TreeIT is a metaphor for the work of architect Dario Pompei, drawn up as dissertations with Professor Antonino Saggio at the La Sapienza University of Rome. The project shows how you can tackle the crisis of pollution poisons that has affected the lake of Vico.
The operation is systemic and provides at the sametime an active reforestation, decontamination and reclamation and the creation of paths hanging on wooden walkways. These pathways enhance the zone of the slopes at lake by creating micro architectures placed in the context and allow compatible development with the naturalistic vocations of the zone.
The project consists of a harmonious boardwalk that winds dynamically in different directions, emphasizing the potential of the space and lends itself to different ways of use. The walkway, made of OSB wooden panels, exhorts the visitor to cross the interactive forest consisting of more than one hundred synthetic trees, which evoke the operation of the project and at the same time reveal that only the active presence of the community may impose a smart solution.
The position of the body is detected by three ultrasonic proximity sensor connected via Arduino to the LED lighting system places on top of the artificial trees. The square thus becomes a sensible space that lends itself to many fruitions and that responds to the solicitations of bodies that pass through it. TreeIT was made and shown for the first time during The Cube Festival, a cultural event held on December 6-8th 2013 in Ronciglione (VT) and was placed in Piazza degli Angeli, in the Medieval Village.+ DATA INSTALLATION
Length: 16.50 m Trail length: 20 m Maximum width: 5.40 Max height (wooden structure): 0.70 m Max height (synthetic trees): 3.00 m Number synthetic Trees: 120 Number of LEDs: 120 Number Arduino boards: 3 Number Ultrasonic sensors : 3 Electric cables: 1,4 Km
“The trees light up only with the passage of people. They are silent, without the public will, but come on when this will is present. ” Antonino Saggio
To get a sense of the kind of hotel they wanted, Mr. Stockhausen did extensive research with Mr. Anderson. This included looking at vintage images at the Library of Congress of hotels and European vacation spots. They also looked through hotel archives and studied the architecture of locales like the Grandhotel Pupp in Karlovy Vary, Czech Republic.
So, I don’t particularly consider myself a feminist. And I don’t mean to get all provocative up in here. But I do believe in equality, and it doesn’t take long in the discipline of architecture to figure out that there’s some kind of problem going on. Go to any review, and you’re most likely to see a group of old white men sitting around and judging a studio that’s at least half female, if not more. The problem extends into practice too- only 17% of AIA members are women, and just 10% are ethnic minorities.
It seems I’m not the only designer with these issues on my mind. Last year a group from the GSD launched an ultimately unsuccessful petition to recognize Denise Scott Brown with her partner Robert Venturi’s Pritzker Prize.
The thing is, its a complex problem, and I’m not sure if there’s anyone to blame. But I do think its useful take a look at that reading list, jury panel, or conference poster and ask who is being represented and why. Apparently, so did the folks over at Feminist...
Having proposed a Sky Park for the City of London, I was delighted to see a real Skypark on the Marina Bay Sands Hotel. ‘London talks and Singapore acts’. The Marina Bay Sands Hotel has 2,561 rooms and 55 floors. The SkyPark, 200m above ground level, is larger than three football pitches and has an observation deck, 250 trees and a 150m infinity swimming pool. It is a brilliant project by Las Vegas Sands and, I hope, a signpost to the future of urban form. See the Marina Bay Sands website for more details. I’d like to spend a few nights there, congratulating the hotel management for commissioning the project and then the city of Singpore for its policy of moving from ‘Garden City to Model Green City‘. But a design critic must also provide criticism:
- the garden/landscape design looks ‘OK but dull’. The designers have not risen to the challenge of such a fabulous opportunity, perhaps to re-create some of the rain forest of pre-colonial Singapore with stylised beaches running to the perimeter pool. I wouldn’t even object to a glowing Tarzan by Jeff Koons in the heart of the jungle – and nor would the kids of the guests.
- As built, SkyPark floats somewhere between the deck of a luxury cruise ship and the garden of a luxury hotel – and both are design categories which landscape designers neglect. What the SkyPark needed was a serious dreamland design to lift the imagination of guests, as well as the contents of their wallets. Moshe Safdie was the architect. He worked with five artists but, having written a book For everyone a garden probably sees himself as an expert on garden design. I do not doubt that, like Frank Lloyd Wright, Safdie has the ability to design gardens but as with all the arts, it takes time to develop expertise and one needs to love garden life and garden visiting to succeed. My belief is that Edwin Lutyens’ best gardens were designed in co-operation with Gertrude Jekyll and that Lutyens tended towards vacant formalism when working, like Safdie, on his own. Eero Saarinen had the great good sense to work with Dan Kiley.
- the Tropical Island shape of the SkyPark sits unhappily on its three towers. There is a dash of HG Wells’ War of the Worlds about it. Or an out-or-water oil rig. Looking up, one wonders if a Tsunami left a cruiseliner or a surfboard perched on the roofs of its three towers. The resort hotel may appear more sensitive to its context when more of Singapore’s buildings have SkyParks
- Safdie’s urban design, which I commend but which is not apparent from the photographs, was as follows: ‘A series of layered gardens provide ample green space throughout Marina Bay Sands, extending the tropical garden landscape from Marina City Park towards the Bayfront. The landscape network reinforces urban connections with the resort’s surroundings and every level of the district has green space that is accessible to the public. Generous pedestrian streets open to tropical plantings and water views. Half of the roofs of the hotel, convention center, shopping mall, and casino complex are planted with trees and gardens.
Top photographs courtesy Marina Bay Sands Hotel. Bottom photo courtesy Peter Morgan.
It is a coat hanger whose base part can store hangers by stacking them. Use by combining distinct wooden hangers. The hanger shape serves as the stand and is also suitable for high-collar clothes.
product name: HC HANGER
type: coat hanger
material: steel + plywood
The idea of LAYER was inspired by a tower of stacked chairs. The chair legs are fixed between an upper and a lower seat shell, what makes it a lightweight but durable sandwich structure. The circumferential open construction makes LAYER appear in a unique typology and due to the seamless transition between seat shell and legs, it looks as would the furniture be grown in one piece. Each part is made out of plywood and the contours are CNC milled – an exciting contrast between industrial way of producing and natural material.
This time designers of mode:lina have created a new working space.
“I would like to have modern and minimalistic office, but also with my very personal touch. Maybe some cartoons? I like Lichtenstein’s style a lot and street art in general.”
Simple and minimalistic furniture fill up industrial character of the whole interior with all visible fittings. Big graphics placed on the walls and lockers are created by designers from mode:lina, but inspired by original Roy’s Lichtenstein’s art. Finally, the name of the project – the “Boom Office” is taken from one of the wall graphics.
The aim? To create comfortable place for a young businessman with consistent vision.
“I need space for both individual work and official meetings, with small relaxing space. Everyday i get to work by my motorcycle. That’s why a wardrobe is a must in this conception. Besides my clothes, in my office I mainly keep books and magazines, some documents also. It would be nice if I could have Red bull cooler nearby my desk.”
Two integrated tables divide space into two individual parts, private one, and the other one for official meetings.
In the corner of the room, using space between slanting of the wall and a pillar, designers hid a small wardrobe. After getting off the motorcycle, owner can easily jump into his suit. Overall and helmet will be waiting on the hanger.
All the stuff, including Red bull cooler, is hidden in a big locker, behind the owners’s desk.+ Project facts
PROJECT: Boom Office Interior
DESIGN: mode:lina architekci (Pawel Garus & Jerzy Wozniak)
PROJECT TEAM: Pawel Garus, Jerzy Wozniak, Kinga Kin, Agnieszka Owsiany
REALIZATION: Wrzesien / September 2012
AREA: 32 m2
PHOTOS: Marcin Ratajczak
The Hongcheng skyscraper is located on the banks of the Qiantang River in the new administrative and business district of Hangzhou city and home to the offices of various companies.
Commissioned by the buildings owner, the brief called for a unified interior design throughout the common areas that included an upgrading of the main lobby, foyers, corridors and amenities. The 3 story high entrance hall spans approximately 450 square meters to form the central reception, waiting and information area of the overall complex.
Views of the beautiful parklands opposite the main entrance are optimized through the use of extensive facade glazing. The configuration of the entrance hall has been inspired by the natural landscape, reflected through the use of organic elements. A bamboo grove, natural stone blocks, and cascading water feature define the spaces functional zones to create a series of themes landscapes. By limiting the use of the various surface materials, the subtle combination of jurassic limestone, granite and bamboo amplified the experience of the spatial landscape. The result is a harmonious interaction between inside and outside, the elements and materials.
The bespoke translucent glass ceiling and overlying grid of bamboo rod down lights allow for varying levels of illumination that can be adjusted to the time of day of desired atmosphere.+ Project facts
Hongcheng Office Building – Interior Design
Hangzhou, P.R. China
Client: Hongcheng Estate
Fuchun: Road / Dangui Street
Hangzhou, P.R. China
Architect: Peter Ruge Architekten
Team: Pysall Ruge – Peter Ruge, Kayoko Uchiyama, Matthias Matschewski
Project Partner: DBH Stadtplanungs GmbH, Hangzhou
Prof. Wang Xiaosong, José Maria Cantalapiedra Alonso
Photograph: Jan Siefke
Location: Hangzhou, Zheijang Province, P.R. China
Brief: Corporate design for the main entrance hall, elevator lobbies, flooring and public facilities of the new Hongcheng high rise building
1st floor – 450 sqm
2nd floor – 210 sqm
upper floors – 195 qm (each)
Duration: 2008 – 2010
One year ago Jim Tolpin and I were axehandles and elbows in final edit mode for our manuscript BH&E (By Hand & Eye). I was struck by how much work is involved down that final stretch and I just wanted it over with. Sort of like a large furniture project. It starts with the excitement of picking just the right figured boards to unleash something beautiful. That excitement gives way to a different kind of pleasure when the shaping and joinery begins, more like a long hike in the woods. Every good hike has a few brambles to muddle through, but the pleasure of building makes up for the hilly spots. Yet, near the end I always just want to get it done, shed the saddle and roll in some clover.
But this was different. After Jim and I high fived and broke some glass, we went right back to the fun of sending each other articles, links to historic engravings, and random thoughts about how our craft might have solved a problem. Rather than moving on, we continued to moving in. We’ve only scratched the surface as much of this knowledge can only be pried loose at the point of a tool. Jim’s still eager to test out every idea at the bench, and I can’t resist flipping over stones in the creek bed. A year later, actually three years later for the two of us, we are more convinced that the tradition has so much to teach us about how to see. And with each piece of knowledge we become more convinced that the traditional tool set is the key to breathe life into it.
I’m headed out to Port Townsend in March to share this knowledge in a design workshop. There are still a few spots left, so if you are game for a week of eye opening discovery, sign up.
George R. Walker
What good is a school without a library? A team of 108 eighth-grade students at REALM Charter School in Berkeley, CA let their curiosity take the lead in designing their school's own reading space, which they call X-SPACE.
X-Space started out as a school project in Studio H, an in-school curriculum led by director Emily Pilloton and 8th-grade teacher Hallie Chen that lets students in grades 8-11 design and build in socially-engaged projects.
The idea and name of X-Space came from the students' desire for a place to study, to relax, to learn and discover "X" — the unknown. In short, they wanted a welcoming library space for fellow students at the growing charter school.
Another product of the project is the X-shaped "STAX" shelving system the students helped construct. The stackable shelves were designed from low-tech 13-ply finished plywood and made using high-tech CNC technology with the help of Autodesk CEO Carl Bass.
Studio H launched a Kickstarter on Feb. 25 and has already raised o...
In the projects shown here, architects and artists reflect on the problems and possibilities of economic and urban growth. How is rapid urbanization happening? Who is benefiting, and who is being displaced or excluded? What can architects and citizens do to exert leverage on processes at once local and global?
On Places, Jonathan Massey reviews the 10th Sao Paulo Architecture Biennial, and presents a slideshow of selected works.
Working for the health of the many: How Asher Hasan is bringing insurance coverage to Pakistan’s low-income workers
This book has excellent photographs, by Alex Ramsay, and the inclusion of garden plans is most welcome. Kawaguchi writes with admirable clarity about Zen gardens – compared to those I have seen of the 1,926 books on Amazon returns for a search on Zen Gardens. Allen Weiss, for example, begins Zen Landscapes (2013) by stating that ‘The essential elements of the dry Japanese garden are few: rocks, gravel, moss’. Kawaguchi explains that this is not how ‘Zen garden’ is used in Japan: it simply means ‘the garden of a Zen temple’ and such gardens are not stylistically distinct from other Japanese temple gardens. So Weiss should have used kare-sansui or dry landscape in his book title. I would also complain if ‘Protestant’ was the adjective used, overseas, for the gardens of eighteenth century England. I therefore recommend Kawaguchi as the first book to read on Zen gardens. Yet there are some critical points to make. First, I would like the introduction to have said more about the principles of Buddhism, the distinct characteristics of Zen Buddhism and the relationship between Buddhism and gardens. Second, the plans lack contours and, to my eye, look too English. Third, I would like the points made to have had bibliographic references. I do not think this would have spoiled the book design and I do not think it would have mattered if the references were to Japanese publications which English readers cannot follow.
Part One of the book gives a historical overview of the gardens made for Japanese Zen temples. The first such temples are dated to the thirteenth and fourteenth centuries (while the first Buddhist gardens in Japan date from the sixth century). The influence of Chan Buddhism, from China, which became Zen Buddhism in Japan, is associated with the Emperor Kameyama. He abdicated at the age of 24, in 1274, and became a Buddhist monk in 1289 and the abbot of Nanzen-ji. Ryoan-ji, which fascinates visitors and provides foreigners with their image of a ‘Zen garden’, is a mystery. Little is known of its date or its symbolism: ‘it is almost as though visitors to the temple have needed to be reassured that the garden is indeed a work of genius rather than a case of humbug’ (p.61). Kawaguchi also discusses the influence of Zen on twentieth century gardens, notably in the work of Shigemori Mirei.
Part Two of the book reviews the symbols and motifs used in Zen gardens. Many have Buddhist roots and many do not. The view from Shinju-an (illustrated below) uses symbols drawn from the beliefs of pre-Buddhist Japan: Shinto. Other symbols come from Daoism and China, including the turtle, the crane and the islands of the immortals.
My view is that it is pity to make either ‘Japanese gardens’ or ‘Zen gardens’ without the understandings of ideas and symbols which Kawaguchi provides. To state a tautology: the gardens of Zen temples are temple gardens.
Screen/Print is an experiment in translation across media, featuring a close-up digital look at printed architectural writing. Divorcing content from the physical page, the series lends a new perspective to nuanced architectural thought.
For this issue, we’re featuring Satellite's Toronto.
Do you run an architectural publication? If you’d like to submit a piece of writing to Screen/Print, please send us a message.
Archinect's Architecture School Lecture Guide for Winter/Spring 2014
Archinect's Get Lectured is up and running again for the Winter/Spring '14 term! As a refresher from our Fall 2013 guide, every week we'll feature a school's lecture series—and their snazzy posters—for the current season. If you're not doing so already, be sure to keep track of any upcoming lectures you don't want to miss.
Since we've been receiving more submissions lately, we're gonna show off posters more often — and so you can see what events are happening in architecture schools right now!
Our next poster features another noteworthy lineup from the Illinois Institute of Technology College of Architecture.
Want to share your school's lecture series? Send us your school's lecture series poster and details to firstname.lastname@example.org.
Listed below are upcoming events only. Note each lecture's time. Lectures are free and open to the public, and will take place at S.R. Crown Hall - 3360 S State, Chicago IL 60616
The art and technology center Eyebeam has selected WORK Architecture Company (WORKac) to design its future home in Brooklyn, another addition to the Brooklyn cultural district in Fort Greene. “It’s a great moment in Eyebeam’s trajectory to think about the relationship between art and technology,” said Dan Wood, a principal in WORKac, with Amale Andraos — both of whom worked on the cultural district’s master plan.