they are merely small objects such as statuettes or knick-knacks, magnified to titanic proportions.” He thought the city would benefit from buildings that “don’t try to outdo each other but are all identical.”
In 2011, Foster + Partner’s Spaceport America opened in the New Mexican desert with some wild fanfare: Virgin Galactic founder Richard Branson propelled down the side of the building, champagne in hand, rockets soaring in the air, to christen the $220-million launchpad of the world’s first civilian spaceflight. Four years down the line and nary a space launch to speak of, the New Mexican local government is starting to question the facility’s worth. Last Thursday, lawmakers voted to advance a bill to sell it off completely, the Associated Press reports.
Une exposition à la Cité de l’architecture et du patrimoine à Paris revient sur cinquante ans de recyclages architecturaux.
Transformer, c'est créer. Forte de ce précepte, l'exposition « Un bâtiment, combien de vies ? », que présente la Cité de l'architecture et du patrimoine, à Paris, jusqu'au 28 septembre, nous apprend à jeter un regard différent sur les mutations à l'œuvre dans notre environnement construit. Partir d'une parcelle blanche, comme l'on dit d'une page, n'a jamais été la seule démarche qui fasse sens en architecture. La réappropriation d'édifices existants, promis pour la plupart à une inévitable disparition, est devenue l'un des principes de notre devenir urbain.
In 1955 the Museum of Modern Art staged Latin American Architecture since 1945, a landmark survey of modern architecture in Latin America. On the 60th anniversary of that important show, the Museum returns to the region to offer a complex overview of the positions, debates, and architectural creativity from Mexico and Cuba to the Southern Cone between 1955 and the early 1980s.
Tokyo City X (1990) is a meta-project, the design of a theoretical city based on a single huge building of 800.000 sqm in the Tokyo bay. Commissioned by Mitsubishi to a team composed by Andrea Branzi, Clino Castelli, Isao Hosoe and ZPZ Partners, the project defines only its interiors leaving the...
mages have been unveiled of BIG and Heatherwick Studio’s design for Google’sMountain View headquarters. The plan, submitted to city council today, proposes to redevelop and expand the company’s home office with a series of lightweight canopy-like structures organized within a flexible landscape of bicycle paths and commercial opportunities for local companies.
“It’s the first time we’ll design and build offices from scratch and we hope these plans by Bjarke Ingels at BIG and Thomas Heatherwick at Heatherwick Studio will lead to a better way of working,” says Google. “The idea is simple. Instead of constructing immoveable concrete buildings, we’ll create lightweight block-like structures which can be moved around easily as we invest in new product areas… Large translucent canopies will cover each site, controlling the climate inside yet letting in light and air. With trees, landscaping, cafes, and bike paths weaving through these structures, we aim to blur the distinction between our buildings and nature.”
ART CENTER COLLEGE OF DESIGN
Core student group and on-site team:
Via Ionut Anton
Jim Kazanjian has been making insanely realistic-looking but obviously fake photo-collages for a while.We first checked in with Kazanjian's monsters when they were dystopian Victorian mash-ups set to post-apocalyptic landscapes. Now, the Portland, Ore.-based artist — he works in commercial CGI by day — has moved onto something a bit more sinister.
ROOM ROOM est présenté dans le cadre de l’événement MOBILE HOMES, du 14 février au 29 mars 2015 sur les Berges de Seine, à Paris.
Un ensemble d’architectures éphémères s’implantent au niveau du port de Solférino, dans le cadre de la programmation autour de Paris Climat 2015/COP21. Ces prototypes de logements modulables questionnent la notion de l’habitat en ville et permettent d’expérimenter d’autres manières d’habiter en mêlant l’humour, l’art et l’architecture.
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URBAN TALES will showcase three distinct architectural artwork series exploring visions of narrative based city redevelopments. Featuring RIBA Presidents Medal-winning work, these original and engaging threads of imagery from UCL architecture graduates Ned Scott, Nick Elias and Anja Kempa objectify fiction and challenge political reality. The exhibitors question the role of architecture in a changing world and use fictional narratives to design fantastical, but possible, cities. URBAN TALES will kick off with an opening party on Friday, March 6 and remain on view through April 10, 2015 at Carousel London
Title: URBAN TALES