Kamadhenu is a private institution, conceived around the basic principles of yoga practices, demanding the architects to generate an architectural program focused on creating a Yoga studio to fulfill the needs of yoga practitioners from Bogota, and its neighboring towns. All profits derived from the operation of the studio are destined to finance educational programs that benefit the children from the Subachoque community.
Elevation
The architectural program was developed around the idea of creating a school that would provide yoga courses and courses in related disciplines to its users, as well as art and cooking workshops. These functionalities are able to turn the studio into a full-fledged community center.
Being a place for the practice of yoga and meditation, space is neutral and relaxed. Nature and environment act as the main protagonists, integrating interior spaces and landscape. Changes in natural light transform spaces further, achieving an atmosphere that is propitious for meditation practices and the individual achievement of mindfulness.
Detail
The project consists of a central courtyard and three core modules articulated by a large corridor along which the yoga room, dining room, kitchen and bathrooms and changing areas are organized. The outdoor patio is the central space where different natural elements such as trees, mountains, sky, water and fire, as well as a Buddha who acts as guardian of the place, integrate.
Access is located at the upper level, visitors and users descend ceremonially by a stone staircase to the outdoor patio. The two main areas, the yoga and dining room, have wood sloping roofs that integrate the interior spaces to the landscape, allowing light to reflect inward.
The materials used are concrete, wood, stone and glass; providing a serene, beautiful and austere environment, where light plays a fundamental role. The materials are balanced with each other, since wood gives warmth, concrete solidity, stone connection with the earth and glass reflection of light.
Since its completion, the project has successfully achieved every objective that was initially conceived as a premise. The building has not only become a meeting point for yoga practitioners, but it also serves the purpose of working as a community center for the local community.
LIAG Architects has unveiled their design for a new art storage building. Commissioned by the Rijksmuseum in Amsterdam, the aim of the project was to create a large open space, while simultaneously meeting other needs such as protecting art that can’t be exposed to daylight, controlling the temperature in certain zones, and using minimum amounts of energy to operate the building.
Courtesy of LIAG architects
The 29,000 square-meter storage building is a simple volume designed not to reveal the organization of the interior. The entrance is a gold cladded arch shape, which opens the building towards an adjacent train station. The compact volume allows for the form to be expanded upon to create a larger facility if needed in the future.
Courtesy of LIAG architects
The layout of the facility allows for art to be transported through the shortest routes possible. Each of the three floors contains one main corridor from which all spaces are accessible.
Facade Treatment Diagram. Image Courtesy of LIAG architects
The design addresses the need to protect the artwork through both passive and active systems. The façade system utilizes a material that reflects daylight, but avoids glare. This material not only changes the building’s appearance throughout the seasons, but also allows controlled amounts of light to enter into the storage spaces.
The temperature of the facility is moderated by an insulated skin and energy stored in the ground. Different programs within the building are situated in ways that meet their specific needs. Studios and offices, which can tolerate warmer temperatures, are located at the top of the building, while cooler storage spaces are located on the lower levels.
DESIGN TEAM: Thomas Bögl, Maja Frackowiak, Jordy Aarts, Erik Schotte, Arie Aalbers, Jeroen Moerman, Anna Gunnink, Clemens Rothleitner, and Jose Reviriego Machío.
From the architect. The house is located in a residential area of Brasilia that despite being in the city center, provides great interaction with nature. Given the urban planning requirements of the district, the project focuses within the minimum limits of recess from the access road so the entire background could be occupied by the green area, as requested by the customers.
Our goal was to bring the landscape into using the architecture. The project designed from the outside in shows full integration between the interior and exterior, and through large openings and skylights, it values the natural lighting and ventilation.
Ground Floor Plan
The impenetrable surfaces of the main façade guarding the findings surprise reserved for those who enters. Daylighting happens many ways, but its main impact comes from above and it is present in almost all the house’s rooms. The sky can be seen from various parts of the house.
This natural light brings light and breaks the straight lines’s coldness, valuing the materials used and providing a better use of daylight that also feeds the heating system through solar panels.
Upper Floor Plan
For the ventilation, large openings were proposed, slat panels and skylights that along with high ceilings provide an internal temperature always pleasant. With a simple and rationalist proposal, the project was designed as a whole, from the party that favors straight lines and pure forms, through the structure and coming to detail, where natural materials were valued.
The overlap of the two boxes is a unique architectural structure, but with use and different internal compositions. The assembly is interconnected by metal and wood ladder structure that functions as a central axis defining a movement flows by internal spaces.
Section
With the shift between the two boxes, the architecture gains a stylish and contemporary volumes, combining the aesthetics and completely open to the garden and closed to the access road, the lower box received the main access, garage and social areas integrated into the green and the gourmet areas through large panels with aluminum frames and clear glass; while the upper box, with virtually blind side gables, houses the intimate area. The rear facade opens completely to the sky and the garden and have their privacy preserved through large slatted sliding panels that can be opened in various ways. These panels exert light filter function at the same time maintaining the natural ventilation.
The materials choice retrieves the Brazilian house features in a simple palette of concrete, glass and wood. It focuses on the use of relatively few elements, the appreciation of space and natural light, creating a neutral base, which enables the house evolve and become together with its members.
This article, by David Neustein and Grace Mortlock of Otherothers, explores a key paradox of the 2016 Venice Biennale: the disconnect between the geography of the topics on show and the geography of the Venice Biennale itself. With maps created by their students at the University of Technology, Sydney, they suggest new ways to explore the Biennale with Aravena’s theme in mind.
In announcing his theme for the 2016 Venice Architecture Biennale, “Reporting From the Front,” Biennale director Alejandro Aravena declared that “architecture is about looking at reality” and that “any effort to tackle relevant issues has to overcome the increasing complexity of the world.” Aravena has envisioned a sweeping exhibition of architecture’s “frontiers” and “margins,” as if he were a general surveying the global battlefield from above.
The greatest impediment to this admirable ambition is the architecture of the Venice Biennale itself. Marooned on its tourist island, the Biennale is an idealized world-in-miniature, free of the realities, confusions and conflicts of the world-at-large. The environment is timeless, picturesque, serene: hardly representative of the world’s “increasing complexity.” Within the Biennale gardens (Giardini), former Colonial powers occupy prominent permanent pavilions while other countries, including those of present-day significance, are consigned to the periphery, relegated to temporary off-site spaces, or else absent altogether.
While this has more or less been the case since the first Architecture Biennale opened in 1980, never has the disparity between the world within the Biennale, and the real world beyond, been more apparent or problematic. Why should the best-located national pavilions, established over a century ago, assume importance by default, while more populous or powerful nations struggle for attention? In an age of globalized architectural activity, does division into countries and territories still make sense? And if the Biennale’s buildings remain fixed in place, must the routes and pathways between be too?
Entitled “21st Century Giardini: New Itineraries,” this project addresses the widening divide between the world represented by the Biennale and the global reality. We have tasked Master of Architecture students from the University of Technology, Sydney, with producing new maps for Biennale visitors. These maps reorganize the visitor’s itinerary based on real-world and present-day concerns, providing meandering routes and pathways that extend beyond the Giardini and subvert the traditional hierarchy of participating Biennale nations. Collectively, the maps anticipate the reorganization of the Biennale in general – and Giardini in particular – in response to the globalized nature of contemporary architecture.
The following texts were provided by the creators of each map:
Gross Domestic Product (GDP) is one of the most persuasive indicators of a nation’s prosperity and living standards. GDP factors into international sociopolitical and financial relationships such as the Eurozone. The GDP of Venice Biennale participants is reflected in the spatial organization of the national pavilions, which has seen little change over the past century. According to the United Nations Statistics Division, approximately 88% of the nations exhibited in the Giardini and Arsenale are those with the highest GDP. It is no coincidence that many nations with lesser financial profiles are consigned to offsite locations in San Marco, Dorsoduro, Cannaregio and Giudecca. “Financial Rollercoaster” depicts the Biennale’s power hierarchy through a satirical amusement park journey.
“Architecture has a fundamental and deep rooted problem with the idea of having an audience.” – Brett Steele, quoted in Four Conversations on the Architecture of Discourse (Architectural Association, London, 2012), p. 30
If internet searches are any indication, architecture’s worldwide audience may be in decline. The “Are You Interested” map utilizes Google Trends data on total searches for the term “architecture” from 2004 to 2016, adjusting for the various languages of participating nations. The map shows both a general decrease of 76% during this period, and a few surprising countries where interest continues to rise. While crowds continue to flock to the Biennale, how does this event foster global awareness of architecture? And how do we shift to the forefront the few countries with increasing audiences and interest?
The “Sinking Giardini” is an itinerary for 2016 Architecture Biennale visitors that explores participating nations defined as being “at risk” due to climate change. Many nations are facing an existential threat due to rising sea levels and will consequently cease to contribute to the field of architecture in the not so distant future. This map represents Venice as a submerged city where nations that are most at risk are seen in their isolated future state, sinking beneath the floodwaters, detached from society and left to defend the front of climate change on their own. The biggest contributors to this phenomenon are also present, fittingly protected by the high ground of the Giardini, a carefully guarded settlement in which other nations can only hope to find permanent refuge.
“Reporting From the Front” promises to foreground the architect’s responsibility to those living in the poorest conditions. However one of the most significant issues affecting living conditions is absent from this Biennale: gender inequality. According to the World Economic Forum’s Gender Gap Index, the 2016 Venice Biennale features 15 of the top 25 most equitable and 12 of the worst performing nations including Yemen, the World Economic Forum’s worst offender. The global disparity between women and men’s living conditions and basic rights is explored in this map through the analogy of Venice’s canals and the relative difficulties of crossing.
“An undeniable majority of the world’s population face crises over issues of poverty, education, unemployment, low standards of living and lack of civil and political freedom,” writes Alejandro Aravena.
Aravena’s Biennale promises to shift the focus from the wealthiest and most prominent of nations, to those that sit lowest on the Human Development Index. But in order to do so, the visitor must leave the Giardini altogether. I’ve provided a handy map for visiting the remote locations of the relevant participating nations, dispersed around Venice.
The McCann Residence is located on a former hunting-and-fishing preserve oriented around three glacial lakes and distinguished by a number of estates designed by prominent architects at the turn of the 19th century. Dense forests and rocky outcroppings characterize this landscape in the Ramapo Mountains.
The site is defined by two massive granite escarpments and metered by a series of retaining walls quarried on site that echo the historic stone walls prevalent throughout Tuxedo Park. The design celebrates the extreme topography of the site, which defines the sectional development of the house.
Three enclosed living levels and a sequence of outdoor terraces are organized in an ascending route. The lower level includes a garden room and exterior entry courtyard. An exterior stepped ramp rises to the main entry level, which includes a foyer, library, and guest bedroom. A double-height stair hall connects the main level to the upper garden level—a loft-like glass pavilion with panoramic vistas of Tuxedo Lake. This level features a sequence of platforms for living, kitchen and dining, and a master bedroom. The terraced gardens create open-air “rooms” defined by the arc of the house and the granite outcropping.
Plan
The design features a material palette noted for its ability to weather over time—custom bronze screens filter light and maximize privacy and the granite walls, mined from a nearby quarry, are constructed from the same stone as the escarpment. Blurring the connection between landscape and architecture, the McCann Residence embraces its historic setting by introducing a new inhabitable topography.
ALTASEA campus aerial view. Image Courtesy of Gensler
Gensler has revealed their design for the new AltaSea Campus at the Port of Los Angeles. The 35-acre project is dedicated to the scientific study of the ocean and will integrate historic buildings with new research centers and public areas. AltaSea’s existing partnerships make them a key connector within the community, and the new project will “expand scientific-based understanding of the ocean, incubate and sustain ocean-related business and pioneer new ocean-related education programs.” Read more after the break.
ALTASEA: VIEWING STRUCTURE. Image Courtesy of Gensler
From the press release: Built on the Port’s historic City Dock No. 1 with access to the deep ocean, AltaSea is a net-positive energy use campus. The buildings’ form and spaces are designed for visitors and users to experience the coming together of land and ocean. Rejuvenation is woven into the design of each part of the overall campus: the tower’s renewable energy models, the rooftop solar fields and the renovation of the dock’s historic structures all speak to this purpose.
ALTASEA: VIEWING STRUCTURE. Image Courtesy of Gensler
“Gensler’s design was inspired by AltaSea’s core idea that its campus should be a space where innovators in science, business and education can come together to fulfill AltaSea’s vision of an ocean that will sustain future generations,” said Andy Cohen, Co-CEO of Gensler. “The campus will also create a vital link in the chain of projects that are remaking the Los Angeles Waterfront in San Pedro.”
ALTASEA: berth 56 ENGAGEMENT center AND warehouse 57 science hub STUDENT DROP -OFF AND ENTRY PLAZA. Image Courtesy of Gensler
Outlining AltaSea’s $150 million Phase 1 projects, Jenny Krusoe, the AltaSea Executive Director, said Phase 1A will break ground in 2016 and include construction of the Wharf Plaza, Education Pavilion and renovation of 180,000 square feet of free-span space in the historic warehouses 58-60, to be completed by 2017. These warehouses will comprise the Research and Business Hub, for new and existing businesses that commercialize scientific breakthroughs and emerging technologies to create ocean-related projects, services and local jobs.
ALTASEA: BERTH 56 ENGAGEMENT CENTER AND Wa rehouse 57 Science Hub VIEW FROM WHARF. Image Courtesy of Gensler
The Research and Business Hub will also house AltaSea’s two newly announced focus areas: a Blue Tech “cluster” dedicated to developing technology and business applications for remote monitoring, sensing and ocean exploration, and an Aquaculture “cluster” for developing ocean-centered solutions to the critical challenges of food security and environmental sustainability.
ALTASEA: Warehouse 57 Science Hub FACADE AND ENTRY PLAZA. Image Courtesy of Gensler
In Phase 1B, Warehouse 57 will be transformed into the Science Hub, a new, state-of-the-art oceanographic and marine biology research facility, which will open by 2020. The Science Hub’s anchor tenant will be the Southern California Marine Institute, a strategic alliance of 22 major regional universities, colleges and foundations for ocean research and education. The building contains more than 60,000 square feet of classroom and laboratory space, flanked by an elevated public promenade with overlook spots allowing the public to observe science in process.
ALTASEA: Warehouse 57 Science Hub INTERIOR RESEARCH LABORATORIES, AND OV ERLOOKING PUBLIC GALLERIES. Image Courtesy of Gensler
In Phase 1C, AltaSea will construct the Engagement Center at Berth 56, a modern educational facility that serves as the gateway to the campus. It will house public education and exhibition programming and will allow school children and students to explore the sciences of the ocean, with the hope that visits to the Engagement Center will inspire students to find their futures in STEM – science, technology, engineering and mathematics. The Engagement Center is due to open in 2023.
ALTASEA: berth 56 ENGAGEMENT center shelte red viewing patio below main exhibition hall. Image Courtesy of Gensler
According to a study by Kosmont Companies, a nationally recognized real estate, financial advisory and economic development services firm, AltaSea’s Phase 1 will create approximately 4,100 full-time equivalent construction-related jobs. When Phase 1 is completed, it will spur creation of more than 800 ongoing jobs in a range of industries, including opportunities for the local workforce to participate in industries that are new to the Harbor area.
ALTASEA: berth 56 ENGAGEMENT center Auditorium. Image Courtesy of Gensler
“The ocean is our planet’s last frontier. It is where new solutions lie. There is no project more profound, more impactful, more critical for the tomorrow we hope for our children and our children’s children than AltaSea,” Krusoe said. “AltaSea is creating a new model for collaboration among the public sector, the private sector, institutions of higher education, industry and innovators – and our campus embodies that game-changing concept.”
ALTASEA: Warehouse 57 Science Hub INTERIOR EDUCATION SPACES AND OV ERLOOKING PUBLIC GALLERIES. Image Courtesy of Gensler
ALTASEA campus aerial view. Image Courtesy of Gensler
As part of ArchDaily’s coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
After the collapse of the Soviet Union, and increasingly since 9/11 and the “War on Terror” that followed, warfare has moved into the city.
While the wars of the 20th century were waged largely between nations, over territorial sovereignty and along disputed borders, the wars of the 21st century are internal and borderless. They are fought between large multinational coalitions and insurgent networks.
It is not only war that has moved into the city, but also the entire security apparatus, including its peacekeepers and their infrastructure. Today, United Nations peacekeeping operations unfold at large scale in hundreds of cities around the world, becoming long-term features within their urban fabric.
For the 15th International Architecture Exhibition, the Dutch entry BLUE: architecture of UN peacekeeping Missions curated by Malkit Shoshan explores architecture’s potential to improve the quality of the built environment, and the lives of the people within it, by critically examining its own role in missions and frontiers.
BLUE turns the spotlight on contemporary UN peacekeeping missions as an urban phenomenon, taking Camp Castor — a Dutch camp for the UN in Gao, Mali — as its case study. On the edge of the Sahara Desert, the encounter between the “blue people” (the Tuareg, known for their indigo-dyed clothing) and the “blue helmets” (the UN) — the desert and the Dutch approach, the nomads and settlement — has the potential to lead to the emergence of new spatial forms and projects.
The project proposes that architecture and design thinking be introduced into the planning process of UN peacekeeping bases in order to leave behind a stronger city with infrastructure, resources and knowledge that will stay with the local populations after the mission has gone.
BLUE positions architecture in three different ways: as research, identifying spatial challenges and opportunities and making them visible; as practice, improving the living environment for local populations; and as a critical cultural space, reflecting upon phenomenal transitions in society.
On Site Team: Delphine Isart, Claire Leroux, Thibault Le Poncin, Joan Tarragon
Research Team: Joan Tarragon, Gaëlle Le Borgne, Stefania Maccagan, Cristina Sanchez
Partners: Casson Mann ,Scenographer (innovative tool of the permanent tour), SNC-Lavalin ,Engineering, Le Sommer Environnement ,Environmental engineering
‘This building does not resemble any recognizable shape because it is an evocation of the soul of wine between the river and the city.’
A strong architectural statement, La Cité du Vin stands out with its bold curves and shape. An iconic building, this golden frame hosts a Cité within the city, a living space with experiences to discover.
The initial aim of the building’s architecture was genuinely to create a link between La Cité du Vin and the spaces surrounding it through perpetual movement.
Anouk Legendre and Nicolas Desmazières, the architects from XTU, designed a space shaped by symbols of identity: gnarled vine stock, wine swirling in a glass, eddies on the Garonne. Every detail of the architecture evokes wine’s soul and liquid nature: ‘seamless roundness, intangible and sensual’ (XTU Architects).
This roundness transcribed in the building’s exterior can also be felt in its indoor spaces, materials and scale. La Cité du Vin dazzles with a golden shimmer reminiscent of the light stone found on Bordeaux facades. Its own facade is made up of silk-screen printed glass panels and perforated, iridescent, lacquered aluminium panels.
Changing with the sunshine or the time of day, the building dialogues with the river through its reflections: there are very close parallels with a wine’s constantly changing appearance. This very distinctive shape causes you to look at the river running past from a different perspective.
The building’s two entrances on either side create an impression of movement, ebb and flow between inside and outside. One entrance faces the city and the other faces the river. Higher up, the viewing tower enables visitors to discover the illuminated city and the surrounding land, almost like a watchtower.
In the eyes of XTU, the main tour itself follows these flows: wine, the river, the flow of visitors. You pass through the building like a river, with visitors becoming voyagers flowing around the central staircase, perpetuating this impression of movement.
This means that visitors are constantly moving as they experience a virtuous circle of discovery. Each person discovers a new world in a fluid, rotating motion leading to an unusual, limitless destination, like a journey through the meanderings of a cultural landscape which feeds the imagination. The initial aim was for the building programme to develop in line with the scenography, making the architecture a voyage in itself.
Downstairs is therefore a dark world, like a cellar, with the roots of the vines. The ground floor is raw as an immersion stage diving into the project, a crossing point. The mirror reflections are disorienting and encourage visitors to move upwards towards the light. They feel this light on the courtyard then follow it through the structure until it finally explodes. There is no fixed route to follow, just worlds to discover.
The aim of the experience is genuinely to question rather than let alone. Sometimes the architecture steps back, in other places it reappears.The wooded arch of the permanent tour, the strongest area of La Cité du Vin, is like a varied sky. The sky is everything in winemaking, determining the harvest. This wooden sky rises, undulates and tightens. Once again, this is all about movement.
The wooden structure is reminiscent of a timber frame, of boats, of wine on its travels. It is an immersive break with reality, a world of roundness, fluidity and elevation approximating the wine experience. Visitors are in a discovery mind-set initiated by the architecture, which creates the right conditions for them to discover and complete this immersive, initiatory journey.
As part of ArchDaily’s coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
You are part of another’s shadow. —Sverre Fehn in conversation with Per Olaf Fjeld [1]
A central impetus for this exhibition is to acknowledge the presence of the ‘ghosts’ of Nordic architecture – those architects, theorists and educators—the most famous of which are often described as ‘Modern Masters’—who continue to exert influence on contemporary practice and pedagogy. Indeed, one of the most prominent of these gures, the Norwegian Sverre Fehn, designed the Nordic Pavilion. This exhibition addresses a common challenge faced by Finns, Norwegians and Swedes today: how can a building (or an exhibition, in this instance) exist in a dialogue with its setting when that setting is so charged? For us, this ties into a broader question: how can architecture occupy a legacy while still making progress?
Recognizing Fehn’s original intentions to have the building entirely open, In Therapy treats the Pavilion as an extension of the public space of the Giardini. The central installation of the exhibition—a step-pyramid built using traditional construction techniques from Swedish pine—precisely mirrors the treads and risers of the existing staircase to create a profile-amphitheatre for critical debate and reflection. In other ways, however, it distances itself from the weight of the space in order to confront visitors with an impression, however fleeting, of the state of contemporary Nordic architecture. Here, free from historicism, fundamental questions can be raised: How has architecture over the last nine years developed? Which threads tie them together and what unifying direction, if any, can be discerned? What does it take to be at the cutting edge, trying to conquer new fields? Most importantly: what’s next?
In order to encourage distance, this exhibition isn’t really attempting to be an exhibition at all. It does not demand your full attention, nor does it attempt to deliver its message all at once. It aspires to deflect the monotony of the archetypal ‘stand-and-look’ show by creating a clearing amid the congestion to reflect on the material that’s been gathered and the voices convened. The central installation—the pyramid—is not only an urban artifact but also a display; an inhabitable installation to be investigated and explored. Architecture, at least in the form and quantity that has been convened here, might best be experienced in a state of distraction.[2]
The pyramid itself acts as a vessel, presenting the responses to an Open Call which invited practices from around the world to submit projects they have realised in the Nordic nations between 2008 and 2016. Each practice was challenged to self-categorise their project as either Foundational (defined as architecture that cares for society’s basic needs), related to Belonging (architecture which enacts public programs and creates public spaces, enabling people to become citizens), or in a state of Recognition (architecture which appreciates and reflects upon the values of Nordic society). Each have suggested how their project has—or, indeed, has not—contributed to the current condition of Finnish, Norwegian or Swedish society.
This tripartite classification—which translates here as three coloured bands—is an interpretative take on the structure of Abraham Maslow’s 1954 Hierarchy of Needs, in which he theorised the basic and complex motivational ‘needs’[3] which represent the progress of the individual. Maslow described the pinnacle of his hierarchy, which he diagrammed as a pyramid, as ‘self-actualisation’ (or the realisation of one’s full potential) – achievable only once all the ‘needs’ which underpin it have been satisfied; in other words, each step prerequisites the next. If here the pyramid represents the development of society, architecture can be read as its building blocks.
Here, therefore, the Nordic nations have been placed “in therapy.” Although it might appear that Finland, Norway and Sweden are at the pinnacle of the pyramid—having achieved a state-level balance between a capitalist society and the welfare state, revered the world over—they also face complex challenges. From concerns relating to demands on immigration and social integration, to an ageing population and realignment in a newly, or soon to be, post-industrial economy, In Therapy has brought together unconscious and conscious elements (the pyramid of projects and a collection of reflections, respectively) in order to tease out the connections and conflicts between architecture and Nordic society at large. It is architecture—in its broadest role as a spatial, social, and cultural practice—which sits at the center of this discourse.
In this sense, In Therapy is a mirror: a collection of installations which presents the breadth of contemporary Nordic architecture, assembled under one roof, to provide an informed framework for discussion and proposition. It positions Finland, Norway and Sweden—three countries with distinct histories, cultures and attitudes to design—face to face in the context of the compressed world of the Giardini, interrogating perceptions and preconceptions of Nordic architecture by openly addressing its built manifestation head on.
Curator David Basulto Assistant Curator James Taylor-Foster Commissioners ArkDes (Swedish Centre for Architecture and Design), Stockholm; Museum of Finnish Architecture, Helsinki; National Museum’s Department of Architecture, Oslo Project Management Karin Åberg Waern Project Advisors Juulia Kauste, Eva Madshus Exhibition Design Marge Arkitekter Graphic Design MPVK and Lisa Olausson Typographer Thomas Hirter Sub-Editing Crystal Bennes
References
[1] For a brief summary, see: Christian Norberg Shultz, The Poetic Vision of Sverre Fehn in Sverre Fehn: Works, Projects, Writings, 1949–1996. Ed. Christian Norberg-Schulz, Gennaro Postiglione (New York: Monacelli Press, 1997), pp.32–41 – via Mark J. Neveu, On Stories: Architecture and Identity (Oslo: Arkitektur N, 02, 2008), p. 7 [2] W. Benjamin, H. Zorn trans., The Work of Art in the Age of Mechanical Reproduction in Illuminations (London: Pimlico, 1999), p.232 [3] Namely ‘physiological’ (shelter, warmth, food, and sleep), ‘social’ needs (security, order, and stability), and those related to personal ‘esteem’ (achievement, prestige, and respect)
From the architect. Alma Negra talks about an ancient stationery conversion in a wine restaurant.
The project aims to meet some strict conditions: a long and tight plot and normative heights that didn’t allow the preservation of the existing mezzanine.
Floor Plan
Black steel structural profiles are the project focus.
They set the rhythm in the local. In addition they brace the original stone wall.
They also order the local creating contrasted areas with different materials. (Wood to receive, coco doormat to filter, hardwood to sit and eat, and tile hydraulics in restrooms and kitchen)
Sig Nordal 