Saturday, 10 August 2013

Reading between the Lines by Gijs Van Vaerenbergh


Belgian architects Pieterjan Gijs and Arnout Van Vaerenbergh have completed a see-through church in Limburg, Belgium.
The church is 10 meters high and is made of 100 layers and 2000 columns of steel. Depending on the perspective of the viewer, the church is either perceived as a massive building or seems to dissolve - partly or entirely - in the landscape. On the other hand, looking at the landscape from within the church, the surrounding countryside is redefined by abstract lines.
The design of the church is based on the architecture of the multitude of churches in the region, but through the use of horizontal plates, the concept of the traditional church is transformed into a transparent object of art.
Source:
http://www.dezeen.com/2011/09/09/reading-between-the-lines-by-gijs-van-vaerenbergh/

Optical Glass House by Hiroshi Nakamura & NAP Co.,Ltd.


Optical Glass House
This house is sited among tall buildings in downtown Hiroshima, overlooking a street with many passing cars and trams. To obtain privacy and tranquility in these surroundings, we placed a garden and optical glass façade on the street side of the house. The garden is visible from all rooms, and the serene soundless scenery of the passing cars and trams imparts richness to life in the house.
Sunlight from the east, refracting through the glass, creates beautiful light patterns. Rain striking the water-basin skylight manifests water patterns on the entrance floor. Filtered light through the garden trees flickers on the living room floor, and a super lightweight curtain of sputter-coated metal dances in the wind. Although located downtown in a city, the house enables residents to enjoy the changing light and city moods, as the day passes, and live in awareness of the changing seasons.
Optical Glass Façade
A façade of some 6,000 pure-glass blocks (50mm x 235mm x 50mm) was employed. The pure-glass blocks, with their large mass-per-unit area, effectively shut out sound and enable the creation of an open, clearly articulated garden that admits the city scenery. To realize such a façade, glass casting was employed to produce glass of extremely high transparency from borosilicate, the raw material for optical glass. The casting process was exceedingly difficult, for it required both slow cooling to remove residual stress from within the glass, and high dimensional accuracy. Even then, however, the glass retained micro-level surface asperities, but we actively welcomed this effect, for it would produce unexpected optical illusions in the interior space.
Waterfall
So large was the 8.6m x 8.6m façade, it could not stand independently if constructed by laying rows of glass blocks a mere 50mm deep. We therefore punctured the glass blocks with holes and strung them on 75 stainless steel bolts suspended from the beam above the façade. Such a structure would be vulnerable to lateral stress, however, so along with the glass blocks, we also strung on stainless steel flat bars (40mm x 4mm) at 10 centimeter intervals. The flat bar is seated within the 50mm-thick glass block to render it invisible, and thus a uniform 6mm sealing joint between the glass blocks was achieved. The result - a transparent façade when seen from either the garden or the street. The façade appears like a waterfall flowing downward, scattering light and filling the air with freshness.

Sunday, 21 July 2013

Crete Bioclimatic School Competition Entry / Kamvari Architects


Bringing harmony and sense to the surrounding context, the proposal by Kamvari Architects for the Crete Bioclimatic School creates a simple linear movement across the site, looking inwards towards the heart of the school. This subtle exterior introduces excitement and fun to the interior while giving the school an impression of enclosure and security, but sustaining the sense of its landscape setting.

Source:
http://ad009cdnb.archdaily.net/wp-content/uploads/2013/05/51914843b3fc4b8979000050_crete-bioclimatic-school-competition-entry-kamvari-architects_facade_spatial_analysis_2-1000x707.jpg
http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2013/05/Kamvari-Architects-Crete-BioclimaticSchool2-537x342.jpg
http://www.archdaily.com/371851/crete-bioclimatic-school-competition-entry-kamvari-architects/




Gehry’s design, which is intended to promote cross cultural understanding and appreciation for Chinese contemporary art, aims at setting a new standard for 21st century Chinese architecture. Perhaps the most defining element of the design is the “translucent stone” facade, which is made of a new type of glass developed by Gehry Partners that is said to have the qualities of jade.

The façade is clad with a new material developed by Gehry Partners – translucent stone. Evocative of the most precious Chinese materials, it has the qualities of jade. Of all the materials we explored, we found glass to be the most transcendent and symbolic of Chinese landscape paintings, of moving water, of the mountains covered in mist. It has gravitas that creates an emotional impact on visitors. It gives the building a stately and noble appearance, appropriate for a national museum.

The translucent stone is part of the innovative sustainable façade concept that incorporates a ventilated airspace to reduce the heating and cooling loads of the building. In addition, the airspace is used to display art banners and projections, which provides the ability for the building’s façade to change and remain current far into the future, even becoming a canvas for artist projects.

Source:
http://www.archdaily.com/402948/national-art-museum-of-china-entry-gehry-partners/
http://ad009cdnb.archdaily.net/wp-content/uploads/2013/07/51e575dde8e44ec3fa000100_national-art-museum-of-china-entry-gehry-partners_namoc_gehry-02_1-528x315.jpg
http://static.dezeen.com/uploads/2013/07/Frank-Gehry-NAMOC-competition-entry-12.jpg
http://www.bustler.net/images/news/namoc_gehry-24.jpg

Bras Basah MRT





Bras Basah MRT station is in the heart of the historic Civic District in Singapore. With a single strategy, the design resolves two conflicting requirements – the very deep station required a visual connection to the exterior to enhance the travel experience for the commuters; while the historic district and park location required a station that disappeared into the landscape. The solution was a station roof that doubles up as a skylight and landscape element – a water covered glass skylight. Viewed from the park, it is a reflection pool, from the station platform, it is an immense skylight


Source: http://www.archdaily.com/40802/bras-basah-rapid-transit-station-woha/
http://c1038.r38.cf3.rackcdn.com/group1/building4658/media/083%20PBH%2019%20med.jpg








Building As a Body is an art installation by Grace Tan and Randy Chan. The installation is a veil, composed of a matrix of dots and lines which envelope the entire façade of the building. The Substation is personified, and the veil articulates the opposing and yet inter-connecting themes of concealing and revealing.

The installation is commissioned by the National Heritage Board’s Precinct Development Unit and the Singapore Art Museum.
The project was conceived out of various conversations between architect Randy Chan and an inter-disciplinary artist Grace Tan, to investigate the history, function, and presence of The Substation. The installation is a collaboration between the National Heritage Board’s Precinct Development Unit and the Singapore Art Museum, for the purpose of encouraging local artists to create public artworks and making art accessible to the public within the district. The National Heritage Board’s Precinct Development Unit was established to energise the streetscape of the Bras Basah and Bugis precinct, and to facilitate the transformation of the precinct into a vibrant arts and culture district.



Source:
http://www.substation.org/event/building-as-a-body/
http://media.timeoutsingapore.com/contentFiles/image/2012/1-january/art/30-art-building-as-a-body-482x298.jpg
http://dope.sg/wp-content/uploads/2012/04/6933360779_66de74fac5_z-550x366.jpg