@MicrosolTweets Microsol Resources Event: AUTODESK BIM 360 – THE NEXT GENERATION OF BIM

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fc3arch‘s insight:

 When: 11:00am – 12:00pm, Tuesday September 10, 2013

Where: This is an Online Seminar, but you need to register to participate

Credit: Microsol Resources is an Approved Provider through the AIA/CES and will provide Certificate of Completion for 1 AIA LU and PDH for this seminar.

Clash Detection, Coordination, and Collaboration

Autodesk BIM 360 Glue is a data-centric, cloud-based management solution for building and infrastructure projects that provides easier access to project models and data to support collaborative, multidisciplinary workflows across authoring tools and project control applications. It enhances cross-team coordination globally as updates are immediately available in project models. Also available as a mobile app for iPad.

See on www.microsolresources.com


Ask the Architect: “Is God in the Details?” by @WJMArchitect

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William J. Martin WJM Architect answers question- Have you misinterpreted Mies Van Der Rohes statement God is in the Details?

fc3arch‘s insight:

ASK THE ARCHITECT with @WJMArchitect William J. Martin WJM Architect answers question- Have you misinterpreted Mies Van Der Rohes statement God is in the Details?

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City of Culture by Eisenman Architects

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I love Architectural design theory and I love skate boarding; Peter Eisenman combined them both when he designed the 173-acre site on Mount Gaiás.  The project neighbors Santiago de Compostela where the cathedral houses the remains of the apostle St. James, brought to Spain from Jerusalem after his death in AD 44. Since the eighth century, pilgrims have trekked to the medieval town to pay homage to his shrine.

Photo © Duccio Malagamba

Eisenman Architects’ winning scheme, folded into the earth and seductively represented by a molded wood model, beat out varied proposals by ten finalists: Steven Holl Architects, OMA/Rem Koolhaas, Ateliers Jean Nouvel, Gigon Guyer Architects, Dominique Perrault Architecture, Studio Daniel Libeskind, Juan Navarro Baldeweg, César Portela, Ricardo Bofill/Taller de Arquitectura, and José Manuel Gallego Jorreto.

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Portugal’s Roman Temple

Did you know that Portugal has it own Roman temple?

Roman Temple of Évora

Check out the following excerpt from Wikipedia.org.

The Roman Temple of Évora (also referred to as the Templo de Diana, after Diana, the ancient Roman goddess of the moon, the hunt, and chastity) is an ancient edifice in the city of ÉvoraPortugal. The temple is part of the historical centre of the city, classified as a World Heritage Site by UNESCO. It is one of the most famous landmarks of Évora and a symbol of Roman presence in Portuguese territory.

Although the Roman temple of Évora is often called Temple of Diana, any association with the Roman goddess of hunt stems not from archaeology but from a legend created in the 17th century by a Portuguese priest.  In reality, the temple was probably built in honour of Emperor Augustus, who was venerated as a god during and after his rule. The temple was built in the 1st century AD in the main public square (forum) of Évora – then called Liberatias Iulia – and modified in the 2nd and 3rd centuries. Évora was invaded by Germanic peoples in the 5th century, and at this time the temple was destroyed. Nowadays its ruins are the only built vestiges of the Roman forum, in an open square fronted by the cathedral and the bishop’s palace.

The ruins of the temple were incorporated into a tower of the Évora Castle during the Middle Ages. The base, columns and architraves of the temple were kept embedded in the walls of the medieval building; the temple-turned-tower was used as a butcher shop from the 14th century until 1836. This new use of the temple structure helped preserve its remains from further destruction. Finally, after 1871, the medieval additions were removed. Restoration work was directed by Italian architect Giuseppe Cinatti.

The original temple was probably similar to the Maison Carrée in Nîmes (France). The Évora temple still has its complete base (the podium), made of both regular and irregular granite stone blocks. The base is of rectangular shape and measures 15 m × 25 m × 3.5 m.  The southern side of the base used to have a staircase, now ruined.

The portico of the temple, now missing, was originally hexastyle, six columns across. A total of fourteen granite columns are still standing on the north side (back) of the base; many of the columns still have their Corinthian-style capitals sustaining the architrave. The capitals and the bases of the columns are made of marble from nearby Estremoz, while the columns and architrave are made of granite. Recent excavations indicate that the temple was surrounded by a water basin.


Santa Filomena Chapel by Architect Pedro Maurício Borges

[reposted] In Architecture We Trust!

published in: Architecture By Tina Komninou, 16 March 2011 | Original Article 

photo © Fernando Guerra, FG+SG Architectural Photography

Project Title: Capela  de Santa Filomena
Location: Lugar de Netos, Ferreira-a-Nova, Figueira da Foz
Client: Câmara Municipal da Figueira da Foz
Arquitect: Pedro Maurício Borges
Assistants: Rita Curica, Tiago Hespanha, Vitor Canas, Filipe Ferreira
Structural Engineer: ARA – Alves Rodrigues & Associado, Lda (Eng. Fernando Rodrigues)
Watering Engineer: Rita Martins
Electrical Engineer: Camâra Municipal da Figueira da Foz (Eng. Antonino)
Construction: Andrade & Teles, Lda.
Project: 2004 – 2005
Construction: 2005 – 2008
photographer: Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

In 2008 a spiritual modernity opened its doors in Portugal’s Figueira da Foz.  The chapel ‘Capela de Santa Filomena’was designed by architect Pedro Maurício Borges and it did not go unnoticed.  A bold, sexy, angular and dominant structure in the middle of a suburbia type area were everything else stands still and pay their respects to this holy place of architecture.

photo © Fernando Guerra, FG+SG Architectural Photography

Looking at this chapel from afar you cant help but say ‘ What is it and What is it doing here?’.  It is as though you have  spotted a ‘CHANEL’ store in the meat packing district. You are gloriously happy to have found it but keep thinking that you are hallucinating. This glorious feeling is instantly projected in this case by two factors. Firstly, the protruded angular shape of the building leading to the sky and secondly the simplistic façade finish which stands out from its surroundings. The actual structure is built on a sloping pavement, as if it has been dropped from the sky. A sloping surface towards either the underground or the holy over world.

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

Consisting of just three openings (entrance and 2 windows) the main attraction is what we would call the rectangular display window. Clear cut protruding opening with a visible depth and one single powerful display that is understood worldwide. The window is perceived as a picture frame placed on the façade to attract and symbolise what this architectural brand stands for. This idea is made even stronger with the second window acting as a complete reverse. Here the frame is punched inwards from the exterior shell, bringing it levelled with the interior walls. A clear and contrasting approach between a protrusion of ‘In God we Trust’ to invite you in and an inset detail to express the respect and focus of the subject at hand.

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

Once inside, the simplistic and light essence is of prime importance. Clean cute, pure white, natural daylight directly form the nave with a black framed office desk and monasterial seating benches. Everything is discreet with a language of subtleness and openness. In an all white interior The Crucified Christ brings deeper meaning and certainly a more meaningful one. You know what you are here for you don’t need tassels, murals, and vitros to remind you that you are on holly ground. After all we are all here for the man in the window. The recherché that has invited you in and now will rotate around to face you and you will open your heart and soul to him without the feeling of judgement or betray. This comes easily in a chapel such as this. In a chapel were the divine light is entering from either sides of the holy figure in the window and you are left to admire and feel. The dramatic angular lines pointing towards the heavenly clouds through the upper window is a dynamic element filed with symbolism.  One main attraction, one man show with many hidden meanings and a world of magic that you have never seen.  What else can we ask for in order to enter.

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

This monument is a true factor in all that it stands for. No excess, no frills no pretend. A strong architectural approach to a strong belief.  At the end of the day this is our equivalent religious hierarchy to that of a CHANEL store and we are ready to buy whatever is for sale. However what we want to buy comes with a powerful question ‘‘Is the man in the window for sale?”.

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Pedro Maurício Borges

sources: Pedro Maurício Borges


DE_PLO / dEEP Architects

[Reposted] MAR 16, 2011 by by Sebastian Jordana

Courtesy of AN_D

In view of the earthquake in Japan, dEEP wants to share their early design proposal called ‘DE_PLO’. It’s a research based design proposal by Li Daode from , cooperated with architects Ana Cocho Bermejo and Andrea Balducci Caste. More images and architect’s description after the break.


Courtesy of AN_D

DE_PLO developed as a contemporary response to global disaster cenario relief. The World Health Organization indicates natural disasters and other unpredictable events are so common today that we must urgently devise responses before they can occur. Architects are asked to invent new kinds of highly adaptable and rapidly deployed spaces for different emergencies.

Our proposal engages the necessity to design flexible and adaptable systems that are able to negotiate the uncertainty of disaster relief. Through an in-depth analysis of post catastrophic scenario based case studies we identified patterns that assisted in developing a range of organization logics that could be implemented on site. Through the development of simple pattern cutting and clipping systems we transformed flat sheet material in complex three-dimensional spatial structures. The results are an original piece of research that poses an alternative model to existing methods of response through a carefully studied and crafted proposal.


Courtesy of AN_D

An Emergency Intermediate Health System, with a customized interface, is able to satisfy most medical needs in the shortest time in a broad span of locations. A time-based system, it operates through two kinds of units: Basic triage – A quickly deployable pack ready to be sent immediately after the disaster. Its use is limited in duration, so it focuses on the acute phase. It is usable as an adaptable triage or first-aid unit working alone or with an existing damaged or overcrowded health care facility.

Specific health – Different rapidly deployable units can be customized according to the kind of emergency through an interface-based design. The unit responds to specific spaces and needs, so it is a completely integrated system, able to adapt to specific diseases, spatial and technological needs, and to form/perform as a field hospital.


Courtesy of AN_D

The EIHS is a deployable 3D structure generated from a flat surface, able to arrive directly from the factory to the site, perfectly packaged and ready for easy and quick assembly. A Multilayered Membrane Intelligent System is applied differently for both packs but is based in the same logic.

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Do you like this post? you can read more about: Structures

Cite:
Jordana , Sebastian . “DE_PLO / dEEP Architects” 16 Mar 2011. ArchDaily. Accessed 17 Mar 2011. <http://www.archdaily.com/120301&gt;


Pringiers House by Tadao Ando Architects, Mirissa, Sri Lanka

4 March 2011 | Story by Rob Gregory

All Photographs by Edmund Sumner Photographer / Sumner Partnership Ltd.

This adventurous new house in Sri Lanka intelligently and dramatically exploits its stunning clifftop setting.

Recent works by Japanese architect Tadao Ando featured in the AR showed something of a departure from his signature use of exposed concrete, with two projects of irregular form, cloaked in sheet steel (AR November 2005 and August 2007). Designed concurrently but finished a number of years later, this project for a house in Sri Lanka returns to a more familiar language of pristine exposed concrete, arranged to contain a series of protected courtyards and voids.

In an urban setting Ando would typically build a wall around the site to control and bring distinction to the relationship of inner and outer realms, using tension between found and imposed geometries to create dynamically lit spaces. On this site, however, fewer constraints existed so the architect was free to compose a form that responded to key views and aspects of orientation.

Remarkably, Ando never visited the site before construction and has not been there since its completion. He relied instead on the coordination skills of two long-term Japanese collaborators, Kiyoshi Aoki and Yukio Tanaka, who liaised with local firm PWA Architects. Ando describes his envoys as being of ‘around retirement age’, but ‘still fit’ and ‘wanting to put their experience to good use’.

They teamed up with PWA founder Philip Weeraratne and his associate Ravindu Karunanayake, to ensure Ando’s exacting standards were maintained, while also, according to Weeraratne, ‘developing a partiality for Sri Lankan curry’. Checking progress and enjoying local cuisine, they made many trips to the remote coastal site. Described as one of the country’s most spectacular places, it perches on cliffs above Mirrisa Beach on the southern tip of Sri Lanka, with panoramic views of the Indian Ocean.

The site was acquired by Belgian entrepreneur Pierre Pringiers, who came to Sri Lanka as a traveller, on which he got work in a local factory. After a while, he started his own factory, manufacturing solid rubber tyres. The fruits of his enterprise are clear to see in the scale and quality of this home. But he is also known to be generous with his wealth and time. Described by Weeraratne as a philanthropist, he has made a significant contribution to the local economy by leading the post-Asian tsunami recovery initiative in 2004.

He has launched programmes such as the Building a Future Foundation, which develops the practical skills of local workers, training them in boat-building crafts for tourism and fishing-related activities. The house was a gift to his wife Saskia Pintelon, a respected artist, who chose Ando as her preferred architect shortly before the natural disaster struck.

The impact of the Asian tsunami and the subsequent civil unrest is thought to account for Ando’s reluctance to visit the country.Instead, Weeraratne and his team, including representatives from the concrete subcontractor, who had to produce mock-ups before being awarded the contract, all travelled to Japan to experience Ando’s work. After this meeting, the Japanese office issued a simple set of drawings, before the Sri Lankan team set about producing nearly all the detailed drawings for construction.

Being only in their early thirties when the project began, they learnt a huge amount. Weeraratne describes the design process as the equivalent to ‘doing a doctorate’, taking him out of his comfort zone by re-establishing geometrical proportions and exacting standards of detail as key priorities. ‘Ando was a hero of mine,’ he recalls. ‘As a student I would have done anything to work with him, so this was the fulfilment of my foolish teenage dreams.’

Accommodation is arranged into three wings that lock into a central courtyard and a grand stair. Rising up to the piano nobile, to the left of the stair is a bedroom wing. To the right, at 90° is the studio and gallery wing that tapers as it extends into the surrounding landscape. And cutting across, at 45° is a lower two-storey wing, which contains a double-height living and dining room, complete with rooftop swimming pool and cantilevered terrace, which looks back over the stair.

In the knuckle between the studio and the living rooms is a service core that holds the kitchen and ancillary spaces. This area includes a master suite on the upper level and a service entrance that separates the artist’s studio from the domestic quarters that occupy the ground floor.

The studio is described by Weeraratne as the grandest of all spaces, being the most ‘characteristic of Ando’s use of light on plane’. He could not avoid mentioning the gadget, which takes the form of the 6m x 6m window at the end of the dining room that smoothly drops down into the basement void below to open up the interiors to one of Ando’s framed views.

Weeraratne applauds Ando’s ability to capture the scenery so well, stating that ‘what amazed me most was what a true master Ando was. He had not even visited the site, yet was able to be so precise with positioning views. That is the evidence of years of practice.’ Taking a more objective stance, however, you may ask, precisely how accurate do you need to be when working with such a stunning panorama.

Nevertheless, Weeraratne’s respect for his master is palpable,and the experience has been rewarding for all. When asked if this project has influenced later work, he concedes that ‘not everyone can afford to spend five times the normal price on a home, but what this process has given us is a proven reputation for being able to produce high-quality work’.

Architect Tadao Ando Architects & Associates, Osaka
Project team Kiyoshi Aoki, Yukio Tanaka
Associate architects Philip Weeratatne & Ravindu Karunanayake, PWA Architects

All Photographs by Edmund Sumner Photographer / Sumner Partnership Ltd.
9 Grove Hill Road London SE5 8DF
t/f +44 20 7501 6477
+44 7957 141 018
edmund@edmundsumner.co.uk