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Christ & Gantenbein architects

En Sully . Residential quarter . La Tour-de-Peilz

photos: Christ & Gantenbein architects

A new residential quarter will be realized between Montreux and Vevey: nine to eleven different houses with altogether about 210 apartments and a new village quarter centre. The property is one of the last that is not built-up on the Riviera of Lake Geneva. The master plan envisions a composition of various buildings in a landscape, connected by a system of paths for passengers and bikes. Following the principle of a garden city, a green space extends over the complete terrain which is kept free of cars thanks to the subterranean parking zone. A certain typology is designed for each house, depending on the orientation of the lot of land, and each house consists of apartments with 2.5 to 5.5 rooms. For the planning of these houses, Christ & Gantenbein have invited eight young, international offices to develop one building each.

Team of architects: Francisco Aires Mateus arquitectos, Portugal; Alejandro Aravena, Chile; Atelier Bow-Wow, Japan; Tatiana Bilbao and Dellekamp arquitectos, Mexico; Johnston Marklee, USA; Lacaton & Vassal architectes, France; Office Kersten Geers David Van Severen, Belgium; Sergison Bates architects, England

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We Architecture

Noten . bok og blues hus . Notodden

photos: We Architecture

Notodden Townhall has decided to join several cultural functions such as a cafe, a museum, and a library under one roof; this allows the possibility of creating a building where people of different ages and interests can meet and interact.
As a tribute to the history of the site, the roof of the building is laid out as an amphitheatre which spirals around the old shipping dock, and the Dock itself houses a
floating stage. Much like in a greek theatre, the surrounding landscape becomes the scenography.

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29.6.10 0

OMA

Shenzhen stock exchange

photos: OMA . skyscrapercity
 For millennia, the solid building stands on a solid base; it is an image that has survived modernity. Typically, the base anchors a structure and connects it emphatically to the ground. The essence of the stock market is speculation: it is based on capital, not gravity. In the case of Shenzhen's almost virtual stock market, the role of symbolism exceeds that of the program – it is a building that has to represent the stock market, more than physically accommodate it. It is not a trading arena with offices, but an office with virtual organs that suggest and illustrate the process of the market.



All of these factors suggest an architectural invention: our project is a building with a floating base. As if it is lifted by the same speculative euphoria that drives the market, the former base has crept up the tower to become a raised podium. Lifting the base in the air vastly increases its exposure; in its elevated position, it can 'broadcast' the activities of the stock market to the entire city. The space liberated on the ground can be used as a covered urban plaza, large enough to accommodate public events. The Shenzhen Stock Exchange – which will rise to 248m – is planned as a financial centre with civic meaning, located in a new public square at the meeting point of the north-south axis between Mount Lianhua and Binhe Boulevard, and the east-west axis of Shennan Road, Shenzhen's main artery.

The raised base of the SSE is a three-storey cantilevering podium floating 36m above the ground, with a floor area of 48,000m2 and an accessible roof garden. The podium and lower tower contain the dedicated stock exchange functions, with the SSE offices, registration and clearing house, Securities Information Company and ancillary services located higher in the tower. The tower is flanked by two atria – a void connecting the ground directly with the trading floor. Staff enter to the west, the public to the east.

The generic rectangular form of the tower obediently follows the surrounding homogenous towers, but the SSE's façade is an innovative merger of two conventional building envelope typologies: the window wall and the glass curtain wall. The tower's structure is a robust exoskeletal grid overlayed with a patterned glass skin – the first time such glass has been used for an exterior at this scale. The patterned glass reveals the detail and complexity of construction while creating a mysterious crystalline effect as the tower responds to light: sparkling during bright sunshine, mute on an overcast day, enigmatic at dusk, glimmering during rain and glowing at night.

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SO-IL

Pole Daince, P.S.1 Competition

photos: iwan baan . poledance . architects newspaper


How liberating to be an architect these days. Never before have dominant systems been so frail. If you can avoid hubris and over-reach, there are compelling, if daunting, spaces waiting to be explored. Freed from the fascination of the finite, and confronted with new ecologies, economies, energies, flows, and fantasies, we can begin to comprehend, and depict, a new image of life on earth, that of a seemingly elastic cloud. Everything has become untethered. We bounce about, footloose, on a network of intersections and knots.





from SO-IL on Vimeo.

In Pole Dance we continue our exploration of architecture’s potential to create sensorially charged environments rather than finite forms. We consider the choreography of situations rather than object making which is essential in the case of a temporary structure which needs to perform two seemingly contradictory tasks: calming and carousing. We imagine a participatory environment that reframes the conceptual relation between humankind and structure, an interconnected system constantly affected by human action and environmental factors, such as rain and wind. Confronted with its unfamiliar elasticity, visitors instinctively engage with the structure: testing its limits, composing games, or just watching its gentle dance.

The project consists of a 16×16 foot grid of 30 foot high poles connected by bungee cords. Movement is controlled by the elasticity of the cord and pivot of the pole. The grid accommodates a number of activators, such as hammocks, pulls and mister-rings. These leverage points are the interface between visitor and system. A small local action ripples across the larger system. The gently swaying columns broadcast these ripples over the courtyard walls to the city and the world beyond.

An open net covers the entire field and controls the maximum pivot of the poles. The net gives the space a sense of interiority – amplifying the effect of movement – and supports a generous number of brightly colored balls. The balls deflect the net, offer shade, and give the appearance of a game whose rules need to be invented. Near the center, the net drops down to accommodate a pool. The horizontal roof plane is dimensional, but the form remains an outline or wireframe. The entire structure over-stretches a landscape of hammocks, misters, pools and plants: a light, colorful environment in constant flux.

The framework creates a dynamic – deliberately indeterminate – atmosphere. There is no baseline or reboot. With no end and no result, the process becomes an incessant loop, a delicate construct of transforming frames, offering an intensely uplifting experience. It is our belief that such an environment re-engages the public with the physical realm, triggering increased awareness and care for the direct environment.

The small courtyard adjacent to the main space holds a surprise, an immersive, interactive courtyard where visitors can create and control a rich sound experience from within the installation. Eight poles contain accelerometers – electronic devices that measure the motion of the poles – connected to custom software that converts motion into tones specifically composed for the installation.

In its passive state, sound is generated by wind moving the network of poles and netting. As the space is populated, the audience triggers tones by pushing, pulling or shaking the poles. Rapid and shallow movements create locally oscillating tones, while large, tilting movements create ripples of sound throughout the courtyard as the network of connected poles are set in motion. The installation enables up to eight participants to simultaneously play the poles, transforming the structure into a multi-user instrument.

An interactive iPhone app allows visitors to affect the quality of sound for each pole in real time. By turning the effects levels up or down the audience can collaboratively vote to change the active sound of their environment. The application also collects the movements of the interactive poles and visualizes the dynamic activity and movement within the installation in real time.

The entire system is assembled of a readymade kit-of-parts. The details allow for the system to be broken down without material degradation. Most components will be repurposed after the installation is closed.


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28.6.10 0

MVRDV . ADEPT Architects

House of Culture and Movement . Frederiksberg

photos: ADEPT

The building is a new urban typology with its mix of community centre, exhibition and performance, playground, park and health centre. The House of Culture and Movement is aimed to engage the population of Frederiksberg in a healthy and active life style. The 4,000 m2 building is set in 4,500m2 public gardens and is the first in a series of 3 buildings. The first phase is to be completed in 2015 and has a total budget of 130 million Dkr.




The main ambition for the House of Culture and Movement is to offer the Flintholm neighborhood a dynamic meeting point for people of all ages taking part in a wide range of activities. Health, culture, leisure and education should smoothly blend together to create a spectacular architectural experience that will become a destination.

The main building, the House of Culture and Movement, or Ku-Be (Kultur- og Bevægelseshus) is a rectangular glass volume containing six stacked ideal programmatic elements. The space in-between can be programmed flexibly as a 'play zone' with various activities and main circulation. The stacked elements hold more specific uses: a theatre, a health zone, food zone, a zen area, a study centre and exhibition hall, fitness and activity centre, a wellness centre and an area for the administration. The theatre is flexible and can be used in different stage and audience settings; in addition its large window allows it to be used as an open air theatre where the public stays in the garden. The building is a truly multifunctional public centre which engages its users.
The 3 volumes are wrapped in an 'urban curtain' that acts as frame for the garden. It offers great flexibility and can be used for art projects, bicycle parking, water and light installations, performances – and curtains.

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