Moleskine has announced a new product which it hopes will allow users to “bridge their analog and digital worlds.” The Smart Writing Set is a system that includes the Paper Tablet, a specially-made Moleskin sketchbook which works in tandem with the Pen+, a digitally-enabled pen that recognizes the notebook and tracks the user’s movement. The Pen+ then sends this information to the new Moleskine Notes App (for Apple users) or Neo Notes (for Android) in order to record the user’s notes digitally, in real time.
Courtesy of Moleskine
The Smart Writing Set is powered by Ncode technology patented by NeoLAB Convergence. In the Paper Tablet, individual pages are embedded with an invisible grid that is recognized by the Pen+. This allows the Pen+ to recognize which notebook and page it is writing on, making archiving your notes and sketches in the app as simple as turning the page in your notebook.
Courtesy of Moleskine
Once the app has recorded your sketches and notes, it also gives plenty of options to edit, share or search your work. Tags can be added to notes to organize them, and handwritten text can be automatically converted to searchable type. The App also gives the option to record and synchronize audio with your writing, allowing you to use your own notes to efficiently revisit lectures or meetings. The Smart Writing Set also allows you to record your ideas on the go and synchronize to the app later, with memory temporarily stored in the Pen+.
With the launch of the Smart Writing Set, Moleskine has also announced the launch of its Moleskine+ range, which collects together all of its products which incorporate digital elements into its famed paper sketchbooks. “We see demand for our paper-based collections grow in double digits year after year, showing the continued relevance of paper in the digital age,” explains CEO of Moleskine Arrigo Berni. “On the other end we are well aware of all the advantages of digital, for editing, curating and sharing. This is why we see analog and digital as a continuum.” The Moleskin+ range also includes the Livescribe notebooks released in 2014.
Courtesy of Moleskine
The Smart Writing Set, including the Pen+ and Paper Tablet notebook is available for $199, and the companion app is available for free. Replacement Paper Tablet notebooks cost $29.95. Find out more about the Smart Writing Kit here, and see all products in the Moleskine+ range here.
From the architect. The location was originally the place where judicial authorities parked their cars on surface, denying and undermining its public use and the urban presence not only of Courts Building but another heritage building protagonist of this place: The former National Congress.
Isometric
The Project radically changed this situation, proposing a five levels underground parking building that not only dramatically increased the parking capacity available for judges and general public, but cleaned vehicles from surface.
This first operation allowed a redesign of the upper plaza, creating a Nationwide Civic Square, sorrounded by heritage buildings, a place that not only kept its historical icons like Montt Varas monument, but allowed a new space perception where all heritage facades can be admired at once.
Section 1
DESIGN
Fundamental premise for designing this Project was to value the square´s edges and facades, so that contemplation of heritage surrounding facades become the site spirit.
In order to achieve this, horizontal simplicity design decisions where made, with subtle changes of stone pavements that demarcates important areas but didn´t compete with the existing architecture. A unified design for the vacuum arises, which unifies the space and turn it into a quiet pause whithin the vortex of walking through the center of Santiago, a pause that allows the contemplation of heritage buildings.
Plan 1
The square design was structured around a central pools axis that recognises and rank the only vertical element of the site: the Montt Varas monument, which is located in Front of former National Congress Front door. The entrances to underground parking levels área treated by adding vegetal elements that hide and make them part of an image that combines with gardens facing de Courthouse. Another “vegetal gesture” is designed in Front of Former National Congress gardens, in order to extends its influence beyond its limits.
New images and information has been released regarding Santiago Calatrava‘s competition-winning design for Dubai’s new “landmark” observation tower. Planned for a site in Dubai Creek Harbor, near the Ras Al Khor National Wildlife Sanctuary, the tower was inspired by the “natural forms of the lily and evokes the shape of a minaret, a distinctive architectural feature in Islamic culture.”
“The building’s design is inspired by the Islamic tradition, evoking the same history that brought the world the Alhambra and the Mosque of Cordoba. These architectural marvels combine elegance and beauty with math and geometry,” commented Calatrava. “The design of the tower of Dubai Creek Harbor is rooted in classical art and the culture of Dubai itself.”
Courtesy of Santiago Calatrava
“It is also a major technological achievement. Throughout my career I have used technology and engineering as a vehicle for beauty and art. This project is an artistic achievement, inspired by the goal of making this space a meeting point for citizens, not only from Dubai and the UAE but all across the world. It is a symbol of belief in progress,” he added.
Courtesy of Santiago Calatrava
The “elongated, oval-shaped bud” that takes shape at the top of the tower will be outfitted with 10 observation decks, including a 360-degree Pinnacle Room and two VIP garden decks. Its “slender stem, reminiscent of the delicate ribbing of the lily’s leaves,” will serve as the structure’s spine while anchoring the building to its ground level Central Plaza that offers world-class retail, a museum, educational facilities and an indoor auditorium.
Courtesy of Santiago Calatrava
The facade will be kept clean with the water collected by the building’s highly-efficient cooling system. Integrated shading and solar protective landscaping will also be used to promote efficiency.
As one of the most revered and often reviled architects of the latter part of the 20th century, Peter Eisenman has courted controversy throughout his 50-year career, often attempting to distance himself from the work of his contemporaries and standing in firm opposition to popular trends. In this interview, Eisenman elaborates on his beliefs about architecture and the new direction he has taken in recent years – while simultaneously pulling no punches when discussing the work of others, including Rem Koolhaas, Richard Meier, and even his younger self.
The interview is a shortened version of the latest of three interviews with Peter Eisenman (from October 2003, June 2009, and February 2016) that comprise the upcoming book by Vladimir Belogolovsky “Conversations with Peter Eisenman.” The book, published by Berlin-based DOM Publishers will be presented during the opening days at the 15th Venice Architecture Biennale in late May this year.
Vladimir Belogolovsky:In the last several weeks, I have experienced two of your most representative projects to date: the City of Culture in Santiago de Compostela and the Memorial to the Murdered Jews of Europe in Berlin. Both projects illustrate something you explained in our conversation back in 2003. You said: “Architecture requires the displacement of conventions; the history of any discipline is about displacing conventions… Architecture displaces in order to create what will be. Creation does not repeat what is.” Both projects displace conventions. In Santiago, your project emerges out of superimposition of traces, grids, and the city’s symbol, the scallop shell, while in Berlin, your memorial avoids using familiar iconography and idea of any representation. Is this an accurate reading of your work?
Peter Eisenman: Yes.
VB:Right after my return from Santiago, I told you that I read the complex not as an architectural project but as a text, a novel. In other words, the structures one finds there carry a particular meaning and even a narrative that one could read by exploring the project. To that you said, “That’s correct.”
PE: Yes, I agreed.
VB:And your question to me was, “Would you say this novel is closer to Dostoevsky or Tolstoy?” So this is something extraordinary. You go through architecture and you get entirely displaced from reality to the world of fiction. But unlike reading a novel you are displaced physically, spatially. I find this particular power of architecture to do so, absolutely incredible.
PE: Well, I am now reading about linguistic techniques of Russian literary theorist Viktor Shklovsky called “baring the device.” The idea is that architecture is never about a meaning that is simply assigned to various parts to project a particular reading. The whole idea of my architecture is about stopping any communication and placing within architecture itself a device that causes you to react emotionally, physically, and intellectually. Without representation. My architecture means nothing. But the experience is something else. You walk through the Berlin memorial and it has nothing to do with what happened in the camps. It is about walking in that space and you get strange physical sensations such as undulation, tilting, leaning, and you feel perplexity, isolation, disorientation; you never know where you are. It is not about “…oh, I got the meaning, I understand.” It is about not understanding the meaning. There is no iconic representation in either Santiago or Berlin. The idea is to create a particular experience in the space by being in that space. Both of these projects have strong experiential qualities of intensely vibrating spaces and they are very different from my early work, which is more conceptual.
VB:You define architecture as language; you said that you are interested in language more than a story.
PE: By language, I mean text. Text to me is the manipulation of words to produce something other than a narrative. I want to stop any narrative.
VB:On the other hand, you also said, “I have lost the faith that language could be somehow an analogous model for architecture.” So do you still see language as your model for architecture?
PE: No.
VB:When did that shift take place?
PE: In the last decade. I became conscious of what I was doing.
VB:How did this change your architecture?
PE: Language is a conceptual analogy. Today I am looking for operational effects.
VB:In other words, you are now thinking a lot more about the people who will be experiencing your buildings?
VB:Yet, now you are interested in a more experiential architecture.
PE: You can argue that.
VB:Why is that? Were you influenced by what other architects are up to these days?
PE: Of course not! Let me tell you. When you get older and you are tired of what you have been doing, you need one last chance for thinking the project again. I would like to think that both Santiago and Berlin are the beginning of that rethinking. It has nothing to do with the people. Since I was never interested in people before, being interested in people now is a different condition of the work. I would like to call this my late style. For example, I am currently working on facades of buildings. I never worked with facades before. I was always working with plans. I am really interested in working with buildings’ surfaces. This is different from what I was doing before.
VB:Do you think it is important for architects to work with regional features and conditions as opposed to spreading global or individual ideas wherever they go? How do you deal with the fact that clients around the world want a Peter Eisenman signature project, not Peter Eisenman who would come to their city and blend with local characteristics?
PE: That’s correct. That’s the problem that Peter Eisenman has because I don’t have a single idea as some other architects. For example, Richard Meier does his buildings the same way no matter where he is doing them. My work therefore is contextual. I wouldn’t say it is vernacular, but it always begins with the context. So I couldn’t do the same building in Santiago, Berlin, or Phoenix, Arizona. Therefore, I don’t have a style. Buildings by Frank Gehry and Michael Graves all have the same look. Mine don’t have the same look.
VB:Wait a minute. Do you really believe that your buildings don’t share the same look? Wouldn’t you say you have a signature style?
PE: Do you really think so?
VB:Are you kidding me?
PE: Well, I am not sure.
VB:[Laughs.]
PE: No, no, seriously! When I look at the work on my website, I think to myself, could someone recognize Peter Eisenman? I am not sure. I am not being disingenuous. I am not convinced that I have a style. Let’s put it this way – I have a style that’s not a style.
VB:[Laughs.]
PE: Yes, I approach context the same way, always. OK? Not directly, but indirectly. So in that sense my work becomes a style.
VB:One of your goals in architecture is to displace certainty. Could you talk about why this is important?
PE: Being alive is being somewhere. To me the idea of architecture is to inhibit the routine nature of being, to introduce a new space and time to disrupt the routine of being.
VB:Let’s talk about details. You said many times that details are not important.
PE: That’s right, I am not interested in details.
VB:You said, “I’m not interested in Peter Zumthor’s work or people who spend their time worrying about the details or the grain of wood on one side or the color of the material on the surface, etc. I couldn’t care less.” If you deny the idea of beauty in architecture what is the goal then?
VB:What is wrong about architecture that’s crafted well?
PE: Because it misses the point.
VB:You think so?
PE: Beauty does not disrupt anything. If you see something beautiful, you don’t pay enough attention to it. Beauty, because of its very nature does not demand close attention.
VB:I was just at the Fondazione Prada by Rem Koolhaas in Milan. I was looking for a concept or a narrative, but what I found were stunningly beautiful details. Gorgeous details everywhere. To me that was disruptive, although much less than Santiago.
PE: I was there too. I found the project to be ordinary. It didn’t seem exotic; it didn’t say Prada to me.
VB:It may appear that way from a distance. But come close and the details are quite inventive and beautiful, although very understated.
PE: Yes, but I don’t come close. I don’t know details. Close reading does not mean to come close. What I am saying is that I found it boring. Look, Rem is a very good architect, but he is interesting when his concepts are interesting. Many of his projects are terrific, but Prada is not a strong idea.
VB:Well, his work is not consistent because in every project he seems to want to say something new.
PE: But not being consistent is a dialectical style. By the way, I wouldn’t say that he is always not consistent.
VB:Well, obviously, when you run out of ideas you repeat yourself.
PE: I think he is lost to the machinery of success. He is too big and he doesn’t have the control he used to have on his projects. And his Biennale was like a tradeshow, catalog, internet shopping… The Biennale was not about ideas and how these elements go together.
VB:Architecture is not about taking things apart.
PE: No, it should not be about its parts, but the syntax. Architecture is about putting things together. To me it was boring and I am not interested in boring architecture. I am interested in projects that may seem boring at first but when you go there, they prove you wrong.
VB:Like your Memorial to the Murdered Jews of Europe in Berlin.
PE: Thank you. All the stones seem the same but not really. That’s important.
VB:Would you say that what you are pursuing in architecture today is out of sync with what many other experimental architects are doing; does this worry you at all?
PE: I am what is called an outlier. Yes, nothing that I am doing relates to parametricism or sustainability or other tricks that architects are doing. It may worry me. But on the other hand, there is nothing I can do about that. I do what I do. I teach what I teach. Architecture lost its authority.
VB:You mean there is no longer common ground.
PE: No, and therefore the students don’t know what to do.
VB:Do you think it is OK?
PE: No, I don’t think it is OK. I think it is terrible. Look, when I first started teaching, we taught Frank Lloyd Wright, Le Corbusier, Stirling, Rossi, Venturi, etc; we had all their books on the desks. Now there is nothing. Students don’t have these books on their desks. They don’t have authoritative models.
VB:Do you think this may change in the future?
PE: Yes, for sure, it will go back. Look, we need to teach grammar, not a style but grammar. We need to teach classical architecture. I teach classical architecture, but I don’t teach what is happening today. I believe students need to understand what Alberti did, what Palladio did, Brunelleschi, Bramante, etc.
PE: Yes, for sure. And it’s been for a long time now. Look at our leading architects today. Is anyone an authority as Venturi once was? Venturi is no longer an authority. Gehry, Bjarke Ingels… They are no authorities.
VB:They are stars.
PE: They are stars. The writer David Foster Wallace said, “Art must be different from entertainment.” Stars entertain; they don’t make art.
VB:Years ago, I asked you to summarize what is architecture for you. I want to compare my notes.
PE: It is a possibility of making a difference in the experience of being in space and time. And not through gadgets, tricks or gimmicks, but through a deep understanding of the relationship of subject to object. This is what architecture does; it makes us more fully aware of being in the world both mentally and physically. We, architects do it in space and time, and this is what any art form tries to do – literature, film, painting, sculpture, poetry, music – it is about trying to make more conscious, more fully aware of being in time and space, and in the world.
VB:Before you also said, “Architecture manifests how the society at any one time feels about itself.”
PE: Yes, but I no longer care about how the society feels about itself. People change. I changed.
Belogolovsky’s column, City of Ideas introduces ArchDaily’s readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions will be a part of the curator’s upcoming exhibition with the same title to premier at the University of Sydney in June 2016. The City of Ideas exhibition will then travel to venues around the world to explore ever-evolving content and design.
For the new global headquarters of Lightspeed, a burgeoning, Montreal-based developer of point-of-sale software, ACDF Architecture reinvigorated three floors of the historical Viger train station and hotel, a nearly forgotten, chateau- style building whose pointed turrets overlook a prominent civic square. The studio did so by preserving the found, raw elements of the once-abandoned space, superimposing a layer of select, slick, wit-filled elements that pop against the roughness and reflect the clients’ dynamic, creative and vigorous brand.
Lightspeed has had a fast, audacious rise since it was founded in 2005, growing from a home-based business to a thriving global entity with satellites in Europe and North America. It aims to be the first Montreal tech company with a billion dollar valuation. At its headquarters, which are currently 30,000-square-feet with plans for another 20,000 by spring 2016, the company wanted room for an expanding workforce while retaining its culture as a tight-knit, nimble startup. Throughout, ACDF forged connections between the past and the future, reflecting the unique heritage and joie de vivre of its locale (setting it a part from the standard tech offices in Silicon Valley). Contemporary interventions such as slick glass walls, colourful pavilions, vibrant furniture and graphic art — with murals by Sao Paulo’s Arlin Cristiano and Montreal’s Jason Botkin — juxtapose industrial, found elements that speak to the building’s long history.
When the Viger Train Station and Hotel first opened in 1898, it was a local landmark with grandly detailed terra cotta walls. The onset of the Great Depression and the shift of Montreal’s downtown to the west caused a downturn in the 1930s. After a long period of disrepair, including 15 years of utter abandonment, ACDF began the office conversion, leaving a palimpsest of the station’s past. The studio revealed soaring double height spaces, with their immense timber beams, that were obscured during a 1950s remodeling; retained the rough-hewn brick walls that remained after the structure was stripped of its asbestos in the early 2000s; and left unadorned the ends of monumental, studded steel girders as they slide in and out of the work spaces.
Now, a revitalized sense of levity is evident as soon as visitors step into the lobby. When seen from the elevator, the laminate reception desk looks like the flattened graphic of Lightspeed’s red-and-white logo — a fluid L and S that coil into the shape of a bright flame. From different perspectives, the anamorphic nature of the design is revealed. An assertive assemblage of sharply edged volumes jumps out, all the more because of the surrounding, coarse textures.
A similar sense of humour pervades the rest of the space. For example, ACDF installed three laminate cabana-shaped meeting pavilions in the lobby. Each looks like a mini, high-gloss house, a nod to the comforts of home as well as Lightspeed’s previous, much-smaller office, which was in a residential neighbourhood. An extra layer of wit heightens the sense of play: the studio painted permanent “shadows” on the adjacent floor and walls outside the pavilions. The cabanas are adjacent to the “pool,” a kitchen-side common area that references the backyard swimming pool at the previous office. The aqua-coloured area has a teal epoxy floor and fiberglass stools with a waterlogged pattern, custom- made by millworker Etienne Hotte, both of which make the area feel as dream-like as the swim-up bar at your favourite resort. (Meanwhile Arlin Cristiano’s The Phoenix, a large, graffiti-style wall mural, adds an edge.)
In the open-plan workspaces, stark white systems furniture streaks past the preserved ruins of industrial-age relics, soaring timber ceilings, garret-like nooks and elegantly frayed brick walls. The new-old contrast, as well as the infusion of Jason Botkin’s graphic, abstract lines and shapes, inspires a dramatic synergy that sparks the imagination and helps the youthful employees (the average age is 32) create.
Future additions will push the themes further. A new, 960-square-foot patio off the “pool” area will have hot tubs and BBQs; an indoor, cigar-style lounge with herringbone floors and tufted leather couches; and a cloud-inspired, diaphanous amphitheater will ensure the 215 and counting employees feel entirely at home in the space.
New York-based ODA has revealed their design for new residential towers in Brooklyn‘s Williamsburg neighborhood. These three towers, called 416-420 Kent, aim to revitalize the neglected East River waterfront and will introduce a new sense of community, while providing ample natural light and green spaces for residents.
Courtesy of ODA
The towers comprise 800,000 square feet of residential space and 857 residential units overall, twenty percent of which will be affordable housing. Each tower will stand at twenty-two stories tall.
Courtesy of ODA
What makes these towers architecturally unique is how they utilize the space of corner apartments, which will comprise more than eighty percent of the total number of units. By using two standard floor plans that mirror around a central axis, the three towers form “multi-dimensional facades and mid-floor ‘corner’ units.”
The shifting plans also create private green spaces, allowing residents to interact both indoors and out with a total of 77,000 square feet of outdoor space. The towers provide views towards the Williamsburg Bridge, the East River, and downtown Manhattan and Kent’s promenade will contribute to the preexisting boardwalk that stretches from Greenpoint to Dumbo.
Italy has selected “Taking Care, Designing for the Common Good” as the theme of their pavilion for the 2016 Venice Biennale, examining architecture as a community service that takes care of individuals, spaces, places, principles and resources. The exhibit will present 20 projects by Italian architecture firms that address a range of problems from health to housing, education and culture. The exhibit will be curated by a team from TAMassociati comprised of Massimo Lepore, Raul Pantaleo and Simone Sfriso.
Displaying the relationships that various commissioning bodies have with architecture – including public, private, associative and civic – the exhibition opens with photographs that exemplify the idea of common good in Italy. It will then progress into tested experiments in the field, presenting five original projects spearheaded by national associations committed to fighting marginalization across Italy.
Courtesy of TAMassociati
“We want an architecture that is a driving force for new visions, a powerful medium of communication, an instrument by which the many urban peripheries will lay claim to rights, progress, opportunities and inclusion,” explain the TAMassociati team.
Courtesy of TAMassociati
The TAKING CARE exhibition will have a low-cost installation, eliminating the superfluous, cutting costs and optimizing efficiency and reuse.
Courtesy of TAMassociati
More information about the project as it develops will be made available here.
From the architect. On a parcel almost a kilometer in length, Personal Architecture (PA) realized a new-built home with a sweeping view of the surrounding meadows and the nearby church tower. It is a traditional dike house, at rst glance. But on closer investigation, it is a contemporary residence with a hint of mystery.
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“The house should not be a ‘stark box in an empty eld’ but also not a ‘quaint ol’ farm house’. Not too striking, but certainly titillating: warm and friendly with a oorplan that is both spacious and practical.”
PA created a unique design that is both charming and bold. From outside, the home resembles a traditional, two-story house clad in bricks and slate. Yet it is evident that the pallet of materials has been applied in a contemporary manner, which gives the house a bold presence. Details like the four meter high windows in the north and south-facing walls and the subtle band of brickwork that protrudes from the façade reveal that this is no ordinary house.
Plan
Plan
Plan
Inside, the duality of the residence comes to fruition. The living program is spread over ve di erent oor levels, which are spectacularly brought together by the ribbon-like staircase that weaves from one level to the next. The open kitchen at ground-level forms the heart of the home. Large, story-high sliding doors on either side make this room an extension of the garden. The ooring contributes to this notion: a ‘carpet’ of single- red tile runs from the southern terrace, through the house, to the northern terrace.
From the open kitchen you can descend a half story to the semi-basement, where the hobby space and music room are located, or climb past the landing to the living room. The living room is just a half-story higher than the kitchen, which preserves the interaction between the two spaces whilst enabling a view over the dike to the estates across the water from the comfort of the living room couch. From the living room you can see the elevated split level oor on which the study, master bedroom, children’s rooms and bathroom are located. At the top of the staircase, two bedrooms and another bathroom are nestled comfortably in the gable roof.
This episode of Section D, Monocle 24’s weekly review of design, architecture and craft, examines the changing use and role of “one of the most simultaneously decried and admired materials in twentieth century architecture:” concrete. Exploring the “unlikely revival of a polarising product” in the cultural perception of many, this cheap, abundant and energy-hungry resource is studied as one of the most prolific and diverse building materials in history.
A Dutch client, entrepreneur, hobby pianist and racing driver, was not entirely satisfied with the cluttered layout of the chalet design that was included purchasing the building plot, and asked our advice on adjustments.
The ‘traditional’ chalet, originating from ‘chahtelèt’ (shepherd’s hut) consists of a solid wooden house with shutters and gable roof, resting on a stone foundation. In the Swiss Alps, the chalet has gradually become a ‘multi-gabled’ pastiche as luxury ski-chalet or grew to mega proportions with a maximum of apartments for affordable tourism.
Plan
The most beautiful, historical examples are still the larger (farm) houses for several families, high up in the Alps, used only in summertime.
Inspired by the impressive ‘Grand Chalet Balthus’ in Rossinière (CH) with large roof overhangs, the 500 sqm program is designed within one clear volume.
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The garage was moved from the back of the house with problematic access to the lower road. Through a hallway and elevator, carved into the mountain, it has a direct connection to all three levels of the house; the guesthouse downstairs, the main living areas in the middle and a private apartment in the attic. All floors give access to three-meter wide terraces, connected by stairs and a phenomenal view over the Dent Blanche Massif with 4000+ peaks of Matterhorn, Dent Blanche, Dufourspitze and Weisshorn.
Sig Nordal 