Saturday, September 19, 2015

Markthal Rotterdam / MVRDV



© Daria Scagliola+Stijn Brakkee

From the architect. Rotterdam has a new icon: Markthal Rotterdam. At a historical location at the Binnenrotte, next to Blaak Station and the largest weekly open air fresh food and hardware market in Rotterdam, the first covered market of the Netherlands was realised. Markthal includes a huge market floor on the ground floor under an arch of apartments. Its shape, its colourful interior and the height turns Markthal into an unique spectacle.


More:
http://www.archdaily.com/553933/markthal-rotterdam-mvrdv?ad_medium=widget&ad_name=category-market-category-renovation-article-show



Friday, May 29, 2015

6 Winners Selected for OISTAT Competition to Design a Floating Theatre in Germany




Out of 197 entries from 38 countries, six proposals have been chosen as the winners of the 2015 OISTAT Theatre Architecture Competition, which sought proposals for a floating theatre that could be moved to different locations along the Spree River in Germany. The ideas competition was organized by OISTAT (International Organization of Scenographers, Technicians, and Theatre Architects), and the winning proposals will be showcased at the exhibition Stage│Set│Scenery in Berlin in June.

more : http://www.archdaily.com/636388/6-winners-selected-for-oistat-competition-to-design-a-floating-theatre-in-germany/

Wednesday, May 6, 2015

El valor sublime de lo grotesco, en la obra de Botero.





Sabrina Padron


El valor sublime de lo grotesco, en la obra de Botero.


"No soy un caricaturista, solamente como todo artista empleo la deformación. Los fenómenos y objetos reales son más o menos deformados para acordar con la composición en todo artista. Lo mío son formas divergente de expresión. Exalto las formas. Ni siquiera es una defensa o una crítica a la gordura, solo busco acentuar la corporalidad, la voluminosidad, la sensualidad y la provocación. Mi interés es en la abundancia y  la forma totalizadora, el exceso en formas y colores.”- Botero (Marquez, 2005)
 Estas palabras permanecen al famoso artista Fernando Botero. Hoy por hoy, alrededor del
mundo, cualquier persona sin mucho conocimiento del arte puede distinguir sus obras por lo
diferente que son con rasgos del arte contemporáneo (Marquez). Este artista Colombiano nació
en Medellín, Colombia en 1932. Desde niño se interesó en los toros y el arte. Pero el arte es
donde encontraba refugio y pasión, a los diecisiete años, el artista contribuyó en ilustraciones
para el periódico de su ciudad natal, El Colombiano (“Fernando Botero”).
Botero es una persona muy patriota y respeta mucho a su nación. El suele demostrarlo
creando obras que se relacionan a la crisis social de su país y después las dona a diferentes
museos y ciudades, en Colombia y alrededor del mundo, para que sean admiradas por el público
local y turístico (“Fernando Botero”).
 Botero ha viajado por todo el mundo aprendiendo diferente técnicas del arte. Él no quería
solo ser reconocido por una sola característica del arte. Ahora sus colecciones consisten de
pinturas, dibujos, y esculturas (“Fernando Botero”).  Botero se inspira en los temas que hablan de
2
cultura y sociedad, especialmente a través del arte de varios artistas como Diego Rivera y Pablo
Picasso (“Estilo de”). En su inicio, su mejor fuente de inspiración son los recuerdos de su
infancia y de su juventud en los pequeños pueblos, personajes emblemáticos religiosos, y
personas del poder como los militares (Marquez).
 A través de su trayectoria, Botero, se ha enfocado en la creación de obras que muestran
presencia y realidad del volumen (“Fernando Botero”). Unos se refieren a ellas como obras
gruesas o rellenas como un modo normal para las personas con sobrepeso (Marquez). Sin
embargo, a él no le gusta que las personas describan de esa forma sus obras o que
ignorantemente lo acusen de pintar obras “gordas”, porque la gordura es una cosa y otra cosa es
el volumen. Sus obras son de lo más sencillas y únicas con rasgos de caras muy pequeñas y
piernas más largas que el abdomen (“Estilo de”).
Botero relata que su enfoque es la expresión del volumen retratadas en las personas,
paisajes, animales y naturaleza (“He tenido,” 2004). Como buen artista, él tiene su preferencia
artística, usualmente él elige por pintar a mujeres. Para él las mujeres son la mejor creación en la
tierra y es lo que más llama la tensión del público (“He tenido”).
A pesar que las personas lo acusan de obsesionarse con gorditas, el garantiza en una
entrevista, que no es así, ni en su arte ni en su vida real. De hecho, sus tres esposas han sido
contextura delgada (“He tenido”). Pintar el volumen es el estilo de Botero cuyo eligió porque él
quería enfocarse en la deformación bonita con colores fuertes, cuyo lo ha llevado al éxito de una
carrera de 65 años y no hay nada ni nadie que lo haga cambiar su estilo (“Fernando Botero:
Beauty”). Usualmente, se puede decir que un artista ha logrado el éxito cuando el artista
consigue que su arte y obras sean inmediatamente reconocidas por su estilo y lenguaje propio
3
(“He tenido”). Como resultado salió, el “Boterismo,” un movimiento del arte popular (“Fernando
Botero: Beauty”).
Para justificar que Botero nunca ha considerado pintar una persona gorda, Marques hace
referencia a una entrevista hecha al hijo del artista, Juan Carlo Botero, el que describe que para
que su padre haga elementos gordos en sus cuadros, tendría que haber también elementos
delgados para marcar el contraste y hacer evidente la obesidad. “En cambio, cada objeto en sus
lienzos están pintados con la misma exaltación del volumen: las flores, las personas, las frutas y
hasta las moscas. El rasgo distintivo de su obra es su coherencia estilística” (Marquez, p.1).  Al
ensanchar las formas en sus cuadros, Botero desafía las proporciones naturales y les brinda
sensualidad a esas formas (Marquez).
Durante toda su carrera, Botero mantiene la misma opinión sobre su concepto artístico.
Como él menciona en una entrevista hecha por El Mundo, “El arte negro, el arte precolombino,
por ejemplo, es deforme y es bello. Y al revés: si uno escoge una modelo y la pinta tal cual como
es resulta un horror de banalidad, de superficialidad, de estupidez (“He Tenido”).
Durante su trayectoria no todo ha sido un éxito, mientras vivía en la ciudad de Nueva
York, los critico le decían que sus pinturas eran estúpidas y que solo eran “caricaturas”
(Marquez). En esta época, el arte abstracto era multitudinario y era lo más aceptable en la
sociedad, un estilo opuesto al Boterismo (Marquez). A pesar de todo, Botero nunca ha
abandonado lo que lo ha y seguirán identificándolo, la expresión del volumen.
De todo lo expuesto, podemos concluir que ese estilo que para algunos es tan grotesco,
donde se expone al individuo de sus pinturas,  a ser percibido como  tosco, desagradable, feo,
extravagante. Botero lo convierte en algo SUBLIME, porque cuando contemplamos sus obras,

estas generan un deleite y placer extremo, que es una concepción estética atribuida a pensadores
a través de los siglos.
Porque si analizamos que es sublime,  para Longino (pensador del sentimiento estético),
este lo define como: “Todo aquello que tolera un análisis profundo, y que deja en la memoria una
poderosa huella difícil de borrar,  llegando a agradar  siempre a todo el que la observa, cuando se
reconoce sus valores estéticos”.
Es así como la obra de Botero, es trascendental cuando se conjugan y se descubre los
fundamentos básicos de la estética.
Con esta  visión, Botero, hoy continúa trabajando y divide su tiempo entre Nueva York,
Paris, y Toscana (“Fernando Botero”).


Sunday, April 26, 2015

the new building for the prestigious New York art museum





Italian architect Renzo Piano has completed his new home for the Whitney Museum of American Art – an asymmetric steel and concrete assembly in Manhattan's Meatpacking District .

more:


http://www.dezeen.com/2015/04/23/renzo-piano-new-building-whitney-museum-set-to-open-manhattan-meatpacking-district-new-york-city/


Sunday, April 12, 2015

Ultra-green tower in Pittsburgh with a full-scale mock-up



Tower at PNC Plaza


A squat 1,200-square foot outdoor mock-up erected in a Pittsburgh industrial park is helping PNC Financial Services Group refine The Tower at PNC Plaza, which the company claims will be the world’s greenest skyscraper. Scheduled to open this fall in downtown Pittsburgh, PNC’s new 33-story headquarters, designed by Gensler, is a naturally ventilated highrise with a solar chimney at the core of its trapezoidal floor plate. It is expected to use only 50 percent of the energy of a standard office tower. In a briefing late last month, PNC director of corporate real estate Gary Saulson, along with members of the design team, discussed how data garnered from the module—the largest and most complex built by PNC—have helped tweak the building’s design and operations. Positioned with the same solar orientation as the downtown tower, the mock-up has been used to test the tower’s double-skin facade as well as its automated-blind and lighting systems. The module has also served as a tool for testing the building’s radiant panel technology and its chilled beam system and for evaluating types and placement of custom furniture.


more:
http://archrecord.construction.com/news/2015/04/150410-PNC-Tower-PNC-Plaza-Gensler-Pittsburgh.asp




Sunday, March 29, 2015

Monday, March 23, 2015

One World Trade Center


One World Trade Center

Thirteen years, an ocean of cash, and such a torrent of words that by the end nearly everyone had averted their eyes: finally, One World Trade Center, by Skidmore, Owings & Merrill (SOM), officially the tallest building in the Western Hemisphere, on the 16 acres of Ground Zero, has opened.
Forget, for the moment, the site's history, and let's just describe what's there. Just north of the 9/11 Memorial fountains, One WTC rises 1,776 feet from the ground plane to the tip of its antenna. The boxy, largely windowless base is 200 feet square in plan and 186 feet tall. Punctured with four street-level entrances, its 28-inch-thick concrete walls are clad in a two-ply skirt: narrow, horizontal stainless-steel slats peek from behind a scrim of vertical translucent glass fins. Floor plates at the base and crown are square; between them rise 71 stories of rentable office space, as well as mechanical floors and soon-to-open observation areas and restaurants, all contained in an elegantly glazed, curtain-walled prism. Between the square base and crown, the tower's corners are chamfered, so that by its midpoint, the floor plate has become a regular octagon. This creates an obelisk-like effect when you look up at the building, with the tower's thinly attenuated isosceles triangles appearing to lean into the skyline of lower Manhattan. -

 - See more at: http://archrecord.construction.com/projects/portfolio/2015/1501-One-World-Trade-Center-Skidmore-Owings-and-Merrill.asp#sthash.7rc1VxtL.dpuf












Monday, March 16, 2015



Anaheim Regional Transportation Intermodal Center by HOK


When the City of Anaheim launched a design competition in 2009 for a new transit hub, city leaders wanted an iconic structure. In the Southern California home of Disneyland, itself a celebration of mobility and fantasy, the Anaheim Regional Transportation Intermodal Center, or ARTIC, is a soaring, optimistic expression of the potential for public transportation in this capital of car culture. - See more at: 



http://archrecord.construction.com/projects/Building_types_study/civic/2015/1503-Anaheim-Regional-Transportation-Intermodal-Center-HOK.asp?bts=CB#sthash.WnMlIVBf.dpuf















“A Joy of Things”: The Architecture World Remembers Michael Graves






This past Thursday Michael Graves, the famed member of the New York Five and one of the Postmodern movement’s great icons, passed away at age 80. With a legacy spanning more than 350 buildings and 2,000 product designs for companies like Alessi, Target and J.C. Penney, Graves will be remembered as a prolific designer, but for many within the profession his 50-year career will be memorable for so much more. Since news of Graves’ death broke on Thursday, tributes have been posted all around the internet, starting with his company’s official statement which said:
“Since founding the firm in 1964, Michael transformed the role of architects and designers, and even the place of design in our everyday lives. For those of us who had the opportunity to work closely with Michael, we knew him as an extraordinary designer, teacher, mentor and friend. For the countless students that he taught for more than 40 years, Michael was an inspiring professor who encouraged everyone to find their unique design voice.”
more:
http://www.archdaily.com/609864/a-joy-of-things-the-architecture-world-remembers-michael-graves/

Monday, March 9, 2015

BAUHAUS MUSEUM TO OPEN IN 2019




Bauhaus Dessau headquarters

Few architectural schools have had such a broad, lasting impact on the discipline as Bauhaus, Walter Gropius’s (and later Hannes Meyer’s and Ludwig Mies van Der Rohe’s) all-encompassing German modernist design institution. On the eve of its centennial celebration (the school will turn 100 in 2019) Bauhaus is set to be cemented, quite literally, in design history with the opening of a museum dedicated to the preservation and exhibition of its extensive collections and archives. The museum, sponsored by the Foundation Bauhaus Dessau, will occupy a lot not far from the German city’s Gropius-designed headquarters, completed in 1926. The foundation will be accepting design proposals until April 13, 2015.

more :

http://www.architecturaldigest.com/blogs/daily/2015/03/bauhaus-museum-competition

Sunday, February 1, 2015

Rotterdam Central Station / Benthem Crouwel Architects + MVSA Architects + West 8




 Rotterdam Central Station is one of the most important transport hubs in The Netherlands. With 110,000 passengers a day the public transport terminal has as many travelers as Amsterdam Airport Schiphol. In addition to the European network of the High Speed Train (HST), Rotterdam Central is also connected to the light rail system, RandstadRail. With the advent of both the HST and RandstadRail the number of daily travelers at Rotterdam Central is expected to increase to approximately 323,000 by 2025.


More:
http://www.archdaily.com/588218/rotterdam-central-station-benthem-crouwel-architects-mvsa-meyer-en-van-schooten-architecten-and-west-8/



Sunday, January 25, 2015

These Are The 33 Most Innovative And Stunning Buildings Created This Year 2014.



future


The World Architecture Festival wrapped up its 2014 contest earlier this month, bestowing awards upon 33 buildings that are making innovative design a priority across the globe. From a community library in China that doubles as a playground to a Danish Maritime Museum to a hyper modern church in Spain, the seventh annual WAF winners are as diverse as there are stunning.

What started as a 400-project short list spanning 50 countries earlier this year, was whittled down to less than a few dozen designs across 27 different categories. In the wake of the massive competition, which took place in Singapore, we are profiling each and every building that received commendation. Behold: A comprehensive look at the year's best architecture -- and a glimpse into the future of design, whether it includes water-balanced and energy efficient imaginings, or buildings known as "bespoke bookends" and "spirals of knowledge."

More:

http://www.huffingtonpost.com/2014/10/14/world-architecture-festival-2014_n_5979190.html?utm_hp_ref=architecture

Sunday, January 18, 2015

Summer International Shopping Mall / 10 Design




Construction for the Summer International Shopping Mall in Zhuhai, China has begun. The project is a mixed-use, 360,000 sqm development is designed by 10 Design and led by partner Gordon Affleck. The client challenged the design to move beyond the “black box” retail model, resulting in the diverse arrangement of forms and spaces of the final design.   Follow us after the break for more on this project.

more;
http://www.archdaily.com/269127/summer-international-shopping-mall-10-design/



Sunday, January 11, 2015

Emerson Los Angeles


Emerson Los Angeles by Morphosis Architects

It has been a full decade since Thom Mayne made a major mark on his home city of Los Angeles. After the architect’s Caltrans District 7 Headquarters opened in downtown L.A. in 2004—a looming, relentlessly gray battleship that helped Mayne win the Pritzker Prize the following year—he pursued prominent commissions around the country and the world, including an academic building in New York for Cooper Union (RECORD, November 2009, page 96), the Perot Museum of Nature and Science in Dallas (RECORD, January 2013, page 78) and the Phare Tower on the edge of Paris, which remains unbuilt.

more:

http://archrecord.construction.com/projects/portfolio/2014/05/1405-Emerson-Los-Angeles-Morphosis-Architects.asp

Sunday, January 4, 2015

Contextualizing Approaches to Urbanization.




URBANIZATION


As an architect, the urban condition has always been of particular interest to my work. I am endlessly fascinated by the city as a site of opportunity for innovation. The city forces its residents to engage with diverse groups, ideas and spaces. This process is sometimes explosive and sometimes gradual, but it is always transformative, producing new subjectivities and modes of interaction. The present moment is no different. The global population explosion, coupled with the most rapid urbanization in recorded history, has fundamentally altered urban life in every region of the world.

Currently, half of the world's population resides in urban areas, and this proportion is expected to rise to 70 percent in the next thirty years. One of the most pressing questions confronting architects and urban planners is how to enable cities to meet the new infrastructural and cultural demands at this critical juncture. To achieve this, I believe it is crucial to contextualize the present moment within a larger historical narrative about the city's enduring and dynamic relationship with density and change.

MORE:

http://www.huffingtonpost.com/david-adjaye/contextualizing-approache_b_6304806.html?utm_hp_ref=architecture














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