ثبت نام کنید. Green roofs and good design go hand in hand, and this rolling grassy extension to the Marcel Sembat High School in France is certainly no exception. Built right next to a p..."> ثبت نام کنید. Green roofs and good design go hand in hand, and this rolling grassy extension to the Marcel Sembat High School in France is certainly no exception. Built right next to a p..."> رفتن به مطلب

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[h=2]Gorgeous Green Roofed High School Rises in France[/h]


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Green roofs and good design go hand in hand, and this rolling grassy extension to the Marcel Sembat High School in France is certainly no exception. Built right next to a public park, the project presented an interesting challenge: take a simple builing program and create a beautiful link between the city’s urban

infrastructure and its green public spaces.

Designed by French architecture firm Archi5, the Marcel Sembat High School extension is located in the Sotteville-les-Rouen region in France. It is composed of a mix of 1900′s buildings that range all the way from 1930 to 1990. The school is located next to a public park, and the architects wanted to extend this greenery all the way to the school itself. They also needed to create additional space and reorganize the school to

make its layout more efficient. The 12,700 square meter extension that they came up with is a beautiful exercise in green design

First, the school will be blanketed with an insulating green roof. Certain areas will then be fitted with a sloping green roofs that visually integrate the buildings into the park.

Next, the architects decided to create a bridge between the old site and the new site, which is currently divided by a street. This will create a safe passage for the students while opening up space for a new public plaza.

By integrating the school and the park, the architects aim to give the students agorgeous new place to learn, improve the site’s views and external access, and create a brand new public plaza that can be enjoyed by everyone. If only all schools could be taken to this level



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Paris-based architects Beckmann-N’Thépé Architects have announced to build a new Korkeassari Zoo at Helsinki in association with the TN+ landscape designers. The architects envisaged an intelligent rehabilitation of Korkeassari’s zoological island from the movement in the various biozones to the build a modern entrance structure. According to the architects, the key focused area is its architectural interventions to make it a mysterious and wild place for the future city. The entrance assembling the set of utilities that are vital to run the zoo was one of the main focuses like the visual identity, risk of shapelessness and pierced with cavities

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Phu Hoang Office completes Dead Sea research project

New York architect Phu Hoang Office was shortlisted in the Architectural Association’s Environmental Tectonics V2.0 2007 competition for its compelling research project, “No Man’s Land”. Sited in the middle of the Dead Sea, the project proposes a remedy to an ecological crisis while also altering the circumstances to a long-standing political problem-the control of water.

No Man’s Land focuses attention on the disappearing Dead Sea and its associated water problem. The project envisions a network of artificial islands that would provide new tourist amenities, renewable energy production and fresh water collection. One of the ambitions of the islands would be to develop a building technology that extracts water molecules from the humid air above the sea. The project asks if it is possible to shift the conditions of water supply in the region, thereby providing new conditions for political change. It also asks how architects can participate in these complex political dynamics and decision-making processes

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Dramatic new images of Rafael Viñoly’s design for London’s iconic Battersea Power Station

Real Estate Opportunities Limited (“REO”), a London listed property company, today launched the new vision and masterplan for Battersea Power Station.

The iconic Battersea Power Station is to be brought back to life in the most advanced sustainable development ever to be built in this country. For the first time in a quarter of a century, Battersea Power Station will be used to generate electricity again but from renewable sources rather than coal.

Rob Tincknell, Managing Director of REO’s development manager, Treasury Holdings UK, said: “We don’t embark on projects that we can’t deliver. We are determined that Londoners will not be disappointed and this area will be brought back to life in the most spectacular way. It will be a place to live, work and play.”

Alongside the existing power station there will be a new landmark, high quality building designed by the world-renowned architect Rafael Viňoly, which will be the cleanest and greenest building in London through innovative use of natural ventilation.

A spectacular 300 metre high Chimney and Eco-Dome will dramatically reduce carbon emissions of the 38 acre £۴ billion development. The Chimney will also house apartments with panoramic views over London. The largest solar driven natural ventilation system ever conceived will eliminate the need for air conditioning for the commercial and ground floor retail accommodation.

The Chimney will draw air up through a campus of high quality individual office buildings which are covered by the light, transparent Eco-Dome, made of material similar to that used at the Eden Project. Up to 3,000 cubic metres per second of air will be drawn through the system on a sunny day, reducing energy demand in the buildings by 67%.

REO is planning to spend £۱۵۰ million on saving and repairing Sir Giles Gilbert Scott’s 1930s power station, with the key historic spaces retained and open to the public. It will be developed to incorporate hotel, residential and retail accommodation. It will once again be used to produce power with a new combined cooling, heat and power plant, but this time using biofuels, waste and other renewable energy sources. Two of the existing power station’s chimneys will be reused as flues for this new Energy Centre.

The masterplan, unveiled today by Treasury Holdings UK on behalf of REO, will regenerate an area of London that will provide approximately 8 million square feet (750,000 square metres) of residential, office and retail space. There will be a six acre public park, a riverside walk and an urban square.

The Battersea Power Station development will be home to around 7,000 people and up to 20,000 new jobs will be created. More than 3,200 homes will be built on the site and 2,500 jobs will be created during the construction phase.

It is planned that construction work will start in 2012 and the development will be completed by 2020 – depending on the speed of the planning process.

The site is the single largest development site in central London and will act as a catalyst for the regeneration of the wider Nine Elms Corridor.

Treasury Holdings UK is in discussions with Transport for London and other landowners in the Nine Elms about building an extension of the Northern Line from Kennington to bring the Tube into the heart of Battersea.

The development has six key objectives:

• The sensitive regeneration of Battersea Power Station

• The creation of a zero carbon environment

• The delivery of a sustainable mixed-use development which will ensure marketability and strong demand

• To act as a catalyst for regeneration of the Nine Elms Corridor

• To ensure that the project is totally deliverable

• To facilitate a sustainable public transport solution

Rob Tincknell said:

“Climate change is the 21st century’s most urgent challenge and has not been adequately addressed by the development sector. At times like these we are required to open our minds and take a big leap. “This will be a power station for the 21st century, sitting alongside Sir Giles Gilbert Scott’s building and supporting a truly sustainable, zero carbon development. “We believe that we all have a responsibility to commit to true sustainability through groundbreaking innovation and we believe that our development will enhance London’s reputation as a leading global city. “The preservation of Battersea Power Station alongside contemporary architecture will enhance its importance by juxtaposing old and new. Londoners have a strong emotional attachment to this building but most of all they want to see something positive happening on this site. We will meet and exceed their expectations.”

Rafael Vinoly said:

“Centered on the reconstruction of the remarkable architectural presence of the Power Station, the design introduces a fluid geometry for the new residential buildings that helps guide public access to the site and the waterfront. The open character of the vast industrial naves designed by Gilbert Scott is maintained and the chimneys are brought back into operation, utilized to exhaust water vapour produced by a new biofuel energy plant located in the basement. “Offset from the volume of the Power Station, a near transparent shaft counterpoints the monumental mass of the building, providing a naturally ventilated office complex. A transparent envelope accommodating a distinctive public space, with access to a new underground station, connects to an adjacent residential component. “The visual presence of this near transparent marker on the skyline defines a new opportunity area signalling London’s commitment to innovation and sustainability

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have developed designs for a new opera house and cultural centre for Dubai.

The dune-shaped building is proposed for an island off Dubai Creek.

More info from Zaha Hadid Architects follows:




PROGRAM: Design for a Cultural Centre and Opera House in Dubai

ARCHITECT: Design Zaha Hadid with Patrik Schumacher

Project Director: Graham Modlen

Project Leader: Dillon Lin

Design Team: Christine Chow, Lourdes Sanchez, Yiching Liu, Swati Sharma,

Tyen Masten, Simone Fuchs, Johannes Schafelner

Competition Team: Christine Chow, Lourdes Sanchez, Yiching Liu, Larissa Henke, Claudia Wulf, Hooman Talebi, Daniel Dendra, Simon Yu, Komal Talreja

Engineering Consultant: Arup [London, UK]

Acoustics Consultant: Richard Cowell, Ian Knowles

Structural Engineering: Keith Jones

Building Services Engin.: Tim Thornton

Façade Engineering: Steve Bosi


The design calls for an exciting new cultural centre in the new Seven Pearls district of Dubai. This landmark development will accommodate an opera house, playhouse, arts gallery, performing arts school and themed hotel on an island in Dubai Creek just off the mainland part of the district. All of these facilities will be state of the art to host world class performances and exhibitions. The opera house will have a seating capacity of 2,500 while the playhouse will have a seating capacity of 800

The arts gallery with 5000m2 of exhibition space is indeed a full size exhibition facility comparable to the Guggenheim Museum in New York. The hotel will accommodate guests in a 6 star setting. Sited on an island in Dubai Creek, the development will be connected to Greater Dubai by a road connection to the mainland.

Design Concept and Programme Organisation

The proposal houses all of the facilities within a single striking structure. The gentle winding form evokes images of mountains or sand dunes. Rising out of the ground, this form is both a part of the landscape yet very much a distinct element in the skyline. The surrounding landscape forms build up to the main building. These constitute open park spaces as well as ancillary functions such as the parking facilities and the monorail station, which are either tucked under or integrated into the andscape forms

The two peaks correspond to the opera house and the playhouse. The tall requirements of the fly towers are nested under these peaks. From these peaks, the form gradually swoops down to touch the earth. The form is scalloped away where the three major entrances are to be found. The main entrances for audiences visiting either of the two performing arts auditoria are on the north side of the building. At the ground level will be the VIP entrance with car drop off right at the entrance and a separate foyer from the main foyer. This foyer serves both the opera house and the playhouse. The main foyer is a gentle multi-tiered landscape at one floor above the ground floor. It also serves the opera house and the playhouse as well as having an interior connection to the arts gallery

Floating above this foyer are further foyer spaces serving the balcony levels. The foyer levels from the main foyer level up are visually connected to each other through a series of voids. This allows for direct views between the main foyer at the first floor all the way up to the highest balcony foyer. Surprising views are abundant in this space.

The auditoria are contained in flowing shapes that seem to emerge from the underside of the main shell. This inner shell however, does not quite touch the main shell. Instead, the two surfaces disappear into a light gap between them. Supporting functions found off the foyer are defined by walls that merge into the underside of

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Farnsworth House



cap_T_mies_7.gifhe Farnsworth House is one of the most significant of Mies van der Rohe’s works, equal in importance to such canonical monuments as the Barcelona Pavilion, built for the 1929 International Exposition and the 1954-58 Seagram Building in New York. Its significance is two-fold. First, as one of a long series of house projects, the Farnsworth House embodies a certain aesthetic culmination in Mies van der Rohe’s experiment with this building type. Second, the house is perhaps the fullest expression of modernist ideals that had begun in Europe, but which were consummated in Plano, Illinois. As historian Maritz Vandenburg has written in his monograph on the Farnsworth House:

“Every physical element has been distilled to its irreducible essence. The interior is unprecedentedly transparent to the surrounding site, and also unprecedentedly uncluttered in itself. All of the paraphernalia of traditional living –rooms, walls, doors, interior trim, loose furniture, pictures on walls, even personal possessions – have been virtually abolished in a puritanical vision of simplified, transcendental existence. Mies had finally achieved a goal towards which he had been feeling his way for three decades.”

In many ways also, Mies van der Rohe was able to realize spatial and structural ideals that were impossible in larger projects, such as the Seagram Building. For example, the I-beams of the Farnsworth House are both structural and expressive, whereas in the Seagram Building they are attached to exterior as symbols for what is necessarily invisible behind fireproof cladding. In addition, the one-story Farnsworth house with its isolated site allowed a degree of transparency and simplicity impossible in the larger, more urban projects.

The significance of the Farnsworth House was recognized even before it was built. In 1947 a model of the Farnsworth House was exhibited at the Museum of Modern Art in New York. Describing it, along with the unbuilt Resor House, as a “radical departure from his last European domestic projects,” Philip Johnson noted that it went further than the Resor house in its expression of the floating volume: “The Farnsworth house with its continuous glass walls is an even simpler interpretation of an idea. Here the purity of the cage is undisturbed. Neither the steel columns from which it is suspended nor the independent floating terrace break the taut skin.” In the actual construction, the aesthetic idea was progressively refined and developed through the choices of materials, colors and details. While subsequent debates and lawsuits sometimes questioned the practicality and livability of its design, the Farnsworth House would increasingly be considered, by architects and scholars alike, to constitute one of the crystallizing and pivotal moments of Mies van der Rohe’s long artistic career

First conceived in 1945 as a country retreat for the client, Dr. Edith Farnsworth, the house as finally built appears as a structure of Platonic perfection against a complementary ground of informal landscape. This landscape is an integral aspect of Mies van der Rohe’s aesthetic conception. The house faces the Fox River just to the south and is raised 5 feet 3 inches above the ground, its thin, white I-beam supports contrasting with the darker, sinuous trunks of the surrounding trees. The calm stillness of the man-made object contrasts also with the subtle movements, sounds, and rhythms of water, sky and vegetation.

The dominance of a single, geometric form in a pastoral setting, with a complete exclusion of extraneous elements normally associated with habitation, reinforces the architect’s statement about the potential of a building to express “dwelling” in its simplest essence. While the elongated rectangle of the house lies parallel to the course of the Fox River, the perpendicular cross axis, represented by the suspended stairways, faces the river directly. With its emphatically planar floors and roof suspended on the widely-spaced, steel columns, the one-story house appears to float above the ground, infinitely extending the figurative space of the hovering planes into the surrounding site.

At the same time, the prismatic composition of the house maintains a sense of boundary and centrality against the vegetative landscape, thus maintaining its temple-like aloofness. The great panes of glass redefine the character of the boundary between shelter and that which is outside. The exterior glazing and the intermittent partitions of the interior work together dialectically, shifting the viewer’s awareness between the thrill of exposure to the raw elements of nature and the comforting stability of architectonic enclosure.

The architecture of the house represents the ultimate refinement of Mies van der Rohe’s minimalist expression of structure and space. It is composed of three strong, horizontal steel forms – the terrace, the floor of the house, and the roof – attached to attenuated, steel flange columns.

Since its completion in 1951, the Farnsworth house has been meticulously maintained and restored. The most important restoration took place in 1972, when then owner Peter Palumbo hired the firm of Mies van der Rohe’s grandson, Dirk Lohan, to restore the house to its original 1951 appearance. A second restoration took place in 1996, after a devastating flood damaged the interior. Although the house was built to resist floods in 1951, building in the surrounding area has caused higher flood levels in recent decades.



Farnsworth House

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[h=4]Quadracci Pavilion[/h]

The graceful Quadracci Pavilion is a sculptural, postmodern addition to the Milwaukee Art Museum completed in 2001, designed by Spanish architect Santiago Calatrava. A 1975 addition had increased space five-fold, but the Museum remained hidden from public view on the lower floors of the War Memorial Center. A $10 million then-anonymous gift from Betty and Harry Quadracci kicked off a capital campaign.

In 1994, the Museum’s search committee convinced Santiago Calatrava to submit a proposal and was wowed by his creative design. Calatrava, inspired by the “dramatic, original building by Eero Saarinen, …the topography of the city” and Frank Lloyd Wright’s Prairie-style architecture, initially proposed a small addition, with a pedestrian bridge connecting the Museum to downtown. As excitement over the project grew, fundraising accelerated and the project evolved, with the architect and Museum trustees sharing ideas.

The 142,050-square-foot Quadracci Pavilion was planned to primarily contain public spaces—a reception hall, auditorium, café, store, and parking, plus 10,000 square feet of flexible space for temporary exhibitions. Calatrava later said, “I had clients who truly wanted from me the best architecture that I could do. Their ambition was to create something exceptional for their community…. Thanks to them, this project responds to the culture of the lake: the sailboats, the weather, the sense of motion and change.”

The structure incorporates both cutting-edge technology and old-world craftsmanship. The hand-built structure was made largely by pouring concrete into one-of-a-kind wooden forms. It is a building that could have only been done in a city with Milwaukee’s strong craft tradition.

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[h=4]Architecture highlights[/h]

Windhover Hall is the grand entrance hall for the Quadracci Pavilion. It is Santiago Calatrava’s postmodern interpretation of a Gothic Cathedral, complete with flying buttresses, pointed arches, ribbed vaults, and a central nave topped by a 90-foot-high glass roof. An average-sized, two-story family home would fit comfortably inside the reception hall.

The hall’s chancel is shaped like the prow of a ship, with floor-to-ceiling windows looking over Lake Michigan. Adjoining the central hall are two tow-arched promenades, the Baumgartner Galleria and Schroeder Foundation Galleria, with expansive views of the lake and downtown.

The Museum’s signature wings, the Burke Brise Soleil, form a moveable sunscreen with a 217-foot wingspan. The brise soleil is made up of 72 steel fins, ranging in length from 26 to 105 feet. The entire structure weighs 90 tons. It takes 3.5 minutes for the wings to open or close. Sensors on the fins continually monitor wind speed and direction; whenever winds exceed 23 mph for more than 3 seconds, the wings close automatically.

According to Santiago Calatrava, “in the crowning element of the brise soleil, the building’s form is at once formal (completing the composition), functional (controlling the level of light), symbolic (opening to welcome visitors), and iconic (creating a memorable image for the Museum and the city).”

The “wings” open Monday–Sunday at 10 a.m. with the Museum, close/reopen at noon, and close again with the Museum at 5 p.m.; except on Thursdays when the Museum closes at 8 p.m. This schedule is, however, subject to change without advance notice due to weather, special events, or maintenance

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Apiacás Arquitetos designed the Juranda House in Sao Paulo, Brazil.


Description from the architects:


In designing our house on an urban plot with dimensions of 6 x 24m, located in Rua Juranda, Vila Beatriz, São Paulo, we were forced to establish certain criteria for the construction of a house of approximately 150 sqm.


As the terrain of the plot had an accentuated slope, the bottom of the plot being over three and a half metres below the pavement level, the building was distributed over half levels, separated by a three storey void which contains the staircase access to the floors. This void organises the spaces of the house: living room, dining room and kitchen on the ground floor as well as three bedrooms, two bathrooms, office and a ‘deck’ on the upper floors. The house is built up to the edges of the plot and consequently it is lit and ventilated from the front and rear.


The idea was to make the house as transparent as possible, in a way that would establish a relationship with the external areas. In order make this viable, we designed the openings at the front and rear of the house to be on the same axis and to be three metres wide. When open, the glazing elements slide behind the walls uniting the internal and external spaces.


We sought to execute the construction work in the most economical manner possible. From the start, we tried to avoid as far as possible any kind of earth moving, which is always an onerous part of the budget of any construction. For this reason, all of the slabs, including those on the ground floor are supported on the structure of the lateral walls of the house. The house is given structure by steel reinforced concrete cast on site with the slabs in prefabricated concrete remaining visible after construction. All of the brickwork is in ceramic blocks covered with a white render. We opted to put all of the house’s infrastructure on the lowest floor, making use of the nature slope, this includes: a water cistern, boiler and sewage treatment system.


Overall, this is a project that tried to limit the dimensions, to the strictly necessary, of areas such as bedrooms and bathrooms so that the communal spaces would be more generous even within this narrow plot, promoting communal living, preferably with friends.

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Hong Kong Villa is a dream house that is located in Shek-O, an historic fishing village in the southeast corner of Hong Kong Island. It takes full advantage of surrounding landscape with large expanses of glass that open to views in every direction. Strong horizontal lines extend from the building into the landscape, creating large covered terraces protected from the semi-tropical climate. There are also plenty of features that make the house modern and stylish, for example: transitions between indoors and outdoors are seamless, angles are right, shapes are simple and so on. The interiors are richly appointed using both native teak and imported woods from the Pacific Northwest. The entertaining and private living spaces are on a single level, and the garage, servants’ quarters and other support spaces occupy a lower level, tucked into the sloping site. { Interiors designed by Olson Kundig Architects | Photos by Benjamin Benschneider

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Architects Office for Metropolitan Architecture have unveiled new images of a residential project for Singapore, comprising long low apartment blocks stacked in hexagonal configurations.


Called Interlace, the project will consist of 31 interconnected six-storey blocks stacked around communal gardens, containing 1,040 apartments.


The arrangement allows for communal spaces, roof gardens, terraces and balconies.



Here’s some more information from OMA:

OMA unveils design for The Interlace residential complex in Singapore

Ole Scheeren of OMA introduces a new residential typology to Singapore with The Interlace, a large-scale complex of interconnected apartment buildings stacked in an innovative hexagonal arrangement, developed by CapitaLand and Hotel Properties Limited.


The Interlace is located on an elevated eight-hectare site, bounded by Alexandra Road and the Ayer Rajah Expressway, amidst the verdant Southern Ridges of Singapore. With about 170,000m2 of gross floor area, the development will provide 1,040 apartment units of varying sizes with extensive outdoor spaces and landscaping. The site completes a green belt that stretches between Kent Ridge, Telok Blangah Hill and Mount Faber Parks.


Designed by Ole Scheeren, partner of the Office for Metropolitan Architecture (OMA), The Interlace breaks away from Singapore’s standard typology of isolated, vertical apartment towers and instead explores a dramatically different approach to tropical living: an expansive interconnected network of living and communal spaces integrated with the natural environment. Thirty-one apartment blocks, each six-stories tall and identical in length, are stacked in a hexagonal arrangement to form eight large-scale open and permeable courtyards. The interlocking blocks form a vertical village with cascading sky gardens and both private and public roof terraces.

The design capitalizes on the generous size of the site and further maximizes the presence of nature by introducing extensive roof gardens, landscaped sky terraces and cascading balconies. Above-ground vehicular circulation is minimized, liberating large green areas within the development. The Interlace incorporates sustainability features through careful environmental analysis of sun, wind, and micro-climate conditions on site and the integration of low-impact passive energy strategies.


While maintaining the privacy of individual apartment units through the generous spacing of the building blocks and far-ranging views, the design also features communal spaces for shared activity. Extensive residential amenities and facilities are interwoven into the lush vegetation and offer opportunities for social interaction, leisure, and recreation.

Ole Scheeren said: “The design addresses concerns of shared space and social needs in a contemporary society and simultaneously responds to issues of shared living and individuality by offering a multiplicity of indoor/outdoor spaces specific to the tropical context.”


Patricia Chia, CEO of CapitaLand Residential Singapore, said: “This is a great opportunity to create and build a residential destination at the Gillman Heights site that will challenge the present architectural definition of living spaces. While developing the dramatic external form, we have also given much attention to creating comfortable internal spaces. The name, The Interlace, reinforces the interconnectivity of the community with the surrounding natural environment. Ole Scheeren has created a new landmark for Singapore.”

The design is led by Ole Scheeren together with Eric Chang, Associate of OMA. Scheeren is responsible for the office’s work across Asia, including the China Central Television Station (CCTV) headquarters and the Television Cultural Center (TVCC) in Beijing, and the MahaNakhon Tower in Bangkok. His previous work includes the Prada Epicenters in New York City and Los Angeles.

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The 25,000 square metre project will house a number of museums, including the Museum of Middle Eastern Art, as well as performance areas, a hotel, and a shopping centre.




The complex will form part of Dubai’s ‘Culture Village’ with construction expected to be completed in 2011.


The following is from UNStudio:

Museum of Middle East Modern Art, Khor Dubai, UAE, 2008

MOMEMA: first part of a new cultural hub in Dubai

Plans are in progress for a Museum of Middle East Modern Art (MOMEMA). At the basis of the Museum is the strategic vision of making the UAE a hub for multicultural understanding.


The museum will be a celebration of the importance of Khor Dubai (Dubai Creek) as a new cultural hub within Dubai as a global city. This new cultural hub, the so-called Culture Village, will be located on 40 million square feet of land in the historic district of Jadaf.


In addition to the Museum of Middle East Modern Art, this landmark project will include an amphitheatre for live performances and international cultural festivals, an exhibition hall and smaller museums displaying local and international art, as well as a shipyard for traditional dhow builders. It will also include residential, commercial and retail zones.


It is envisaged that MOMEMA will hold a variety of spaces to exhibit Arts and Culture such as exhibitions, art galleries, leasable workshop spaces, auditorium, and amphitheatre for live performances and international festivals.


In addition, MOMEMA offers a boutique hotel with 60 keys and a boutique retail promenade on the active Culture Village waterfront, as well as a high end signature restaurant on the top level, with 360 degree views of Dubai Creek.


The Museum of Middle East Modern Art was launched in June by His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai. UNStudio, based in The Netherlands, has been selected to design the Museum.


Ben van Berkel, the co-founder and Principal Architect of UNStudio is an experienced designer of museums and a variety of public projects.


Ben van Berkel about the Museum of Middle Eastern Modern Art

‘In MOMEMA Dubai we recognize the opportunity to create an entirely new type of museum, which consists of a vibrant urban centre, where professionals, collectors and public meet each other. In this way, MOMEMA will be a community-building institution within the city, and offer to both visitors and residents a continuously changing palette of experiences and events.’


‘The building is positioned to take full advantage of the prominent location in the Culture Village. With its Dhow-like prow rising up, the building offers panoramic views to the surroundings, and vice versa.’


‘Inside, the design of this new museum stimulates contemplation, but by other means than enforcing a restricted optical field. There are no abrupt transitions. The space (the time) you have left behind is undividedly part of the space you are in now, is part of your ecological field, is still perceptible, still surrounding you; the art contained in those spaces follows this principle. Formats, mediums, and times can be effortlessly arranged together and rearranged. There are never too many people; this museum thrives on audiences, vernissages, and spectacle. In the MOMEMA, public, event, art and business meet each other and feed on each other.’

The museum will cover an area of 25,000 square meters and is expected to be completed in January 2011.

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Belgian architect Vincent Callebaut has designed a conceptual transport system that would involve airships powered by seaweed



Called Hydrogenase, the project envisages that by 2030 there could be farms in the ocean producing biofuel from seaweed and acting as hubs for the aircraft.


Here’s a lot of text from Callebaut:



Between engineering and biology, Hydrogenase is one of the first projects of bio-mimicry which draws its inspiration from the beauty and the shapes of the nature, but also and especially from the qualities of its materials and its self-manufacturing processes. The new green revolution is really in progress and enables us to design the air mobility of the foil after shock, 100% self-sufficient in energy and zero carbon emission! This inhabitated vertical aircraft inaugures a clean and ethic mobility to meet the needs of the population en distress touched by the natural and sanitary catastrophes, and all that without any runway! Its architecture is subversive and fundamentally critic towards the ways of living of our contemporary society that we have to reinvent totally! Let’s take off thanks to biofuels and let’s propel to the eco-responsible transport of the future!


2015: Biofuels of the 3rd generation, the challenge of a sustainable mobility

The price of the fuel has just reached a new historical record by passing 75 dollars the barrel in 2010. Within 10 years, we could reach the famous “Hubbert Peak”, the precise moment from which the worldwide fuel production will begin to decrease because of shortages. In such a context, the massive resort to renewable energies and nanotechnologies, that do not emit gas with greenhouse effect, is becoming an absolute economical, technological and political priority! From Queensland’s university to the Karlsruhe’s one, going through Berkeley in California, the « third generation » biofuels are in gestation and will revolutionize our future sustainable land or air mobility. Their main strengths: they do not compete either with the food cultures nor with the forest spaces and can be developed naturally everywhere in the world even in arid territories, the whole tending to a targeted bio-remediation of the industrial CO2.


Able to produce electricity and biofuel without emit CO2 or other polluting substances, the hydrogen especially is nowadays such as a very promising clean energy source. Therefore (its production that respects the environment and in sufficient quantity) is a study theme that interests the biggest scientific international groups. Actually, at the end of the 90s it has been discovered that the private sulphur micro-seaweeds go from the oxygen production (classical photosynthesis) to the hydrogen production. Such as a growing tree uses the solar radiance to manufacture organic material, we aim today at producing by photosynthesis some dihydrogen (i.e. gaseous hydrogen) from living micro-organisms as seaweeds from the « Chlamydomonas reinhardtii » family that owns enzyme of hydrogenase type.


According to biologists, the output obtained by a farm with micro-seaweeds would be superior to those made currently with farming means to produce biodiesel or bioethanol. This could be estimated at 1000 litres of hydrogen for 330 grams of chlorophyll per day whereas for example colza produces roughly only 1000 litres of oil per hectare. According to industrials a hectare of seaweeds could thus produce organically 120 times more biofuels than a hectare of colza, soya or sunflower.


Moreover, a farm with seaweeds is a true miniature biochemical power station able to absorb CO2 as main nutrient by photosynthesis accelerated by producing hydrogen in vitro or in bioreactors. This natural process, nourishing itself with our waste enables thus to recycle under the effect of the sun, in seaweeds or sea water baths, up to 80% of carbonic gas and NOx (nitrogen oxides also very impacting on the greenhouse effect). The global organic cycle enables therefore to revaluate our carboned rejections such as for example those are coming from filters with particles of our cars, reactors of our airplanes or also our rockets coming from thermal power stations with coal or gas.


2020: Towards an aerial revolution and agree generation of airships?

The builders of airplanes get involved at maxima until 2020 according to an international agreement to be less polluting (reduction by 80% of their rejection in nitrogen oxides), to be thriftier in fuel (reduction of 20% of the fuel quantity by carried passenger) and finally to be more silent (reduction of 10 decibels, i.e. twice less noise). But what will happen when there will be no more fuel? The end of air freight in 2030 ? According to forecasts, every year from 2010, 200 billion of Chinese people will fly to spend holidays abroad. After the last born A380 of Airbus and the 777-200LR of Boeing, the airplanes of the future will not have such as their previous energy-consumers to be designed without taking into account the notions of sustainable development and the respect of the environment. A theme totally ignored fifteen years ago in this sector! This transport must be eco-designed from renewable energies and present a statement of carbon emission equal to zero!

No airplane, no helicopter, no aircraft, the project « Hydrogenase » marks a new generation of state-of-the-art hybrid airships. It is dedicated to humanitarian missions, rescue operations, installation of platforms for scientific studies, and of course to air freight. Then, complementary activities could be entertainment, eco-tourism, hotel, human transports, air media coverage and territorial waters surveillance.


This mode of transport is certainly less interesting than the piggyback or sea freight and slower than airplane; however it needs less infrastructure and multimodal platforms (runway, freeways, ship/truck alternation…). It consumes thus less territory and will progressively enable to heal our landscapes slashed by the transport network leading to a massive deforestation. Therefore, it costs 10 times less for the carriage of heavy loads as well as traveller transport, and everything without damaging the planet! For the specialists of logistical transport facing the long lasting absence of appropriated road or airport infrastructures in many parts of the world (desert and oceans), this new generation is also very expected to link production sites and using sites. Moreover, flying free health care centres or even country hospitals could also interfere during natural catastrophes, where lives could be in danger. It could also explore and help underprivileged territories of the third world by carrying the raw materials of our globalised alimentation to those who are hungry in remote places!


Hydrogenase is thus a jumbo jet vessel (DGP) that flies at an average of 2 000 meters high. This cargo measures almost 400 meters high for 250 000m3. It can carry up to 200 tons of freight at 175 km/h (i.e. twice the speed of a ship and more than one and a half time than the one of a truck). Seven times slower than an airplane, it has an action potential between 5 and 10 000km and re-teach our contemporary travellers the long time of sea cruises and the praise of the slowness. The history of the transports which was until now summarized in a study that reveals to always go faster, is soon finished for the benefit of “better travel” in airship!


2030: Hydrogenase, the 100% self-sufficient organic airship of the future

The project Hydrogenase brings to question the « always faster » of our frenetic society and thinks differently to the mobility and services. With bionic look, this inhabited vertical airship sets in the heart of a floating farm of seaweeds that reload it directly with bio-hydrogen. These two interdependent entities are both nomad and organic, the first one flies in the sky and the second one on the seas and oceans.


The proactive ship flourishing in the air :

The semi-rigid not pressurised airship stretches vertically around an arborescent spine that air-dynamically twists on more than 400 meters high and 180 meters of diameter. Forming a big flower ready to open, the spaces divide in cross under the shape of petals that welcome respectively the main sectors of activities: housing, offices, scientific laboratories and entertainment. The stem around the one these functional petals structure themselves, welcome the vertical circulations, the technical premises and the goods warehouses for the freight.


These 4 inhabited spaces are included between 4 great bubbles inflated with bio-hydrogen, a renewable energy. These bubbles are made with a rigid hull in light alloy shaped with twisted longitudinal beams linked together by wide sinusoidal rings. Every end is finished by a cone, and the one at the bottom, the most sharpened one carries the stabilizers and the rudders of deepness and of direction. This framework is covered by a double layer of waterproof, fireproof, glazed canvas to reduce the resistance to advancement. The in-between is divided into slices in which there are small balloons full of helium. The helium mattress in periphery enables to protect the balloons of bio-hydrogen and helium, the remaining 30% are provided by the aerodynamic of the airship twisted fuselage with the speed, as for an airplane.


This type of airship is of course heavier than a flexible aerostat of same cubing because of the weight of the structure, but it can reach higher speeds, thanks to the solidity of its hull in titan, and carry more tons thanks to the ability to build always bigger layers (10000 m3 in 1900, 70 000 m3 in 1924 and 200 000m3 in 1938, 250 000 m3 in 2010). What distinguishes also such a machine from classical aircrafts from the past is that this one is heavier than the air and flies thanks to the Archimedes’ thrust (that does every balloon or aircraft), to helixes or at its subtle twisted aerodynamic that enables to reduce the oscillations of the limited layer. The fact that it is heavier than the air enables actually descents faster without having especially to eject gas. Moreover, the sustentation is based on the compression and the decompression of the biogas. Hydrogenase can thus be lighter or heavier according to the wished needs and the height.


In order to build a proactive airship with positive energy, we also have integrated all the renewable energies. Actually, whereas the inflatable bubbles are glue-backed with flexible photovoltaic cells the four wings of the vessel are each of them inlayed with turbo-propellers with recuperation of energy. These 20 wind propellers are articulated around orbital rings which enable them to go from the horizontal position at the take-off to the vertical position assuring the vessel a navigation speed of 175km/h. The inhabited spaces integrate by steps vegetable gardens photopurifyng the used waters, the biomasses damaging the organic waters and loaded fuel cells. Nothing is lost, everything is recycled and transformed!


On top of absorbing the solar energy, this flying castle draws its inspiration from the biomimicry technologies and is built in lighter and more resistant composite materials (fibreglass and carbon fibre) in order to reduce the weight of its structure at the maximum. The fitting is thus self cleaning, in nanostructured glass inspired from the lotus leave that does not get wet. The vessel is thus made of « intelligent layers » avoiding for example the accumulation of ice or snow and « self-separable ceramics » offering a bigger resistance to the split and that fill the cracks. This bionic coating draws also its inspiration from shark skin that enables without being toxic to avoid the adhesion of bacteria whereas the four wings present irregularities of surface, as the finely beaded whale fins do, in order to reduce the turbulences. The green industry meets thus through this bionic prototype the expectations of the consumption, the always more demanding antipollution regulation and the rarefaction of resources.

The floating organic farm on seas and oceans:

The floating farm is a true organic purifying station composed of 4 carbon wells in which the green seaweeds recycle our carbonated waste brought by ships. This is directly dedicated to feed organically in biohydrogen the proactive airship. It replaces thus the petrol station as the runway for traditional airplanes and looks like a weaving of fine amphibian laces!

Actually, it sets up as much underneath as on top of the sea surface and respects the quadripartite sharing out in petals of the whole Hydrogenase project. Continuing the 4 wings of the pneumatic tower, 4 great arches structure this circular platform and distribute vertically all the levels of the central ring inhabited by the scientists. At the surface, these arches are covered by thermal and photovoltaic solar shields whereas under the water they are set with 32 hydro-turbines transforming the tidal energy of the sea streams into electricity.

Energically self-sufficient, this farm organises on a radiant plan, the seaweed bioreactors exposed to the zenith sun under the lenticular accelerators for a better photochemical output. The whole set forms four gardens dedicated to the accelerated photosynthesis where we access through marinas setting the exchanges between this true new floating city and the surrounding coasts. On top of producing clean energy, this floating purifying station is also an incredible observatory of the sea fauna and flora that fight for the protection of ecosystems and for the revitalization of the beds of corals and of endangered species. It is a true cleaner of seas and oceans by skimming and damaging as main nutrient the floating waste banks of our energy-consuming civilisation.

Hydrogenase is thus a project of environmental resiliency that will enable to invent a clean mobility according to a « cradle to cradle » cycle respecting our planet by assuring also the technological evolution of the human adventure ! As biotechnological prototype, it aims at being the symbiosis of men actions and their positive impacts on the nature. By imitating the processes of natural ecosystems, it deals with reinventing the industrial, town-planning and architectural processes to produce clean solutions and create an industry where everything is reused, either back to the ground under the shape of not toxic « organic nutrients », or back to the industry under the shape of “technical nutrients” able to be indefinitely recycled.

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a scaled replica on show for public viewing

singapore's marina bay sands (MBS) designed by architect moshe safdie opened its doors to the

public, at a feng shui approved time of 15:18pm on april 27th, 2010


marina bay sands


this first phase of MBS includes 963 hotel rooms, parts of a shopping mall

and convention centre along with the resort's casino, restaurant and bars.

the complex's official opening is set for june 23rd, when 2,560 more guest rooms will open

along with additional commercial spaces.



view of the pedestrian walk way



distant view of the marina bay sands


architect moshe safdie with the scaled model of the marina bay sands



as part of the project, safdie has introduced an art path within the resort.

over the course of six months and having looked at the work of about 30 aritsts,

he has selected seven installations by five international artists including sol lewitt,

antony gormley and zheng chongbin. the pieces selected are meant to play on

environmental influences including light, water and wind, integrating art with architecture.

the worth of the public art situated at MBS is around 40 - 50 million singaporean dollars.



'drift' by antony gormley


'drift' took UK-based artist antony gormley one and a half years from conceptualization

to completion. he wanted to create a matrix that would not only occupy the space within MBS,

but also activate it. the installation is a massive three dimensional stainless polyhedral matrix

comprised of more than 16, 000 steel rods and more than 8, 320 steel nodes.



view of 'drift'




'rising forest', zheng chongbin

photos: marina bay, asiaone, reuters, AFP, ST



'rising forest' by zheng chongbin is a ceramic sculpture which is composed of 83 large-scale

glazed stoneware ceramic vessels occupying approximately 4,000 square meters in MBS's

hotel atrium. each of the vessels weight approximately 1,200 kg and measure 3 meters tall.

each vessel holds a tree, creating a 'canopy' across the interior and exterior areas of the atrium

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StudioDosi has proposed a double-skinned, vegetation-covered headquarters for the Province of Parma in Italy. Designed by a talented group of young Italian architects and engineers, the proposal features a wide array of green building strategies, extensive gardens and most notably, a living exoskeleton meant to provide shade and natural ventilation for the real building underneath


In March of 2009 the Province of Parma issued of a request for proposals for a new headquarters. Of the 77 international firms that entered, 15 were shortlisted and among them was StudioDosi, led by Stefano Dosi and a team of other designers. StudioDosi proposed a 4-level compact structure, with one level underground and three above, totaling 13,500 sq meters. The entire building is made up of two skins – the inner one has double glazing and the outer one is composed of “irregular shaped climbing vegetable strips.” This double-skinned exterior has a wide air gap in between, which shades the inner building and encourages natural ventilation, but still allows a lot of natural light to enter through the windows

Natural ventilation is also encouraged by the use of ‘wind towers’ that help warm air escape, and more natural light is let in through three groups of skylights and atria in the center of the building. Waste water is collected and the design takes many steps to encourage storm water infiltration. The headquarters also utilize both thermal solar and photovoltaics to help create energy for the building and geothermal plant to maximize energy efficiency, resulting in a zero-carbon structure




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Amsterdam architects

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have designed a conceptual floating swimming platform for the river IJ in Amsterdam



Called Urban Beach, the design comprises a platform sloping into the water with an elevated strip wrapped around it to form a viewing deck


The information below is from the architects:

Besides acquiring projects through traditional means, O+A is attempting to unfurl several initiatives of its own. One of these projects is the floating urban beach in Amsterdam’s IJ river


O+A sees the city as a patchwork of meanings. On every corner of every street there is something which has a special value for one or more persons, for one or more reasons. The history, the programme, the users, the events and of course the architecture together play a role in the realisation of this patchwork


One of the most important issues in developing real estate is the marketing aspect. Developers spend enormous amounts of energy and money in marketing, in an attempt to create meaning for something which does not yet exist. Using billboards, websites and folders, images are portrayed with a predetermined image of happiness for a predetermined target audience. Through initiating the floating swimming pool in the IJ, O+A is attempting to create something which will allow potential users to form their own image of a site, in a much more natural way. By combining public programme with a future building site, city dwellers are enabled to familiarise themselves with a site whilst being entertained. Through a relatively mild investment, a developer is able to capitalise on a holding while making a significant addition to the amenities of Amsterdam


The floating swimming pool is so very interesting because it touches upon so many aspects of the city. The municipality of Amsterdam has initiated a major offensive concerning sustainability and it has great ambitions therein. One of the milestones in this endeavour is Amsterdam Waterstad (water-city) 2010. Several initiatives are being undertaken which should put Amsterdam on the map in terms of sustainability and water. In that light, the image of people swimming in the IJ would be a testament to the water quality in this city. Parallel to this discussion, national politicians are calling for more urban swimming locations. In short, the floating swimming pool has the potential to charm citizens, enterprises and governments alike


For the design, a swimming pool has been taken with enough surrounding public space. This basic typology has been folded to make the object more flexible. This way an open-air movie theatre can also be held in the summer and a wellness centre can also be held in the winter. The inclined surface presents itself as an urban beach which does no more than provide access to the IJ. The clear form in which all of this happens, works as a framework in which the variation of programme and users is encouraged


At the moment O+A is pursuing a financial, political and governmental platform for the project

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Dutch architects UNStudio have won a competition to design a football stadium in Dalian, China.



The building will have a double-layered, lattice-like roof inspired by traditional Chinese footballs, which are made from layers of coloured bamboo.


The stadium includes seating for 40,000 spectators, a TV broadcasting centre, players’ facilities and a VIP lounge.


Here’s some more information from UNStudio:

UNStudio/ Ben van Berkel’s design selected for new football stadium in China

Unstudio has won the limited competition for a 40,000 spectator football stadium for the most successful club in the Chinese Super League: Dalian Shide FC. The stadium will be built in the club’s hometown of the city of Dalian, on the southern tip of Liaodong peninsula in Northeast China.

The design for the 38,500 m2 stadium has been inspired by the colourful layering and overlapping of the ancient Chinese cuju football. The design weaves together the collective spirit of the spectators with the public realm and the urban context of the building. The main stadium houses spectator seating, TV broadcasting centre, administration areas, VIP lounge, players facilities and public concourse in a layered envelope which extends on ground level to provide outdoor public areas above decked parking facilities. In addition, the design incorporates two training fields on the 144,000 m2 site.

According to Ben van Berkel, “The design of the Dalian Football Stadium is inspired by the classic Chinese football, which was made by layering coloured bamboo. For the stadium design we appropriated this effect to generate a double-layered roof structure. This structure operates as a double concourse enclosure, encircling the tribunes. Splits and openings in between broad bands of the lattice structure enable views from the outside in and from the inside out.”


Stadium design

Essential to the stadium typology is the experience of the spectator. Aside from the basic function of a stadium as an arena for spectator sport with one central focal point, stadium design requires the consideration of many essential structural, programmatic, contextual, infrastructural and stylistic elements and the incorporation of these into a strong, integral gesture. Infrastructural considerations include ease of access and evacuation, visitor routing and parking facilities, while contextual considerations form an important element in both the relationship of the stadium to the city, its surroundings and its orientation with regard to nearby transport modes.

UNStudio’s design for the Dalian stadium presents an inclusive approach to stadium design where the articulation of the structure and the openings and overlapping moments of its double-layered envelope serve as the starting point for visitor experience and programmatic and infrastructural requirements, in addition to heightening spectator experience in terms of proximity to the playing field.

Ben van Berkel says, “A key feature of the Dalian Stadium is the proximity of the spectators to the pitch, thereby ensuring the best views from the tribunes and creating a true sense of engagement. As in theatre design specific views and focal points are required. In the Dalian stadium, we envisioned the playing field as the stage. A two tier seating system and curved outlines optimise the corners of the tribunes and allow the spectators to be as close as possible to the playing field.”



With a population of 5.7 million Dalian is the largest port in Northeast China and forms an important centre of trade, industry and tourism. In 1984, the State Council approved Dalian as a coastal open city during China’s opening up to the West. In the mid-90s Dalian began an ambitious undertaking to become a world-class port city on the level of Rotterdam, and a host to international events. Radical city planning policies were implemented, improving the aesthetic appearance of the city and eventually transforming the centre of Dalian with architectural styles reminiscent of the Mediterranean and Sweden, thereby making it a unique city in China.

UNStudio’s design for the Dalian Football Stadium reacts to this setting by orientating the building in order to maximise both the use of existing transport modes and the views of the surrounding sea and mountains, whilst providing a unique sporting venue for the population of the Dalian.


Dalian Football Stadium, Dalian, China, 2009

Client: Dalian City Bureau of Urban Planning,
Location: Dalian, China

Building surface: 38,500 m2
Building site: 144,000 m2
Capacity: 40,000 spectators
Programme: Football stadium with two additional training grounds
Status: Competition 1st prize


UNStudio: Ben van Berkel, Caroline Bos, Astrid Piber with Nuno Almeida, Ger Gijzen and

Cynthia Markhoff, Luis Etchegorry, Shu Yan Chan, Ramon van der Heijden, Marcin Koltunski,

Fernie Lai, Patrik Noome

Engineering consultants: ARUP Shanghai, China

Arup International Consultants (Shanghai) Co., Ltd

Sports consultant: ASS Planungs GMBH Freie Architekten, Germany

Traffic consultant: MVA Hong Kong LTD.

Visualisations: UNStudio / and SZ Silkroad Digi Tech Co. LTD., China
Animation: IDF Global Pty Ltd.

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Austrian architecture firm COOP HIMMELB(L)AU have unveiled their design for a temporary pavilion for the Munich Opera Festival 2010.


Called Pavilion 21 Mini Opera Space, the mobile aluminium structure will seat 300.


Made up of pyramids, the form is designed to increase its surface area and reflect external sounds.

Images are by ISOCHROM.


Here’s some text from the architects:

COOP HIMMELB(L)AU presents design of ‘Pavilion 21 MINI Opera Space’ in Munich, Germany

Wolf D. Prix, Design Principal and CEO of COOP HIMMELB(L)AU presented the design for ‘Pavilion 21 MINI Opera Space’ for the Bavarian State Opera during a press conference in Munich in attendance of Bavarian State Minister for Sciences, Research and the Arts, Dr. Wolfgang Heubisch, Director of the Bavarian State Opera, Nikolaus Bachler as well as the Senior Vice President Brand Management of MINI, Dr. Wolfgang Armbrecht.

The task was to develop a temporary 300 seat Pavilion for the Munich Opera Festival 2010 with a multifunctional stage. Though being one of the smallest projects the Pavilion is one of the most exciting ones the design studio is working on. There is a contradiction between the requirements for mobility on the one hand and excellent acoustics on the other: mobile lightweight construction is usually not suitable for acoustic spaces which require physical mass.

As it is the case with the three opera and concert halls in China, Denmark and Spain which COOP HIMMELB(L)AU is currently planning and constructing, the acoustical properties of a space can be enhanced by tilted walls and increased surface area. Another design strategy is also to reduce the influence of external sources of sound. The Pavilion which is 21 meters long, 17 meters wide and between 6 and 8 meters high will be positioned in such a way on the Marstallplatz that it will act more as a sound reflector than as a barrier to the sound of the cars passing by.

The new digital design methods are highly appropriate to implement in a practical way the idea of surface enlargement designed as pyramid-shaped aluminum structures. Those have been generated parametrically through the overlay of sound frequencies from Jimi Hendrix’ song”…’Scuse me while I kiss the sky…” and Mozart’s opera “Don Giovanni”. These shapes act either as sound reflectors or as sound reducers. The arrangement of these elements creates an iconic building consistent with COOP HIMMELB(L)AU’s principle to synergetically combine idea, form and content.

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