From the very beginning of the design process we operated with courtyards, also because we wanted to connect the new TEA typologically with its existing neighbor building, the Antiguo Hospital Civil which has recently been transformed into the Museo de la Naturaleza y el Hombre. However, it took a while before we understood that all different activities and functions of the TEA should be assembled under one continuous roof structure rather than break down into individual wings. This is also one of the reasons why the elongated courtyards do not appear like embraced exterior spaces but rather like interior spaces that are being left open. The spatial interplay between inside and outside integrates rather than separates the very diverse urban landscapes which are so fascinating in Santa Cruz. The new cultural centre is therefore not only a place of encounter for people but also a place of intersection for the landscape of the contemporary city, the old city with its skyline along the Barranco and the archaic topography of the Barranco itself.
The museum board’s decision was clear, the new Parrish Museum was not to take the form of an extension of the existing building of 1897, but was to be designed as a new complex on a new and undeveloped site. This seemed to make the task all the more interesting for us, because it meant we could operate freely without having to take any existing structures into account. On the other hand, it is often the case that having to respect an existing structure actually sets the starting point for an architectural design. In this regard, the freedom of building from scratch is often a real challenge, rather than a constraint, for architects. Horror vacui – what is to be done with so much freedom? Now, although the undeveloped site on the outskirts of Southampton does offer just that kind of freedom, the more intensely we studied the history and collection of the Parrish Museum, the more strongly we tended towards the idea of a small-scale pavilion complex. Other architectural typologies soon began to look less promising.
Photographs by Matthu Placek via Archdaily
Hinge House is defined by a 65’ long opaque library wall that serves as a sectional “hinge” by which the public and private programmatic elements of the house are connected. The library wall and primary circulation route into the house follow the slope of the landscape descending towards the ravine. The resulting scissor-like section presents a compact front façade that trifurcates into distinct volumes and windows on the back-side of the house facing the ravine.
The dining room and kitchen are located on the lowest levels while the living room is perched on top. In between these volumes are the interstitial areas constituting the library, study, studio, guest bedrooms and master bedroom. A conversation nook sits below the atrium surrounded by centrifugal stairs with a skylight above.
The house is located on a prominent corner site overlooking a ravine in downtown Toronto. Given the predominance of vehicular traffic and incumbent noise of the site, the house presents a protective, introverted face to the street and an open, extroverted face to the ravine.
The House in Frogs Hollow is a country retreat located on a long slope of the Niagara Escarpment overlooking Georgian Bay. The property is a collection of eroded clay hills and protected watershed zones blanketed with a dense field of hawthorn and native grasses. It is not picturesque, but tough and rather impenetrable.
The clients, who gather at the property throughout the year, are avid cyclists who spent months on the 100 acre property prior to construction cutting in discreet mountain biking trails and learning the paths of the horses and snowmobiles as they emerge from the community over the seasons. Because of their connection to the landscape, a primary site strategy was to resist the inclination to build on the top of the hills where one could survey the property in its entirety and instead carve out a building area at the base of the hillside.
M+ (Museum+) is a new center for visual culture in Hong Kong, located in the new West Kowloon Cultural District. Snøhetta’s design makes M+ a new transpositional art platform. The + highlights the ambitious relationship between art content, the public, museum building, and context.
The current state of anticipated relationships between museums and society demands rethinking. The design of art museums is dominated by the idea that people portray the highest risk to any type of collection. This prevents the introduction of integrated approaches and leaves museums “passive” according to the latest sociological discoveries of human behavior. Performative aspects of space and time relationships are vulnerable qualities and they may be deteriorated by formal architectural approaches driven by personal aesthetic preferences. The M+ concept seeks to give a clear and recognizable form, yet adaptable to the changing demands of society and the arts.
Cantilevering slightly over the North Sea horizon where it leaves the ground, it feels as if a container has been dropped informally upon the site, when visiting the Karmøy Fishing Museum.
The Eggum Tourist route is one of 18 National Norwegian Tourist Routes, commissioned and managed by the Public Roads Administration to allow travelers to enjoy the countryside’s spectacular vistas with amenities such as service buildings, hiking trails and public art. The Eggum project consists of a service building within an amphitheatre, a hiking trail, car park and stairs built in gabion walls.
The terrain determined the location of areas for camper vans, car parking and the building, all sited in an excavated hill. The car park was designed so that every parked vehicle will have a view of the sea. Gabion walls were used to define the car park and to create a unifying effect for the designed spaces. The construction materials used in the project were largely local to the site. All gabions were filled with stone from the site excavation, and the building’s wooden walls were built from driftlogs found on the nearby beach. The emphasis has been on using rough, natural materials with consistent detailing.
Genius Loci - The starting point for the new DONGBONG Museum is to create a harmonious balance between museum and context; where building and nature don’t compete or dominate but can work together. For this reason we opted not to create a “object” type building but integrate a series of smaller buildings into the existing fabric, working with the “Genius Loci” of the site.
Traditional Village - The program is distributed into a series of houses that are scattered onto the landscape similar to how a traditional Korean Villages are formed, considering orientation, views, topography. The position of each mass creates two important spacial phenomena: firstly the in-between spaces become the new public space of the museum, accommodating facilities such as the lobby, circulation and viewing platform; secondly these spaces act as openings to the surrounding engaging visitors with the amazing natural beauty.
The boundary is not that which stops, but the boundary is that from which something begins its presence.
Irving Brown, Flatiron Building From Madison Square Park, c. 1920
One of the oldest cage-free zoos in the world, The Paris Zoological Park has long been a proponent of animal conservation since its opening in 1934. Of over 85 species housed at the zoo, most are considered endangered with habitats that are near-destruction and are thus directly benefiting from the zoo’s efforts. Situated in the historical Parc de Vincennes, the relatively small zoo (about 15 ha) is marked by nearly one century of evolution on the safeguarding and the presentation of the animals of the world in an urban environment.
My primary goal as an artist and as a person is to photograph the world as I travel in an effort to savor and share my life experiences. I enjoy having the power to transform the commonplace day into something that is unique and memorable. By employing techniques such as Tilt Shift, HDR, Vertical Panoramas and Time Slice, this allows me to grow as a photographer while exposing our everyday world in an altered visual context.
Ultimately I am driven by exploration and discovery which my photography affords me the opportunity to travel the globe translating the visceral into the visual. By sharing my perspective with others I aim not only to present a photograph but also a lens into my feelings and outlook in a particular moment. Photography and travel may as well be one word to me. My goal as an artist is to “X” off as many places around the world until I run out of places or run out of time.
Artist’s personal biographies usually bother me, but this dude is pretty honest about what he’s trying to do and how he plans to go about doing it. Respect, Silver.