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Classical architecture in Asmara

Posted in : Classic Architectures

(added 2 days ago)

Asmara has been the playground of various architects during various periods, and the results can be seen everywhere. It is probably the most interesting capital of Africa when it comes to architecture. During Mussolini's time, Italy invested a lot of capital and manpower in embellishing Eritrea's capital. Asmara was even dubbed Piccola Roma, although it of course never attained the historical importance of Italy's capital. Still, the Italians made Asmara a gem among African capitals, and this can be appreciated to present days. After the Italian period, also other western architects experimented with styles and it is thus possible to walk for hours in Asmara admiring curious and beautiful buildings.

Classical architecture in Asmara

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The buildings are alive: in biology, designers and architects seek answers

Posted in : Modern Architectures

(added 6 days ago)

When a shimmering, 600-foot glass tower was erected in London in 2004, it replaced a building that had been destroyed by a terrorist bombing. Yet the inspiration for the tower’s unique, missile-like design was not militaristic: it was the Venus’ Flower Basket sea sponge, a glowing creature that thrives in the inky depths of the sea.

The buildings are alive: in biology, designers and architects seek answers

The animal is distinctive because it creates a shiny silicon-based material that bonds together, forming a grate-like exoskeleton that gives it structural strength but also filters water and nutrients efficiently. Much like the sea sponge maneuvers water through its lattice-like exoskeleton, Lord Norman Foster’s tower — officially 30 St Mary Axe, but better known by locals as “The Gherkin” — directs the flow of winds from street level and open windows along its spiral body, funneling it through the buildings offices naturally and reducing by almost half the need for energy-sucking air conditioning.

The world’s population is seven billion and climbing, and our built environment — and by extension, the pollution produced by manufacturing the materials needed to make and sustain it — is undergoing radical change. Experts at the United Nations Intergovernmental Panel on Climate Change say the way we build and retrofit our cities, more than any other thing humankind can do, is number one tool the world can use to reduce greenhouse gases.

Years after Foster’s influential project, architects, scientists and designers are digging ever deeper into the natural world — even to microscopic levels — to seek answers to vexing design questions by mimicking biological systems that have already solved them, solutions developed over billions of years of evolution. This movement in search of “biomimetic” architecture has forged increasingly unlikely alliances between synthetic biologists, botanists and other scientists with artists, builders and materials makers to make structures that work with nature, not against it.

“In nature, every organism has to be as efficient as possible with its use of resources. There’s no way an organism can use more energy than it produces,” said Alexis Karolides, an architect with the Rocky Mountain Institute in Boulder, Colo. who works on infusing biomimetic principles into efficiency projects for corporate and industrial clients.

“Inefficiencies were eliminated through natural selection over billions of years. Why put tons of solar panels on a roof when you can make the building efficient in the first place? Think of how nature designed it first with a form and a function in mind.”

Right now, biomimetic innovations have already provided revolutionary ideas for how new buildings are cooled and heated, one of the most energy intensive systems in a structure. Unlocking these biological secrets — how an animal cools itself, such as using its body to absorb water in a hot, arid landscape where life sustaining resources are rare — has already provided tangible advances in sustainable design.

LEARN FROM THE TERMITES
The Eastgate Centre is a massive retail and office building that takes up half a city block in the sweltering confines of Harare, Zimbabwe. Architect Mick Pearce looked at the way termites built their tower-like earthen mounds, which rise like crooked fingers from the country’s savannah, for inspiration on how to naturally cool the site.

The termites would otherwise die in the stifling desert heat. The construction of their mounds employs an architectural system that captures desert breezes from above ground and funnels them to a series of subterranean chambers, where the moist earth is cooler. The cooler air is then redistributed through the mound; warm air is sent out through a flue in the top of the mound. The design helps the termites regulate the temperature in a region with wild weather fluctuations.

Pearce’s Eastgate Centre uses fans to move cool night air through chambers under office floors, which can be sent through the building during daytime heat. The building is cooled at one-tenth the cost of structures with old fashioned, energy-sucking air conditioning.

The practice of modeling structures after those of nearby animals is a time-honored tradition with ancient roots, said Taryn Mead, a senior biologist at Biomimicry 3.8. Mead works with designers and architects to translate the biological world into building projects.

“Historically, humans have always been looking to other organisms to inform them about their environment,” she said. “As the story goes, the Inuit in far northern North America looked to polar bears to see how thick the walls of their igloos should be. The bears had configured the snowpack to stay warm.”

“In the deserts of the American Southwest, native people studied how thick the mud walls of prairie dog chambers were to determine the best way to stay cool in that environment.”

REFORESTING CITIES

Biomimetic principles are already transforming public spaces in the most densely populated areas of the U.S., in projects that are providing a template for the next generation of planners and architects who will be in charge of accommodating the world’s ever expanding population.

Collaborations between designers and botanists are finding pragmatic ways to blur the line between manmade construction and nature. Some consider it the reforesting of cities, where commercial rooftops and old industrial infrastructure are repurposed into a living part of the built environment.

In San Francisco, one of the most densely populated places in the U.S., the Italian architect Renzo Piano worked with local botanists to create a new kind of living roof at the California Academy of Sciences, which features 1.7 million plants that replace an inefficient traditional hard roof with a field of California poppies, tidy tips, sea pink and other native plants.

While roof gardens and living roofs have been around for generations, Piano’s version is constructed with seven small, plant covered hills that help funnel the cool sea air flowing in from the Pacific Ocean into grates. A series of weather instruments on the roof are linked to a computer, which trigger the roof vents to open and close, regulating the flow of natural air through the museum below.

In New York, designers and architects James Corner Field Operation and the firm of Diller Scofidio and Renfro worked with planting designer Piet Oudolf to repurpose an unused, rusted and decrepit elevated railbed — the “High Line” — into a park. Space that was unused in a dense city is now teeming with life, and increased the size of public space in a city with no physical room to grow.

“It’s parkland moving across an industrial object. It’s accomplished a quite wonderful thing in the preservation and recognition of the industrial legacy,” said Dennis Dollens, a professor of architecture at the Universitat Internacional de Catalunya in Barcelona. “And there’s the utility of moving above the city streets, which actually adds to the size of the city. In this sense it becomes a prototype for the reforesting of cities, and not taking out huge swaths for redevelopment but finding places and different ways of growing cities.”

Yet green roofs and projects like the High Line still require a good deal of energy to sustain, so some architects are working with synthetic biologist to create building materials that could be applied to the walls of existing buildings that could suck greenhouse gases from the air, and create a natural shell to both better insulate and strengthen buildings.

Dollens has developed a biomimetic architecture iPhone app called “BioDesign,” which explores in a comic-book like fashion the engineering and modeling of the buildings of the future. Dollens’ app explores the structural properties of trees and leaves, such as how they take stress from a disaster like an earthquake or repel water.

“At this moment buildings are made of materials that are very difficult to recycle, sometimes impossible,” Dollens said. “There are enormous amounts of energy that goes into demolition or materials that are tossed into waste sites and landfills and oceans.”

“We’re looking for resins to replace plastics, and new ways of reformulating earthen products like adobe. How could adobe become a wall material that could be used in a skyscraper? How do you put a binder in it and make it thing where you still have a high level of performance but it’s a very different material than an adobe brick today.”

THE BUILDINGS ARE ALIVE

While today’s biomimetic architecture incorporate pieces of nature into buildings design, new laboratory research seeks to make actual living materials for use in architecture. The concept makes Foster’s and Piano’s approaches seem quaint by comparison.

Bioluminescent bacteria may soon provide lighting, free of electricity from the grid. Bacteria attached to walls will grow in decorative patterns and turn colors when certain pollutants are introduced.

English physician and synthetic biologist Rachel Armstrong and architect Neil Spiller, head of the School of Architecture and Construction at the University of Greenwich in London, are working together to develop these kinds of materials, including a chemically-responsive “skin” that could be painted on buildings, growing a shell that could eat greenhouse gas pollutants and strengthening buildings.

“The tools of synthetic biology are galvanizing the development of new forms of architecture that respond to environmental change by incorporating the dynamic properties of living systems, such as growth, repair, sensitivity and replication,” Armstrong and Spiller wrote in a piece published last year in the journal Nature.

In an interview from a lab in Denmark, Armstrong said the carbon-eating paint, which she calls “Biolime,” is tied up in intellectual property issues at the moment. She described Biolime as like a child’s “crystal garden,” where colorful crystals grow once the minerals are submerged in water.

“Essentially it creates artificial shells around soft little fatty bodies,” Armstrong said. “They are an accretion technology which recruits other minerals to the site and essentially can potentially grow an artificial skin.”

As the shell grows it could help better insulate and strengthen a building, and Armstrong said the building blocks of Biolime and are small chemical droplets called “protocells,” which can be designed — or “programmed,” as Armstrong likes to say — to remove carbon from the atmosphere.

Armstrong, who is a TED fellow, also proposes to use the protocell technology on an architectural scale to save centuries-old Venice, Italy, which is gradually being reclaimed by the sea. Armstrong believes the protocell droplets could be deployed beneath the crumbling city to act as a living limestone foundation.

“We did some experiments inside the Venice lagoon with architecture students and we know it works with the Venice water,” Armstrong said. “It’s not ready, but the principles are there. It just needs some more research and development.”

All of this work is evolving at a quick pace,  pushing architects, designers, biologists and other scientists to rethink how are cities and buildings mesh with the natural world. Now, using technological innovation coupled with inspiration from the biological processes of nature, these dreams are becoming a reality.

“We are now looking to traditional forms and methods for highly technological transformations, the way people are looking to biology for changing a transistor or a chip,” Dollens said. “How do we apply that kind of vision to architecture and still expect performance?”

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Modern Living Room Design 2011 2012

Posted in : Modern Architectures

(added 11 days ago)

Interior design living room in 2011 2012 featured some elements of fusion, modern living room design for 2011 2012 looks to keep with the trend of combining the elements of earth friendly or green, with a practical design. In designing this trend started with a good floor, using environmentally friendly materials such as using materials parquet / bamboo flooring is warm. Besides using the carpet was also approved to always look classy. Furthermore, seen from a chair or sofa can be used with the added type of elegant beautiful cover and tiny pillows of fragrant and clean.

Modern Living Room Design 2011 2012

Adds a classy furniture or have a technology such as TV, DVD player and sound system are also needed in designing the modern living space in the year 2011 2012. When it comes to the walls and lighting, things really get earthy toned for a modern living room in 2011. The new trend shades of purple and gray. Even in the gray looks to be the new up and comers when it comes to neutral. Popular shades include purple eggplants, colored a deep burgundy and a new blend of lavender shade of gray and black. Lighting is also moving toward more mobile pieces and easily accessible. Lamp and reading lamp made ??from recycled wood and plastic in a very good step. For wall art, think organic. The scene of the statement of plants, trees and flowers work very well in a contemporary living room.

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Conventional Interior and Exterior House Architecture in Seattle Lake Washington

Posted in : Classic Architectures, Modern Architectures

(added 12 days ago)

This Classic Home Architecture situated nearer Washington Dallas Lake.This Classic Home Architecture right for household with kids living, should you appear for at architecture and creating of the home silently quiet and refreshing scenario to achieve greater happiness.A large space within this home architecture use as household gathering incorporated enjoyment and media player accessible. Furnishings in this home also additional with classical materials this kind of as wood.within this house garage was produced by an proprietor with large the one that can stuffed by 3 automobiles with one another.

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Isi Metzstein obituary

Posted in : Modern Architectures

(added 13 days ago)

Isi Metzstein obituaryIsi Metzstein, who has died aged 83, was jointly responsible for some of the most remarkable and distinguished modern architecture in postwar Britain. Under the umbrella of the Glasgow practice of Gillespie Kidd & Coia (GKC), for whom he worked throughout his career, he and his colleague Andrew MacMillan designed a series of striking churches in and around Glasgow, as well as school and university buildings further afield, including Robinson College, Cambridge. They were also the architects of St Peter's Seminary at Cardross, Argyll and Bute, once widely regarded as the finest modern building in Scotland but now a derelict ruin.

Metzstein was born in Berlin, the son of two Polish Jews, Efraim (who died in 1933) and Rachel. He escaped Germany in 1939 under the Kindertransport scheme. The boy, his siblings and their mother were scattered all over Britain until the family was eventually reunited. The young Isi had been taken in initially by a family in Hardgate, Clydebank, and he remained in Glasgow for the rest of his life.

In 1945, having left school, he decided he wanted to become an architect, and a chance connection led to an apprenticeship with Jack Coia, the sole surviving partner of Gillespie Kidd & Coia, the firm he had taken on in the late 1920s. At the same time, Metzstein enrolled for evening classes in architecture at the Glasgow School of Art, where he met MacMillan, whom he brought into the firm in 1954. Together, they were to transform the practice and, as "Andy and Isi", became a celebrated double-act, as designers, teachers and talkers.

Coia, the son of Italian immigrants, had reopened the office after the second world war and resumed his association with the Roman Catholic archdiocese of Glasgow, having built a number of churches in the 1930s. The archdiocese was about to embark on a programme of churchbuilding. At first, Coia's archi tecture continued in the manner of his prewar work, but soon the influence of his two and open-minded assistants became evident, familiar as they were with avant-garde buildings in continental Europe, in particular the work of the Swiss architect Charles-Édouard Jeanneret, better known as Le Corbusier.

The turning point was the church at Glenrothes, a new town in Fife, which was completed in 1957. With its tapering, open plan, austere aesthetic and white exterior, this was clearly the creation of different hands. Henceforth, Coia's task was to secure the commissions, while the work was carried out by his young and expanding office. Although GKC were responsible for schools and some housing during the late 1950s and 60s, what stood out was the series of bold and inventive churches. It is ironic that, while the Roman Catholic hierarchy believed the architect to be the almost mythical Coia, the designing was in fact carried out by a Jewish refugee from Berlin and a Glaswegian of Highland Presbyterian ancestry.

Metzstein, who described himself as a "lapsed atheist", had a strong sense of the numinous, achieved in his churches by the dramatic handling of light in dark interiors. Some of the churches were in the tradition of tall and powerful brick boxes, such as those at East Kilbride (1962) and Kilsyth (1964). Others – St Benedict's, Drumchapel (1970), Our Lady of Good Counsel, Dennistoun (1965) – had highly inventive plans and unconventional internal spaces.

However, their masterpiece was undoubtedly St Peter's (1966), where neo-Corbusian ranges with a brilliant stepped-section were disposed around an existing Victorian mansion.

The work of GKC stood out from that of their equally modern-minded contemporaries in England. As Metzstein explained: "We got the unique opportunity to design modern buildings that were not modern programmes – churches, convents, seminaries … We were relatively young and more excitable, maybe … We were designing churches, which are one-off buildings with an emotional and religious context."

By good fortune, the firm never jumped aboard the high-rise, system-building juggernaut. Metzstein and MacMillan were also unusual in having a serious interest in history, appreciating the character of Glasgow's urban fabric of stone tenements and extolling the merits of the work of the city's great architects of the past, Alexander "Greek" Thomson and Charles Rennie Mackintosh, at a time when it was either ignored or under threat.

In 1969, when Coia was awarded the Royal gold medal for architecture, he asked that his two partners be associated with the honour. But by then things were beginning to go wrong. The patronage of the archdiocese was coming to an end (although new jobs appeared in England) and problems were emerging with the firm's experimental buildings. As with Frank Lloyd Wright, stories abound about leaking roofs and structural problems. The campanile at the East Kilbride church was taken down and in 1991 the wonderfully dramatic church at Drumchapel was summarily demolished a few days before it was due to be listed. As for St Peter's, which was superbly constructed (unlike some of the churches), it was rendered almost obsolete as soon as it was finished by the new policy, after the Second Vatican Council, of training priests in urban settings. It was abandoned by the archdiocese in 1980 and fell prey to vandals. Despite its grade A listing by Historic Scotland and its inclusion on the World Monuments Fund's list of sites most at risk, the structure remains a ruin.

Metzstein later announced the foundation of the Macallan club (named after his favourite whisky), whose members are the architects of buildings "demolished or mutilated without the involvement of its designer" and who, "the victims of brutal, premature 'scrap-heaping', are witnesses to the fragility of permanence which characterises [the] century". This may have been a joke, but it all hurt – deeply.

The firm's last building was Robinson College, an complex and inventive redbrick response to the growing reaction against the Modern movement, which was completed in 1980. Metzstein then devoted himself to teaching and lecturing, at the Mackintosh School of Architecture at the Glasgow School of Art (of which MacMillan was head), at the University of Edinburgh (where he was professor) and elsewhere.

He was held in great affection and respect by architects all over Britain, and was both revered and feared for his incisive and often devastating criticism of student work. It was annoying that recognition – and a growing admiration for the work of GKC – came so late. When Metzstein and MacMillan were presented with an award by the Royal Institute of British Architects for their teaching in 2008, Metzstein noted that "it would have been even better to receive this while we were still alive".

He remained until the end the conscience of a rational modernity, and was "allergic to 'starchitects' whose work fills the magazines". He much disliked the posturing arbitrariness of such buildings as Daniel Libeskind's Jewish Museum in Berlin, "which I can't take, both as an architect and as a Jew born in Berlin".

Behind Metzstein's acerbic wit, uttered in his guttural accent – a distinctive combination of German and Glaswegian – was a warm and generous personality. For an architect, he was unusually well-informed, intellectually curious and cosmopolitan in outlook.He lived with his wife, Dany, also of central European Jewish origin, and his family, in Hillhead. At home he created an ideal city made of metal tourist souvenir models of buildings which his many friends would send him from all over the world. He is survived by Dany, his children, Mark, Saul and Ruth, and his brother and twin sister.

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Five design teams vie to build a pavilion for Nelson-Atkins

Posted in : Modern Architectures

(added 15 days ago)

Proposals by five teams of architects and designers have been named finalists in a competition to build a temporary pavilion on the grounds of the Nelson-Atkins Museum of Art.

A selection review committee of museum staffers chose the finalists from 15 entries. A jury headed by museum director and CEO Julián Zugazagoitia, and including the Bloch Building’s design architect Steven Holl, will consider the five proposals in the coming week and announce a winner in early February.

The winning pavilion would be built to coincide with the opening of the Nelson’s major exhibit, “Inventing the Modern World: Decorative Arts at the World’s Fairs, 1851-1939,” which is scheduled to open April 14.

“The proposals were amazing, creative, innovative,” said Catherine Futter, curator of the world’s fair exhibit and also a member of the jury. “They included all different kinds of sustainability, innovation, new materials, recycling, things made out of recycled materials — fabulous things.”

The project’s request for proposals asked for competitors to “design a dynamic public space, constructed with the most innovative materials and methods.” The public space, which could be programmed with events related to the exhibit, would contain a minimum of 500 square feet. The Nelson’s budget limit was $20,000, but the museum encouraged teams to seek partnerships for materials and other project costs beyond that.

The pavilion project belongs to a long and notable lineage within design history.

As the call for proposals put it, “From the Eiffel Tower to the Barcelona Pavilion of 1929 to Thomas Heatherwick’s recent Seed Pavilion in Shanghai 2010, the architecture of world’s fairs has played an important role in presenting innovation, design and advancements in modern living.”

Temporary pavilion projects have multiplied in recent years, showing off the work of world-class architects in varied public settings. Best known is probably the Serpentine Gallery Pavilion series in Kensington Park, London, which for the last dozen years has presented eye-popping temporary works by the likes of Zaha Hadid, Oscar Niemeyer, Frank Gehry, Jean Nouvel and most recently Peter Zumthor.

Contending for the Nelson-Atkins project are four local teams and one from elsewhere. The finalists:

• “Ex3,” by Hufft Projects, a Kansas City architectural firm; with furniture maker Edwin Blue; Derek Porter Studio (lighting consultant); and artist Lea Griggs.

• “Sun Pavilion,” by Generator Studio of Kansas City, a firm headed by architect Tom Proebstle, with artist Tim Gratkowski, Brightergy Solar Solutions and engineering firm Thornton Tomasetti.

• “Praxino-Scape,” by the Kansas City office of the global firm AECOM; with the video-production firm T2, builder Centric Projects, metal fabricator A. Zahner Co. and Brightergy Solar Solutions.

• “Nimbus,” by Echomaterico, a small global firm with principals in New York, Italy, England and Mexico.

• Untitled pavilion, by El Dorado Inc., of Kansas City with fabricators Design +Make Studio, Derek Porter Studio and the engineering firm of Burns & McDonnell.

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Open Spaces Transform Danish Education

Posted in : Modern Architectures

(added 17 days ago)

Standing by the circular central staircase that is the architectural signature of the super-modern Ørestad high school in Copenhagen, principal Allan Kjær makes a sweeping gesture. He indicates the strikingly open layout of the school, Denmark's most iconic example of a modern teaching space.

Open Spaces Transform Danish Education

This year, "Next year," he says, referring to 2012, "there will be no books. It will be the first year that students will not see a single book."

In Denmark, education laws introduced in the past two decades have dictated that schools innovate teaching methods in order to address a wider variety of learning styles. Instead of traditional classroom learning, in which a teacher stands at a blackboard and lectures the students, new curriculums emphasize teamwork and choice—so the student who likes to draw alone can retreat to a quiet corner, while more rambunctious youngsters can choose to, say, learn the alphabet by jumping up and down as they recite it. While no studies have yet been conducted to prove or refute the theory, educationalists believe more choices will make it easier for students with diverse strengths and weaknesses to learn. Working together is seen as increasingly important preparation for the modern world.

With these progressiveideas in mind, a new generation of schools are being built, or renovated. And, in order to shape a different kind of learning, they are leaving traditional spaces—like classrooms—behind. "What they do, when they build, is try to materialize ideas about learning," says Malou Juelskjær, an associate professor with the Danish School of Education at the University of Aarhus. "The question is, how to shape the future pupil, and the future citizen?"

The Ørestad high-school building answered this question with lots and lots of open space. The five-story building is essentially one large room, with just a handful of separate, glass-walled classrooms. The few other enclosed areas include the gym, which doubles as a performance space.

"We were working with a regular school building budget, and corridors are a waste of space," says architect Kim Herforth Nielsen of the Danish firm 3XN. "Then, instead of going room by room, we made a lot of open space." The idea, he says, was to facilitate a more communal education: "They can learn about working together, that two heads are better than one. They come out prepared to work in teams."

It seems to work. Because most of the school's 1,150 students are having class at any hour of the day in one large room, it would simply be too noisy to hold regular lecture-style classes. Instead, the building forces teachers to come up with a variety of teaching styles, with small-group and one-on-one work. The students, says the principal, also quickly learn to keep their voices down, out of respect for their peers.

Technology has taken on a crucial role, thanks to the building's architecture. "We didn't know when we started that computers would become so important for us," says Mr. Kjær, the principal. The school wanted to emphasize computer-based learning in any case, he says, "but after five years in this building, we see that we couldn't have our school in this building without it."

The school's staff refer to the virtual world as the "fifth room," and nearly everything that happens at the school—from lesson plans and teaching materials to "textbooks" and homework assignments—is online.

Students and teachers say they are happy. "This building invites you to change your teaching," says math and English teacher Mette Yde Toftdahl. "In a normal school, you have a classroom, and you don't even think about mixing it up." During class, she can give students an essay assignment to work on and monitor each pupil's progress from her computer. "Then, if I see something, I can send a chat message, and ask, 'Why don't you elaborate on this?' or, 'Why haven't you written anything in 10 minutes?' "

The emphasis on technology has led to other innovations. Teachers say some kids are more engaged in math if they can approach it creatively. So, instead of turning in a geometry proof, for example, the students can submit a podcast in which they film themselves solving the math problem. Because the space lends itself to combining classes, teachers often team up, offering students a choice of, say, working on foreign-language conversation in a group or working alone, then sending the teacher sound files.

"The advantage as a teacher is that you can prepare lessons and teach in ways that make each student take advantage of his or her strengths," says language teacher Trine Prang Nielsen. "You also get inspired by your colleagues."

"Of course," adds Ms. Toftdahl, "the students have to learn basic grammar. It's not just podcasts."

Architect Dorte Mandrup-Poulsen, of Dorte Mandrup Architects, has also worked with designing school buildings according to the Danish education system's new requirements. "There's the idea, if you change the physical surroundings, you would change ways of learning," she says. "As architects, we interpret those agendas."

In her experience, changing the spaces children spend time in has an impact on development. When she built the Skanderborggade day-care center in 2005, she solved the problem of how to include enough outdoor space by creating a hill that the one- and two-year olds crawl or climb up from the ground floor in order to reach the rooftop play area. Beanbags dot the incline, so every tumble ends softly. "The school's director said they were developing [motor skills] much more quickly than in a regular school," she says.

In 2006, her firm began renovating the Munkegaard School, built by internationally renowned architect Arne Jacobsen in 1949. A protected building, the school is considered one of Jacobsen's great architectural works. But in addition to needing basic repairs and updates, the individual classrooms no longer meshed with the open, flexible floor plan considered best in Denmark today. "They needed more open space," says Ms. Mandrup-Poulsen, "to facilitate things like bringing two classes together to do a project."

To solve the problem, she built a new, underground area with lots of wide-open, multiuse space. "The idea is that you should work more according to children's ways of learning," she says. "Children have to be very resourceful, to decide, 'How would I like to learn?' "

Ms. Juelskjær of Danish School of Education says this is the point. "These ideas are trying to create a pupil who is able to do more things on their own, to ask themselves, do I need help? Can I do this on my own, or would it be better in a group? There's a larger responsibility on the child to get the job done."

Ultimately, these schools are also trying to benefit society at large. For the Faroe Islands Education Center, architect Bjarke Ingels and his firm, BIG, have designed a building—due to begin construction in April—that integrates the academic high school, the business school and the technical school in order to bring together segments of society that tend not to overlap.

And wider society appears to be catching on: 3XN's Mr. Nielsen says he brings all kinds of clients to see the Ørestad high-school building. That structure has already been used as a model for a town hall in the Netherlands and a bank building in Copenhagen. "Clients are inspired by the school," he says. In fact, he says, he believes in the open space set-up so much that he implements it in his own firm. "I don't even have my own office," he says. "Everyone can follow what I'm doing."

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Modern architecture rises through the ranks of home design favourites

Posted in : Modern Architectures

(added 18 days ago)

Research carried out by the property portal found that Victorian architecture was the most popular (25.6%) among respondents who were asked to vote for their favourite from a list of homes from different eras.

This was closely followed by modern (24.6%) and Georgian (16.5%). Houses from the 1930s, however, which make up a significant proportion of the UK’s suburban housing stock, were the least preferred with only 3.3% of the votes. Tudor architecture was chosen by just 4.7% and 50s homes were selected by 5.4%.

This compares to a similar survey in 2006 which found that modern architectural styles came a lowly fourth place, some way behind traditional period styles such as Victorian and Georgian.

The growth in popularity of contemporary architecture could be attributed to the increasing investment that developers are putting into the design of their homes, with growing numbers employing external architects to come up with original and attractive designs which will appeal to today’s buyer, as well as offering an internal layout which suits their lifestyle. The change in public preference could also be attributed to the increasing importance of a property’s energy performance, with four in every five (81.8%) revealing they look for energy efficient features when buying a home, particularly at a time when energy bills are so high.

Steven Lees, Director at SmartNewHomes, comments:

“A property’s kerb appeal is extremely important to homeowners and it would seem that many more are being drawn to contemporary homes which have been designed for the modern day lifestyle, with garages, eat in kitchens and landscaped gardens.  Victorian and Georgian homes will always remain popular with British homebuyers, typically offering spacious rooms, generous proportions and a bright and airy feel. But housebuilders are able to draw on the best features from these much loved architectural periods and incorporate them into modern designs which are better suited to today’s homebuyer and considerably cheaper to run.”

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Deconstruction Diary

Posted in : Modern Architectures

(added 19 days ago)

Looking at the architectural anatomy of this house, one immediately feels its incredible strength ... This house possesses dignity. Oak and chestnut timbers provide all the physical security ... These sticks have soul.

—From the diary of Robert Strada,

AUGUST 15, 2006
More than a month ago, Robert Strada, an architect and historic preservationist, his wife, Michelle Murphy Strada, and a crew of workers set out to take the 266-year-old home at 444 Little Plains Road in Southampton Village down—piece by piece. They took it apart to save it. The home sat on a piece of property purchased by a new owner who wanted to build a new house there. So the 18th century Colonial was headed for destruction. But village officials worked with the new owner, area preservationists and Mr. Strada to broker a deal that was amenable to everyone. In the end, the effort kept the Little Plains home from becoming a tinder box.

During the three-week disassembly, Mr. Strada kept a journal of the work, the progress and the sometimes surprising finds revealed as layers of wood were peeled and pried back.

4 AUGUST 2006, SOUTHAMPTON
The first day of this preservation project begins uneventfully, waiting for the Dumpster and storage container. The crew starts tomorrow, after the insurance certificate is received by the buyer’s attorney. I complete the CAD drawing of the three floors as a woman pulls into the driveway with her granddaughter. She claims to have been a friend of the Dixons (the home’s previous owners). Now, simply a friend of preservation.

The house was built in Connecticut around 1740 and sometime in the late 19th century was moved by boat to Sag Harbor, where it remained for a few decades until spotted by a member of Dixon family and moved again, this time to the family’s property in Southampton Village. It came to rest at 444 Little Plains Road in 1930.

The Little Plains property is not in the village’s Historic District, so the village’s Board of Architectural Review and Historic

Preservation had no jurisdiction over the home. And since the Colonial’s origins lie far outside the village line, it didn’t qualify for landmark status protection. Still, the age of the home, its excellent condition, and the fact that its classic design is reminiscent of the some of America’s earliest architecture prompted historic preservationists, includ-7 August 2006

I decided to remove the original corner cupboard from the property for safekeeping. Zach Studenroth and Roger Blaugh visited this morning. I value their input ... The mason who worked on the chimney revealed himself to us: W. Darby, who dated the work

JAN. 11, 1944. THANK YOU, MR. DARBY.
Roger Blaugh, chairman of Southampton Village’s Board of Architectural Review and Historic Preservation, was integral in hammering out the deal among the Little Plains property owner Richard Byrne, village officials and Mr. Strada to preserve the home, Mr. Strada said. The main sticking point was an $80,000 tax bill Mr. Byrne was going to have to pay if the home was still standing when he closed on the purchase of the property. But by allowing the fire department to conduct two firefighting drills in non-historic portions of the house, the village was able to give Mr. Byrne a rebate on the property’s fire protection tax bill to offset the taxes.

“It takes a village—it really does,” Ms. Murphy Strada said last week. “So many people came together to help save this beautiful old house. It was really an amazing thing to see the cooperation and caring.”

The Stradas were equally thankful the fire crews practicing in the home were as careful as they were not to damage any of the historic elements. “Truly, in the end, everyone in this village that could help make this work, did,” Mr. Strada said.

And once the disassembly began Mr. Blaugh and Mr. Studenroth, director of the Sag Harbor Whaling Museum, visited the site often, helping the Stradas identify parts and marvel at the construction.

11 AUGUST 2006
Eureka! The numbering system has revealed itself in the form of Roman numerals on each section of the roof rafters. As I follow the rafters down to the plate, it becomes obvious that corresponding numerals exist at the peg opening of the adjacent spacing rafter. The spacing of the rafters starts out randomly, then suddenly becomes consistent ... Another odd characteristic is that the first seven rafters (identified with Roman numerals I-VII) starting on the north side are thinner than the next eight. In fact, the middle rafter is not a part of any numbering system. ... Zach Studenroth arrives to clarify the puzzle: We are looking at two 18th century structures joined together. Thus the two numbering systems and the random spacing.

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The architect discusses winning this year’s Driehaus Prize, which honors classical architecture and traditional urbanism, and how he plans to spend the $200k award.

Posted in : Classic Architectures

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The architect discusses winning this year’s Driehaus Prize, which honors classical architecture and traditional urbanism, and how he plans to spend the $200k awardMichael Graves is better known for appropriating traditional forms in his monumental Postmodern compositions than for being a strict classicist, so it may seem surprising that in December he was named the winner of the 2012 Driehaus Prize, which celebrates architects who advance classicism in their work. Graves, the founding principal of the New York- and New Jersey-based firm Michael Graves & Associates, joins previous winners Léon Krier, Allan Greenberg, Quinlan Terry, and last year’s recipient Robert A.M. Stern.

Although initially considered a modernist and one of the “New York Five,” Graves’ two years in Italy as a 1960 Rome Prize recipient and the “timeless grammar” of its architecture influenced his evolving style. In his 39 years as a professor at Princeton (now Emeritus), “Graves re-introduced the principles of traditional and classical composition and also brought a dedication to urbanism to a modernist curriculum,” says the award announcement from the University of Notre Dame School of Architecture, which established the $200,000 annual prize in 2003. Graves’ taste for classical forms and geometries is evident in his buildings—including the Portland (Oregon) Public Services Building, with references to capital-topped columns embedded on its façade, and the loggia-fronted Humana Corporation headquarters in Louisville, Kentucky, among many other projects.

RECORD recently caught up with the architect to discuss the award and his relationship with classicism. He also spoke about his most recent projects, including a prototype house for disabled veterans—Graves himself has used a wheelchair since an infection left him partially paralyzed—and an automobile museum in the Netherlands.

Laura Raskin: Congratulations. Were you surprised to receive an award dedicated to classical architecture?

MG: I never thought I would win it because I’m not a classical architect in the purest sense. But I think classically. I think in terms of an architectural language that is continuous.

What is interesting about winning it is that it opens up the prize to other architects like myself, who aren’t strict classicists.

LR: Do you have anyone in mind?

MG: No, no one person in mind. In a curious way, even Léon Krier isn’t a strict classicist. He’s very inventive with the way he uses his language. And his urbanism is similar to mine. It was encouraging when Léon won. But I even take the award a step further in terms of its broadness—if that’s what they intend to do.

I teach at the University of Miami in the spring occasionally as a visiting critic. There are young faculty members down there doing marvelous work, but nobody knows about it. Magazines don’t publish it because it isn’t Zaha [Hadid] or a museum without anything on the walls yet.

At the Postmodernism conference in New York last fall, when the critics had their time at the roundtable, Robert Campbell discussed the ideas that architects work with: one is urbanism, two is a building’s rightful place, and three is the new. The problem we have is with all of this “new.” There are some things out there that nobody knows about, not just by younger architects, but by architects from the 19th century and 18th century as well. They aren’t just a curious shape—like Rem Koolhaas’s building in China, lying on its side—but the critical debate around them doesn’t exist.

In the days when I was published, I’m sure people felt the same thing about me: “Here’s another Graves building and haven’t we had enough?” Those buildings were new, but they were new-quote-old—and they had something to offer.

LR: What will you do with the $200,000?

MG: I remember when Jim Stirling won the Pritzker [in 1981], somebody asked, “What are you going to do with the money?” He said, “It will help me pay some bills.” Well, we all know that routine. We all have bills to pay. What I want to do, and I’ve already started making drawings, is to extend the library [in my home in Princeton, New Jersey]. My library is full. It’s got books on the floor. Two complete walls in my house are my library stacks. It’s a very pretty room. But I’m out of space. This will give me a chance to increase it. I say that because I hope some day my house will become a foundation and a place for people to study and use the library. It’s not just for me.

LR: You helped design the prototype for the Wounded Warrior home, which was recently completed in Fort Belvoir, Virginia. What’s the latest?

MG: The Wounded Warrior program is essentially for people who have been injured and are re-upping, even with their amputated bodies, or their half-blind bodies, and so on. They are allowed to stay in the army. It is not for people who simply need a place to live.

Our phone has been ringing a lot since people found out that somebody like me is doing health care. That’s so exciting.

LR: What else are you working on these days?

MG: We’re doing a resort community in Switzerland, in Geneva, and a multi-use building on the Nile in Cairo—hotel, office, housing. We’re doing several small elementary and middle schools in New Jersey and New York. That’s a change for us. We’ve never gotten to do those before. And we just finished a really wonderful car museum in the Hague (the Louwman Museum, the national automobile museum of the Netherlands). It’s a very sensitive site next to the Queen’s property.

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