tag:blogger.com,1999:blog-75114083003484888862024-03-09T00:07:40.337+07:00Architecture for Better Futureianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.comBlogger27125tag:blogger.com,1999:blog-7511408300348488886.post-80226940781856997252007-12-27T14:07:00.000+07:002008-12-10T15:22:12.192+07:00100 GREAT EXTENSIONS & RENOVATIONS<div style="text-align: justify; font-family: arial;"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_YStBSI-sMoA/R3NPhWROQWI/AAAAAAAAAJk/0ew099A5FoM/s1600-h/100+GREAT+EXTENSIONS+%26+RENOVATIONS.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="http://1.bp.blogspot.com/_YStBSI-sMoA/R3NPhWROQWI/AAAAAAAAAJk/0ew099A5FoM/s400/100+GREAT+EXTENSIONS+%26+RENOVATIONS.jpg" alt="" id="BLOGGER_PHOTO_ID_5148546233346703714" border="0" /></a>Philip Jodidio<br />Images Publishing, 2007<br />Hardcover<br />344 pages<br />Fully illustrated, colour.<br />ISBN: 9781920744519<br /><br />From simple room additions to complete demolition and rebuild jobs, this book explores some of the infinite ways in which architects have reinvented original homes. The results are outstanding in their diversity and innovation. Projects are presented in detailed descriptions, drawings and full-colour before and after photographs to explain the thinking and process behind each extension from inception to completion.<br /><br /><br /><span style="font-size:85%;">Source : <a href="http://www.publishedart.com.au/bookshop.html?book_id=3230">published art</a></span><br /></span></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-56391143912137045072007-12-26T13:44:00.000+07:002008-12-10T15:22:12.368+07:00Kenzo Tange : Pritzker Architecture Prize Laureate 1987<div style="text-align: justify;"><a style="font-family: arial;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_YStBSI-sMoA/R3H5TmROQSI/AAAAAAAAAJE/GAnGpvJYCh4/s1600-h/tange.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://4.bp.blogspot.com/_YStBSI-sMoA/R3H5TmROQSI/AAAAAAAAAJE/GAnGpvJYCh4/s320/tange.jpg" alt="" id="BLOGGER_PHOTO_ID_5148169964146802978" border="0" /></a><span style="font-family:arial;">Kenzo Tange was born in the small city of Imabari, Shikoku Island, Japan. He won the Pritzker Prize at the age of 74. Although becoming an architect was beyond his wildest dreams as a boy, it was Le Corbusier's work that stirred his imagination so that in 1935, he became a student in the Architecture Department of Tokyo University.</span><br /></div><div style="text-align: justify;font-family:arial;">In 1946, he became an assistant professor at Tokyo University, and organized the Tange Laboratory. His students included Fumihiko Maki, Koji Kamiya, Arata Isozaki, Kisho Kurokawa, and Taneo Oki.<br />Tange was in charge of the reconstruction of Hiroshima. His Peace Park and Centre made the city symbolic of the human longing for peace.<br />In the year in which he won the Pritzker Prize, Tange revealed his plans for the new Tokyo City Hall Complex. Since built, the complex comprises an assembly hall, a civic plaza, a park, and two tower buildings.<br /><span class="fullpost"> Tange has been a guest professor at Massachusetts Institute of Technology, as well as a lecturer at Harvard, Yale, Princeton, Washington University, Illinois Institute of Technology, the University of California at Berkeley, and the Universities of Alabama and Toronto.<br />The thesis for his doctorate in 1959 was "Spatial Structure in a Large City," an interpretation of urban structure on the basis of people's movements commuting to and from work.<br />His "Plan for Tokyo 1960" was the Tange Team's logical response to these problems, giving thought to the nature of the urban structure that would permit growth and change. His Tokyo Plan received enormous attention world-wide, for its new concepts of extending the growth of the city out over the bay, using bridges, man made islands, floating parking and megastructures.<span class="fullpost"> <br />Other urban design and planning projects were begun in 1967 for the Fiera District of Bologna, Italy, and for a new town with residences for 60,000 in Catania, Italy. With all of his activity in Italy, it is not surprising that Olivetti retained him to design their Japanese headquarters.<br />For his Tokyo Cathedral of Saint Mary, he visited several medieval Gothic examples. "After experiencing their heaven-aspiring grandeur and ineffably mystical spaces," he says, "I began to imagine new spaces, and wanted to create them by means of modern technology."<br />Yamanishi Broadcasting and Press Center in Kofu, Japan uses many of Tange's new theories—cylinders house staircases, elevators, air conditioning and electrical equipment systems. The horizontal spaces connecting them are likened to the buildings along a street. Some plots are vacant and others are occupied. The most important aspect was the expansion potential. Open spaces between floors which now serve as terraces and roof gardens could be enclosed when needed.<br />Tange's only completed project in the United States is his expansion of the Minneapolis Art Museum, originally designed in 1911 by McKim Mead & White in the neoclassic style. Completed in 1975, the expansion, almost doubling the size of the original 120,000 square foot structure, was accomplished with large symmetrical wings.<br />In Singapore, Tange has a number of major buildings completed: the Overseas Union Bank, the GB Building, the Telecommunications Centre, and the Nanyang Technological Institute.<br />The Akasaka Prince Hotel in Tokyo has become an important landmark. Others include the Sogetsu Center, the Hanae Mori Building, the Hyogo Prefectural Museum of History, the reconstruction of parts of the Hiroshima Peace Memorial, the Tohin School, the Ehime Prefectural Culture Center — and new projects that are still in the design stage, such as the Yokohama Museum of Art, and the Tokyo Headquarters of the United Nations University.<br />In all of his projects, there is a recurrent theme that Tange has verbalized, "Architecture must have something that appeals to the human heart, but even then, basic forms, spaces and appearances must be logical. Creative work is expressed in our time as a union of technology and humanity. The role of tradition is that of a catalyst, which furthers a chemical reaction, but is no longer detectable in the end result. Tradition can, to be sure, participate in a creation, but it can no longer be creative itself."<br /><br /><span style="font-size:85%;">Source : <a href="http://www.pritzkerprize.com/main.htm">Pritzker Architecture Prize</a></span></span></span><br /></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-9625501047672007182007-12-23T12:00:00.000+07:002007-12-23T12:05:48.978+07:00Reciprocal Link URL<a href="http://www.zoomdir.com">Free web directory</a>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.comtag:blogger.com,1999:blog-7511408300348488886.post-24558698738415906252007-12-23T01:12:00.001+07:002007-12-27T03:04:48.302+07:00Tadao Ando : Awards<div style="text-align: justify; font-family: arial;font-family:arial;"><span style="font-size:100%;"><span style="font-size:85%;"><span style="font-size:100%;">1. Annual Prize (Row House, Sumiyoshi), Architectural Institute of Japan, 1979<br />2. Cultural Design Prize (Rokko Housing One and Two), Japan, 1983<br />3. Alvar Aalto Medal, The Finnish Association of Architects, 1985<br />4. Gold Medal of Architecture, French Academy of Architecture, 1989<br />5. Carlsberg Architectural Prize, Denmark, 1992<br />6. Japan Art Academy Prize, Japan, 1993<br />7. Pritzker Architecture Prize, 1995<br />8. Chevalier de l’Ordre des Arts et des Lettres, France, 1995<br />9. Praemium Imperiale First “FRATE SOLE” Award in Architecture, Japan Art Association, 1996<br />10. Officier de l'Ordre des Arts et des Lettres, France, 1997<br />11. Royal Gold Medal, Royal Institute of British Architects (RIBA), 1997<br />12. AIA Gold Medal, American Institute of Architects (AIA), 2002</span><br /><br />Source : <a href="http://en.wikipedia.org/wiki/Tadao_Ando">Wikipedia</a></span><br /></span></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-80631929340862570452007-12-23T00:55:00.001+07:002008-12-10T15:22:12.460+07:00Tadao Ando : Completed<div style="text-align: justify;"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_YStBSI-sMoA/R21QgWROQCI/AAAAAAAAAHA/eMFabCRvdMY/s1600-h/800px-Rokko_Mount_Chapel_Tadao_Ando.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="http://3.bp.blogspot.com/_YStBSI-sMoA/R21QgWROQCI/AAAAAAAAAHA/eMFabCRvdMY/s320/800px-Rokko_Mount_Chapel_Tadao_Ando.jpg" alt="" id="BLOGGER_PHOTO_ID_5146858465818198050" border="0" /></a></span><span style="font-size:100%;"><span style="font-family:arial;">* Tomishima House, Osaka, Japan, 1973</span> </span><br /><span style="font-size:100%;"><span style="font-family:arial;"> * Uchida House, 1974</span> <span style="font-family:arial;"> * Uno House, Kyoto, Japan, 1974</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Hiraoka House, Hyōgo Prefecture, Japan, 1974</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Shibata House, Ashiya, Hyogo Prefecture, Japan, 1974</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Tatsumi House, Osaka, Japan, 1975</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Soseikan-Yamaguchi House, Hyōgo Prefecture, Japan, 1975</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Takahashi House, Ashiya, Hyōgo Prefecture, Japan, 1975</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Matsumura House, Kobe, Japan, 1975</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Row House (Azuma House), Sumiyoshi, Osaka, Japan, 1976</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Hirabayashi House, Osaka Prefecture, Japan, 1976</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Bansho House, Aichi Prefecture, Japan, 1976</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Tezukayama Tower Plaza, Sumiyoshi, Osaka, Japan, 1976</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Tezukayama House-Manabe House, Osaka, Japan, 1977</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Wall House (Matsumoto House), Ashiya, Hyōgo Prefecture, Japan, 1977</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Glass Block House (Ishihara House), Osaka, Japan, 1978</span> <span style="font-family:arial;"> </span></span><span class="fullpost"><br /><span style="font-size:100%;"><span style="font-family:arial;">* Okusu House, Setagaya, Tokyo, Japan, 1978</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Glass Block Wall (Horiuchi House), Sumiyoshi, Osaka, Japan, 1979</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Katayama Building, Nishinomiya, Hyōgo Prefecture, Japan, 1979</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Onishi House, Sumiyoshi, Osaka, Japan, 1979</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Matsutani House, Kyoto, Japan, 1979</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Ueda House, Okayama Prefecture, Japan, 1979</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* STEP, Takamatsu, Kagawa Prefecture, Japan, 1980</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Matsumoto House, Wakayama, Wakayama Prefecture, Japan, 1980</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Fuku House, Wakayama, Wakayama Prefecture, Japan, 1980</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Bansho House Addition, Aichi Prefecture, Japan, 1981</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Koshino House, Ashiya, Hyōgo Prefecture, Japan, 1981</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Kojima Housing (Sato House), Okayama Prefecture, Japan, 1981</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Atelier in Oyodo, Osaka, Japan, 1981</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Tea House for Soseikan-Yamaguchi House, Hyōgo Prefecture, Japan, 1982</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Ishii House, Shizuoka Prefecture, Japan, 1982</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Akabane House, Setagaya, Tokyo, Japan, 1982</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Kujo Townhouse (Izutsu House), Osaka, Japan, 1982</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Rokko Housing One, Rokko, Hyōgo Prefecture, Japan, 1983 map</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* BIGI Atelier, Shibuya, Tokyo, Japan, 1983</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Umemiya House, Kobe, Japan, 1983</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Kaneko House, Shibuya, Tokyo, Japan, 1983</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Festival, Naha, Okinawa prefecture, Japan, 1984</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* TIME'S, Kyoto, Japan, 1984</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Koshino House Addition, Ashiya, Hyōgo Prefecture, Japan, 1984</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* MELROSE, Meguro, Tokyo, Japan, 1984</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Uejo House, Osaka Prefecture, Japan, 1984</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Ota House, Okayama Prefecture, Japan, 1984</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Moteki House, Kobe, Japan, 1984</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Shinsaibashi TO Building, Osaka Prefecture, Japan, 1984</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Iwasa House, Ashiya, Hyōgo Prefecture, Japan, 1984</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Hata House, Nishinomiya, Hyōgo Prefecture, Japan, 1984</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Atelier Yoshie Inaba, Shibuya, Tokyo, Japan, 1985</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* JUN Port Island Building, Kobe, Japan, 1985</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Mon-petit-chou, Kyoto, Japan, 1985</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Guest House for Hattori House, Osaka, Japan, 1985</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Taiyō Cement Headquarters Building, Osaka, Japan, 1986</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* TS Building, Osaka, Japan, 1986</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Chapel on Mount Rokko, Kobe, Japan, 1986</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* OLD/NEW Rokko, Kobe, Japan, 1986</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Kidosaki House, Setagaya, Tokyo, Japan, 1986</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Fukuhara Clinic, Setagaya, Tokyo, Japan, 1986</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Sasaki House, Minato, Tokyo, Japan, 1986</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Main Pavilion for Tennoji Fair, Osaka, Japan, 1987</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Karaza Theater, 1987</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Ueda House Addition, Okayama Prefecture, Japan, 1987</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Church on the Water, Tomamu, Hokkaidō prefecture, Japan, 1988</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* GALLERIA akka, Osaka, Japan, 1988</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Children's Museum, Himeji Hyōgo Prefecture, Japan, 1989</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Church of the Light, Ibaraki, Osaka prefecture, Japan, 1989</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* COLLEZIONE, Minato, Tokyo, Japan, 1989</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Morozoff P&P Studio, Kobe, Japan, 1989</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* RAIKA Headquarters, Osaka, Japan, 1989</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Natsukawa Memorial Hall, Hikone, Shiga Prefecture, Japan, 1989</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Yao Clinic, Neyagawa, Osaka Prefecture, Japan, 1989</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Matsutani House Addition, Kyoto, Japan, 1990</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Ito House, Setagaya, Tokyo, Japan, 1990</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Iwasa House Addition, Ashiya, Hyōgo Prefecture, Japan, 1990</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Garden of Fine Arts, Osaka, Japan, 1990</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* S Building, Osaka, Japan, 1990</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Water Temple, Awaji Island, Hyōgo Prefecture, Japan, 1991</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Atelier in Oyodo II, Osaka, Japan, 1991</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* TIME'S II, Kyoto, Japan, 1991</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Museum of Literature, Himeji, Hyōgo Prefecture, Japan, 1991</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Sayoh Housing, Hyōgo Prefecture, Japan, 1991</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Minolta Seminar House, Kobe, Japan, 1991</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Naoshima Contemporary Art Museum, Naoshima, Kagawa prefecture, Japan, 1995</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Japanese Pavilion for Expo 92, Seville, Spain, 1992</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Otemae Art Center, Nishinomiya, Hyōgo Prefecture, Japan, 1992</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Forest of Tombs Museum, Kumamoto Prefecture, Japan, 1992</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Rokko Housing Two, Rokko, Kobe, Japan, 1993</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Vitra Seminar House, Weil am Rhein, Germany, 1993</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Gallery Noda, Kobe, Japan, 1993</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* YKK Seminar House, Chiba Prefecture, Japan, 1993</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Suntory Museum, Osaka, Japan, 1994</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* MAXRAY Headquarters Building, Osaka, Japan, 1994</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Chikatsu-Asuka Historical Museum, Osaka Prefecture, Japan, 1994</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Kiyo Bank, Sakai Building, Sakai, Osaka Prefecture, Japan, 1994</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Garden of Fine Art, Kyoto, Japan, 1994</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Museum of wood culture, Kami, Hyōgo Prefecture, Japan, 1994</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Inamori Auditorium, Kagoshima, Japan, 1994</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Nariwa Museum, Okayama Prefecture, Japan, 1994</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Atelier in Oyodo Annex, Osaka, Japan, 1995</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Nagaragawa Convention Center, Gifu, Japan, 1995</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Naoshima Contemporary Art Museum Annex, Naoshima, Kagawa Prefecture, Japan, 1995</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Meditation Space, UNESCO, Paris, France, 1995</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Shanghai Pusan Ferry Terminal, Osaka, Japan, 1996</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Museum of Literature II, Himeji, Hyōgo Prefecture, Japan, 1996</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Gallery Chiisaime (Sawada House), Nishinomiya, Hyōgo Prefecture, Japan, 1996</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Museum of Gojo Culture & Annex, Gojo, Nara Prefecture, Japan, 1997</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* TOTO Seminar House, Hyōgo Prefecture, Japan, 1997</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Yokogurayama Natural Forest Museum, Kochi Prefecture, Japan, 1997</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Harima Kogen Higashi Primary School & Junior High School, Hyōgo Prefecture, Japan, 1997</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Koumi Kogen Museum, Nagano Prefecture, Japan, 1997</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Eychaner/Lee House, Chicago, Illinois, 1997</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Daikoku Denki Headquarters Building, Aichi Prefecture, Japan, 1998</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Daylight Museum, Shiga Prefecture, Japan, 1998</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Junichi Watanabe Memorial Hall, Sapporo, Japan, 1998</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Asahi Shimbun Okayama Bureau, Okayama, Japan, 1998</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Siddhartha Children and Women Hospital, Butwal, Nepal, 1998</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Church of the Light Sunday School, Ibaraki, Osaka Prefecture, Japan, 1999</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Rokko Housing III, Kobe, Japan, 1999</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Shell Museum, Nishinomiya, Hyōgo Prefecture, Japan, 1999</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* FABRICA (Benetton Communication Research Center), Treviso, Italy, 2000</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Awaji-Yumebutai, Hyōgo Prefecture, Japan, 2000 map</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Rockfield Shizuoka Factory, Shizuoka, Japan, 2000</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* The Pulitzer Foundation for the Arts, St. Louis, Missouri, 2001</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Komyo-ji (shrine) Saijo, Ehime prefecture, Japan (2001)</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Ryotaro Shiba Memorial Museum, Higashiosaka, Osaka prefecture, Japan, 2001</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Teatro Armani-Armani World Headquarters, Milan, Italy (2001)</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Hyogo Prefectural Museum of Art, Kobe, Hyōgo Prefecture, Japan, 2002</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Modern Art Museum of Fort Worth, Fort Worth, Texas, 2002 </span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Piccadilly Gardens, Manchester, UK, 2003</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* 4x4 house, Chiyoda-ku, Tokyo, Japan, 2003</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Chichu Art Museum, Naoshima, Kagawa prefecture, Japan, 2004]</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Langen Foundation, Hombroich near Neuss, Germany, 2004]</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Morimoto restaurant in the Chelsea Market, his first project in Manhattan, opened January 2006.</span> <span style="font-family:arial;"> </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Omotesando Hills, Jingumae 4-Chome, Tokyo, Japan, 2006</span></span><br /><br /><span style="font-size:100%;"><span style="font-family:arial;"><span style="font-weight: bold;">In progress</span></span></span><br /><span style="font-size:100%;"><span style="font-family:arial;"><span style="font-weight: bold;"><span style="font-weight: bold;"></span></span></span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* House, stable, and mausoleum for former fashion designer Tom Ford , near Santa Fe, New Mexico</span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Expansion for the Clark Art Institute in Williamstown, Massachusetts</span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* Rebuilding the Kobe Kaisei Hospital in Nada Ward, Kobe, Japan</span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">* New Tokyo Tower</span></span><br /><br /><span style="font-size:100%;"><span style="font-family:arial;"><span style="font-size:85%;">Source : <a href="http://en.wikipedia.org/wiki/Tadao_Ando">Wikipedia</a></span></span></span><br /><span style="font-size:100%;"><span style="font-family:arial;"><span style="font-weight: bold;"><span style="font-weight: bold;"></span></span></span></span></span></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-66518329967363143272007-12-23T00:49:00.000+07:002008-12-10T15:22:12.566+07:00Tadao Ando : Buildings and works<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_YStBSI-sMoA/R21PE2ROQBI/AAAAAAAAAG4/ftpZu0fvpUA/s1600-h/450px-Sunday_School.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://1.bp.blogspot.com/_YStBSI-sMoA/R21PE2ROQBI/AAAAAAAAAG4/ftpZu0fvpUA/s320/450px-Sunday_School.JPG" alt="" id="BLOGGER_PHOTO_ID_5146856893860167698" border="0" /></a><span style="font-size:100%;"><span style="font-family:arial;">Tadao Ando's work is known for the creative use of natural light and for architectures that follow the natural forms of the landscape (rather than disturbing the landscape by making it conform to the constructed space of a building). The architect's buildings are often characterized by complex three-dimensional circulation paths. These paths interweave between interior and exterior spaces formed both inside large-scale geometric shapes and in the spaces between them.</span></span> His "Row House in Sumiyoshi" (Azuma House), a small two-story, cast-in-place concrete house completed in 1976, is an early work that begins to show elements of his characteristic style. It consists of three equally sized rectangular volumes: two enclosed volumes of interior spaces separated by an open courtyard. By nature of the courtyard's position between the two interior volumes, it becomes an integral part of the house's circulation system.<br /></div><span style="font-size:100%;"><span style="font-family:arial;"><br /><br /><span style="font-size:85%;">Source : <a href="http://en.wikipedia.org/wiki/Tadao_Ando">Wikipedia</a></span><br /></span></span>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-53043383917887903472007-12-23T00:40:00.000+07:002008-12-10T15:22:12.794+07:00Tadao Ando<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_YStBSI-sMoA/R21N42ROQAI/AAAAAAAAAGw/zW0NaxqpS1E/s1600-h/450px-Azuma_house.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://1.bp.blogspot.com/_YStBSI-sMoA/R21N42ROQAI/AAAAAAAAAGw/zW0NaxqpS1E/s320/450px-Azuma_house.JPG" alt="" id="BLOGGER_PHOTO_ID_5146855588190109698" border="0" /></a><span style="font-size:100%;"><span style="font-family:arial;">Tadao Ando born September 13, 1941 in Osaka, Japan is a Japanese architect whose approach to architecture was once categorised as Critical Regionalism. Ando has led a storied life, working as a truck driver and boxer prior to settling on the profession of architecture, despite never having taken formal training in the field.</span></span><br /><div style="text-align: justify;"><br /><span style="font-size:100%;"><span style="font-family:arial;">He works primarily in exposed cast-in-place concrete and is renowned for an exemplary craftsmanship which invokes a Japanese sense of materiality, junction and spatial narrative through the pared aesthetics of international modernism.</span></span><br /><br /><span style="font-size:100%;"><span style="font-family:arial;">In 1969, he established the firm Tadao Ando Architects & Associates. In 1995, Ando won the Pritzker Architecture Prize, considered the highest distinction in the field of architecture. He donated the $100,000 prize money to the orphans of the 1995 Kobe earthquake.</span></span><br /><span style="font-size:100%;"><span style="font-family:arial;"></span></span></div><span style="font-size:100%;"><span style="font-family:arial;"><br /><span style="font-size:85%;">Source : <a href="http://en.wikipedia.org/wiki/Tadao_Ando">Wikipedia</a></span><br /></span></span>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-55642779527035129172007-12-20T15:42:00.000+07:002008-12-10T15:22:13.187+07:00BUILDING AN IGLOO Pt. 1<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_YStBSI-sMoA/R2orzGROPqI/AAAAAAAAAEA/YK6kJYav_BE/s1600-h/igloo.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://3.bp.blogspot.com/_YStBSI-sMoA/R2orzGROPqI/AAAAAAAAAEA/YK6kJYav_BE/s400/igloo.jpg" alt="" id="BLOGGER_PHOTO_ID_5145973681080385186" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style="font-family:arial;"><span style="font-size:100%;"><span style="font-style: italic; font-weight: bold;"><br />by Norbert E. Yankielun</span><br /><br />The igloo, also spelled "iglu," and sometimes called an aputiak, is a temporary winter shelter built by native Eskimos primarily for use in winter hunting camps. In their native language, Eskimos call themselves Inuit, meaning "the people." They inhabit much of the Arctic from as far west as the Aleutian Islands of Alaska to as far east as the western coastline of Greenland.<br /><br />The igloo structure most likely evolved through trial and error over hundreds of years, and without the aid of mathematics or structural engineering theory. Historically, they have been constructed — using a long, sharp blade knife to cut snow block — primarily by Canadian and Greenland Inuit living in Canada in the area between the Mackenzie River delta and Labrador.<br /><br /><span style="font-weight: bold;">Structural Perspective</span><br /><br />The igloo is the highest art of snow shelter construction, requiring the precise shaping and placing of snow blocks to form a stable and strong dome-shaped structure. Two structural forces are present in an igloo: compression and tension. Compression occurs when weight is applied that squeezes the snow crystals closer together. Tension occurs when the applied force pulls the snow crystals apart.<br /><br />The bonded ice crystal structure of sintered snow holds up well under compression; it can bear substantial weight without crumbling. Under tension, however, the same block of snow would easily be torn apart with very little force. For this reason, a cross-section of an igloo more resembles a parabolic arch than a hemisphere.<br /><br /><span style="font-size:85%;">Source : <a href="http://www.architectureweek.com/">Architecture Week</a></span><br /></span></span>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-59405529764279747742007-12-20T15:36:00.000+07:002007-12-20T15:41:08.255+07:00BUILDING AN IGLOO Pt. 2<span style="font-family: arial;"><span style="font-size:100%;">Structurally, parts of a hemisphere are in compression while other parts are in tension. If the tension were great enough to break the ice crystal bonds, the hemispherical-shaped igloo would easily collapse. The entire cross-section of a parabolic-shaped igloo is in compression and therefore a much stronger structure. This parabolic shape resembles an upside-down catenary, the shape that a chain or piece of string forms when loosely held horizontally at both ends.<br /><br />Anecdotally, it has been reported that polar bears occasionally climb on top of an abandoned igloo to better survey the surrounding flat terrain for prey. That's quite a testament to the strength of a properly shaped igloo. Still, it isn't advisable to climb on top of an igloo to test this.<br /><br /><span style="font-weight: bold;">Appropriate Snow</span><br /><br />The best building material for an igloo is a dense, cold, dry, well-sintered, wind-packed snow. It is often difficult to find these snow conditions except in the higher northern (or lower southern) latitudes — including Alaska, Canada, the northernmost tier of the United States, and northern New England, or on mountains at elevations above treeline — where deep snow is abundant and temperatures are nearly always at or below freezing.<br /><br />In more temperate regions, usable snow can be found at thinly vegetated or treeless higher elevations where the air tends to remain colder and frequent winds pack the snow. Elsewhere, even in flat fields, wind-packed snowdrifts may provide good building material. In some cases, recreational or backyard builders can create suitable snow with a bit of labor.<br /><br />(If the backyard or recreational builder cannot find suitable snow, some prior planning and preparation can create a useable snowpack for igloo construction. Please refer to How to Build an Igloo, and Other Snow Shelters for details.)<br /><br /><span style="font-weight: bold;">Where Not to Build</span><br /><br />For recreational shelter builders in an urban or suburban location, plowed mounds of snow found along the roadside, in parking lots, or driveways may be very tempting "real estate" for a shelter construction project. These sites are dangerous. A snow shelter built into a plowed-up mound looks all too similar to any other plow mound of snow. A passing plow truck or other vehicle can cause the unseen structure to collapse, burying the occupants.<br /><br />Another hazard of building a snow structure adjacent to parking lots and driveways is the presence of carbon monoxide from vehicle exhaust fumes.<br /><br /><span style="font-weight: bold;">Construction Technique</span><br /><br />With the right snow conditions, a bit of practice, and a willing helper or two, an igloo can be constructed in a couple of hours.<br /><br /><span style="font-weight: bold;">Sizing the Igloo</span><br /><br />An igloo large enough to shelter two to three people should have an internal diameter of at least 6 feet (2 meters). By initially outlining the size of the interior space of the igloo in the snow, it will be easier to accurately place the snow blocks in a circle to form the base of the igloo. Try walking in a circular outline to compact the snow and form the igloo foundation.<br /><br />The inside diameter of the igloo can be marked more precisely on the snow surface using two ski poles. Plant the tip of one ski pole (vertically) firmly in the ground at the center of the igloo site. Place the strap of the second ski pole over the first and lay that pole horizontally on the ground. Rotate this pole in a circle, scribing the inner diameter of the igloo in the snow.<br /><br />Another approach that is especially fun for kids is to ask the tallest member of the party to lie down and make a snow angel centered on the building site. The outline gives a good idea of the size of the igloo interior.<br /><br /><span style="font-weight: bold;">Preparing the Surface</span><br /><br />A solid foundation is necessary for structural stability of an igloo. If the snow surface were to give way under the weight of added snow blocks, the igloo might shift or even collapse during construction. An igloo can be built directly on snow that is strong enough to support the full weight of a person without leaving deep footprints. If the snow does compress underfoot, leaving deep "post holes," some surface preparation is necessary. Using snowshoes, skis, or simply boots, walk over the building site, compressing the surface into a solid platform.<br /><br /><span style="font-weight: bold;">Cutting Blocks</span><br /><br />Snow blocks can be easily cut with a specialized snow saw or an ordinary carpenter's saw. A good idea is to obtain an inexpensive old carpenter's saw at a garage sale or flea market and use it only for snow block cutting.<br /><br />Cut all the blocks the same size. A good size for blocks is about 18 to 24 inches (45 to 60 centimeters) long, by 9 to 12 inches (25 to 30 centimeters) thick, by 12 to 18 inches (30 to 45 centimeters) tall. A handy beginner's aid to help keep the blocks all uniform in size is to have a measuring stick with three clear marks on it, one each for length, width, and thickness. Similarly, measuring marks can be drawn on the side of the saw with a marker. With some experience, fairly consistent size blocks can be cut "by eye."<br /><br />If the snow is dense and has good structural strength, longer and taller blocks may be cut, but try to keep the thickness to no more than 12 inches (30 centimeters). The advantage of larger blocks is that fewer are needed for assembly, and fewer joints between blocks makes for a stronger structure. The disadvantage of larger blocks is that they may be difficult to carry and lift into place. Remember, for safety, do all lifting with your legs, not your back.<br /><span style="font-size:85%;"><br />Source : <a href="http://www.architectureweek.com/2007/1212/building_1-2.html">Architecture Week</a></span><br /></span></span>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-87505607636608736572007-12-20T15:30:00.000+07:002007-12-20T15:42:03.098+07:00BUILDING AN IGLOO Pt. 3<span style="font-family:arial;"><span style="font-size:100%;"><span style="font-weight: bold;">Starting Construction</span><br /></span></span><img src="file:///C:/DOCUME%7E1/ADMINI%7E1/LOCALS%7E1/Temp/moz-screenshot-2.jpg" alt="" /><br /><img src="file:///C:/DOCUME%7E1/ADMINI%7E1/LOCALS%7E1/Temp/moz-screenshot.jpg" alt="" /><img src="file:///C:/DOCUME%7E1/ADMINI%7E1/LOCALS%7E1/Temp/moz-screenshot-1.jpg" alt="" /><span style="font-family:arial;"><span style="font-size:100%;">With several uniform sized snow blocks cut, it is time to place them in a shoulder-to-shoulder circle on the circular building site that was prepared earlier. Again, make sure that these blocks are placed on a solid foundation and won't shift under the weight of the additional blocks that will be later placed on top of them. To improve the strength of the igloo, each of these blocks should be mitered, or cut at matching angles, so that they fit tightly together.<br /><br />After the first ring of blocks is in place it is time to cut away a portion of several of those blocks to create a circular, vertical ramp. This ramp provides two points of contact: (1) a "shoulder" and (2) a base, which will support the inward-sloping blocks that will be added to create the dome shape of the structure. To form the ramp, start at a joint between two blocks and, block by block, cut away and discard a portion of each block. The smooth and gradual slope of the ramp should continue between half and three-quarters of the way around the ring of blocks.<br /><br />Shape the top of all the blocks so that they angle slightly inward towards the center of the igloo. This slant causes the block that is placed on top to lean further inward, eventually creating the smooth arch-shaped profile of the igloo. For a beginner, it is sometimes difficult to judge the amount of inward slope to carve on top of each block. If this angle is not steep enough, the walls of the structure may not curve inward to complete the dome.<br /><br />A good technique to ensure that the top of the blocks are properly angled is to place a small branch, ski pole, or other marker vertically in the snow at the center of the igloo. There should be a straight line of sight when looking along the top of an angled block toward the base of the marker. Another method to visualize the correct angle is to tie a length of cord to the base of the center marker. If the angle is correct, a straight line will be form when stretching it over the slope of a block.<br /><br />Now it is time to continue stacking more snow blocks on top of the ramp. These rectangular blocks should all be the same size as the original blocks used to form the base ring. Starting at the point on the circular ramp where a full-height block meets the shortest block, place a block in tight contact with the shoulder and base. Cut the side edges of the new block so it fits tightly against the block next to it. Each block should bridge the vertical seam between the two blocks beneath it. This makes for a stronger structure. Cut the top of this — and subsequent blocks — to angle inwards toward the center of the igloo.<br /><br />At this point, before the wall gets too high, it is a good idea to have a helper stand inside the igloo to assist with construction. He or she should have a saw handy to help shape the blocks, and should be prepared to remain inside until the igloo is completed. Continue stacking and shaping the blocks in an upward, inward, circular spiral until only a small opening at the very top of the igloo remains, a bit smaller than the size of blocks that have been used in construction.<br /><br />It is now time to cut and place the cap block, or "king block." This block is like a cork, plugging the hole in the top in the dome of the igloo and supporting the inward leaning walls of the dome. This block takes a bit of careful shaping. Select a block that is slightly larger than the opening in the top. Taper the sides of the block to match the taper of the hole in the dome. Carefully place it into position being careful not to lean against the igloo walls, which could cause it to collapse. Placing the block requires the assistance of the person inside the dome as well as some reaching and stretching by the person outside.<br /><br /><span style="font-weight: bold;">Making an Entrance</span><br /><br />With construction of the snow block dome complete, it is time to finally create an entrance. (Making the entrance before the igloo is complete weakens the dome structure and increases the chances of the structure collapsing.)<br /><br />There are two choices for entryway design, depending on the depth of snow beneath the igloo: a "gopher hole" and an arch-shaped entry. When the snow depth under the igloo is at least 3 feet (1 meter) a "gopher hole" entryway can be dug. About 2 to 3 feet (60 to 100 centimeters) away from the outside wall of the igloo, dig a hole at least 3 feet (1 meter) deep. This hole should be wide enough for a person to crouch at the bottom.<br /><br />At the bottom of the hole, tunnel horizontally under the wall of the igloo. It may be helpful to measure the length of the tunnel with a ski pole to ensure that the tunnel has passed completely beneath the igloo wall. When the horizontal tunnel is beneath the interior of the igloo, tunnel upward into the igloo. Since warm air rises and cold air sinks, this type of entrance prevents warm air inside an occupied igloo from escaping.<br /><br />As an alternative to the "gopher hole" entrance, an arched-shaped surface entry can be cut in the side of the igloo. This method should be used when the snow is too shallow (less than 3 feet (1 meter)). The arch shape minimizes stress on the shell of the igloo caused by creating a hole in the wall. This opening should be not much larger than 2 feet by 2 feet (60 by 60 centimeters) — just large enough for a person to easily crawl through.<br /><br />Choose the location of the entryway so that the arch of the opening will be centered beneath a solid snow block and not directly beneath a seam between two blocks. Structurally, this solid block header serves as a lintel found over the doorway of a house to support and distribute the weight of the structure above the opening.<br /><br />Later, the igloo interior can be closed off from the elements by placing a snow block or backpack in the opening. When additional entryway protection from wind and blowing snow is desirable, a snow block windbreak or surface tunnel entrance can be built onto the opening in the igloo.<br /><br /><span style="font-weight: bold;">Finishing Touches</span><br /><br />Even the most carefully built igloo will have some open cracks and gaps between snow blocks. These small openings do not significantly affect the strength of the igloo but will permit body heat generated inside the igloo by occupants to escape and gusts of wind to enter. Once the igloo is complete, these openings can be sealed by hand-packing them with loose snow.<br /><br />It is important to prevent extreme heat loss from within the igloo, but some ventilation for the comfort and safety of occupants is necessary. It is highly recommended that a fist-sized ventilation hole be cut near the top of the igloo dome. During snowfall and drifting conditions this vent hole may become blocked. Occasionally check the vent, and if necessary, clear it with a hand, ski pole, or other tool.<br /><br />The satisfaction in a well-built igloo — simple, timeless and evanescent, and beautiful — is virtually universal. The pleasure of sleeping inside, safe and sound from the raw harshness of wintry elements outside, may be even better.<br /><br /><span style="font-size:85%;">Source : <a href="http://www.architectureweek.com/2007/1212/building_1-3.html">Architecture Week</a></span><br /></span></span>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-48915891489986538572007-12-20T00:24:00.000+07:002007-12-20T15:14:09.292+07:00KENZO TANGE<h2 style="color: rgb(0, 0, 0); font-weight: normal; font-family: arial;font-family:arial;"><span style="font-size:100%;"><span class="mw-headline">Biography</span></span></h2><span style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;font-size:100%;" ></span><p style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;"><span style="font-size:100%;">Tange was born in <a href="http://en.wikipedia.org/wiki/Sakai%2C_Osaka" title="Sakai, Osaka">Sakai, Osaka</a> in 1913. He moved to <a href="http://en.wikipedia.org/wiki/Hankou" title="Hankou">Hankou</a>, <a href="http://en.wikipedia.org/wiki/Shanghai" title="Shanghai">Shanghai</a> of <a href="http://en.wikipedia.org/wiki/China" title="China">China</a> and later <a href="http://en.wikipedia.org/wiki/England" title="England">England</a>, with his banker father, backed to Japan in 1920. Tange was strongry influenced by <a href="http://en.wikipedia.org/wiki/Le_Corbusier" title="Le Corbusier">Le Corbusier</a>' books, and thought to be an architect in his secondary school days.</span></p> <p style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;"><span style="font-size:100%;">In 1935, Tange attended at the Department of Engineering, the <a href="http://en.wikipedia.org/wiki/University_of_Tokyo" title="University of Tokyo">University of Tokyo</a>, where he studied architecture, completed his degree and worked as a professional architect at the studio of <a href="http://en.wikipedia.org/wiki/Kunio_Maekawa" title="Kunio Maekawa">kunio Maekawa</a>. Tange worked a few years there and left, backed to the University of Tokyo to study postgraduate course in 1941. Tange became an assistant professor and opened Tange <a href="http://en.wikipedia.org/wiki/Laboratory" title="Laboratory">laboratory</a> in 1946, promoted to professor of the Department of Urban Engineering in 1963. As a professor, Tange supervised many of his students include <a href="http://en.wikipedia.org/wiki/Sachio_Otani" title="Sachio Otani">Sachio Otani</a>, <a href="http://en.wikipedia.org/wiki/Kisho_Kurokawa" title="Kisho Kurokawa">Kisho Kurokawa</a>, <a href="http://en.wikipedia.org/wiki/Arata_Isozaki" title="Arata Isozaki">Arata Isozaki</a>, and <a href="http://en.wikipedia.org/wiki/Fumihiko_Maki" title="Fumihiko Maki">Fumihiko Maki</a> who have inherited Tange's architectural style and his philosophy.</span></p> <p style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;"><span style="font-size:100%;">In 1949, Tange won the architecture competiton for design of the <a href="http://en.wikipedia.org/wiki/Hiroshima_Peace_Memorial_Park" title="Hiroshima Peace Memorial Park">Hiroshima Peace Memorial Park</a>, <a href="http://en.wikipedia.org/wiki/Hiroshima" title="Hiroshima">Hiroshima city</a>, following its <a href="http://en.wikipedia.org/wiki/Atomic_bombings_of_Hiroshima_and_Nagasaki" title="Atomic bombings of Hiroshima and Nagasaki">atomic bombing</a> in 1945. His design for Peace Memorial Park owes much to <a href="http://en.wikipedia.org/wiki/Le_Corbusier" title="Le Corbusier">Le Corbusier</a>, and is often called "the spiritual core of the city"<sup class="noprint Template-Fact"><span title="This claim needs references to reliable sources since September 2007" style="white-space: nowrap;">[<i><a href="http://en.wikipedia.org/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a></i>]</span></sup>. One reason Tange gave for applying for the job was that as a secondary student he had studied in the city.</span></p> <p style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;"><span style="font-size:100%;">Tange won international fame for his design for the <a href="http://en.wikipedia.org/wiki/Yoyogi_National_Gymnasium" title="Yoyogi National Gymnasium">gymnasium</a> for the <a href="http://en.wikipedia.org/wiki/1964_Summer_Olympics" title="1964 Summer Olympics">1964 Summer Olympics</a><a href="http://en.wikipedia.org/wiki/Tokyo" title="Tokyo">Tokyo</a>. His Pritzker Prize citation described it as "among the most beautiful buildings of the 20th century". held in </span></p> <p style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;"><span style="font-size:100%;">He was also known for his "Tokyo Plan" of 1960, which proposed a radical redesign of the city. Although not fully implemented, it influenced architects worldwide. Tange received <a href="http://en.wikipedia.org/wiki/AIA_Gold_Medal" title="AIA Gold Medal">AIA Gold Medal</a><a href="http://en.wikipedia.org/wiki/Order_of_Culture" title="Order of Culture">Order of Culture</a> in 1980, the <a href="http://en.wikipedia.org/wiki/Order_of_the_Sacred_Treasures" title="Order of the Sacred Treasures">order of the Sacred Treasures</a> in 1994. in 1966, the </span></p> <p style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;"><span style="font-size:100%;">In 2005, his funeral was held in one of his works, <a href="http://en.wikipedia.org/wiki/St._Mary%27s_Cathedral%2C_Tokyo" title="St. Mary's Cathedral, Tokyo">Tokyo Cathedral</a>.</span></p><p style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;"><span style="font-size:100%;"><span style="font-size:85%;">Source : <a href="http://en.wikipedia.org/wiki/Kenzo_Tange">Wikipedia</a></span><br /></span></p><span style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;font-size:100%;" ><br /></span>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-69808496180977381662007-12-15T06:20:00.001+07:002007-12-15T13:49:51.129+07:00Amazing architecture India<div xmlns='http://www.w3.org/1999/xhtml'><p><object height='350' width='425'><param value='http://youtube.com/v/aoiGRu-22p8' name='movie'/><embed height='350' width='425' type='application/x-shockwave-flash' src='http://youtube.com/v/aoiGRu-22p8'/></object></p></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-27940370297321634812007-12-05T15:44:00.000+07:002008-12-10T15:22:13.861+07:00Renzo Piano's Light Touch<h2><span style=";font-family:arial;font-size:100%;" >The architect may be 70 years old, but he's having a good year. His firm is currently working on 20 high profile, global projects </span></h2><span style=";font-family:arial;font-size:100%;" >Architect Renzo Piano paces the streets of New York City's Meatpacking District. He is preparing to design an expansion to the Whitney Museum of American Art. Once seen as an extension to the museum's existing uptown space, residents' objections moved the project downtown, and in November last year, property was purchased at the entrance to the city's planned High Line park. Piano walks slowly, his hands in his pockets, looking at the scenery around him.<br /><br />"Mentally I go fishing," he says</span><span style=";font-family:arial;font-size:100%;" >. "I fish for emotion and inspiration from the place, from the people."<br /><br />Piano's buildings also come out of contemporary culture and historical architecture. His list of "wonders of the world" includes few modern buildings. But while he is stimulated by the old, his attention to space and context keeps his own work modern and fresh. "Being an architect," he says, "is about memory and invention." Drawing on this sentiment, Piano blends tradition and innovation in his designs. For his Maison Hermès in Tokyo, a shop for the upscale fashion brand with offices above, Piano took inspiration from traditional glass structures such as the 1851 Crystal Palace in London, but used glass bricks for the facade to lend it a modern look. The lantern-like building helps the store stand out in a highly competitive, high-end shopping district.<br />The Inside-Out Building</span><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_YStBSI-sMoA/R1ZmbS_5ZgI/AAAAAAAAACE/YJUbemgLQWU/s1600-h/slide-auditoriumcross.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://3.bp.blogspot.com/_YStBSI-sMoA/R1ZmbS_5ZgI/AAAAAAAAACE/YJUbemgLQWU/s320/slide-auditoriumcross.jpg" alt="" id="BLOGGER_PHOTO_ID_5140408643832342018" border="0" /></a><br /></span><span style=";font-family:arial;font-size:100%;" ><br />Piano grew up in a family of builders. At age seven, he would tag along with his father and visit building sites in and around his home town of Genoa in Italy, and he became intrigued by the anatomy of buildings, the way they are built around a skeleton to form a complete structure. In the late 1950s, Piano moved to Florence to study architecture at university, and the city helped him consolidate his love of blending ancient with modern. Framing and structure are ideas that have stayed with him throughout his career, and many of his designs emphasize the skeletal interior of a building.<br /><br />This is perhaps most apparent in the building that established him as a major player in the world of architecture. In 1971, after graduating and then working for renowned architect Louis Kahn for five years, Piano joined British architect Richard Rogers to create the Piano and Rogers Studio. The partnership resulted in the Centre Georges Pompidou—known in Paris as Beaubourg—finished in 1977.<br /><br />It's a building turned inside-out. All the building's functions, including walkways and plumbing, are positioned on the outside, leaving the inside light and airy. Each function is designated by color: yellow for electricity; red for transport (elevators and walkways); blue for water; and green for air. The result is a colorful spiderweb of piping, with an open floor-plan inside.<br />"Reinventing the Campus"<br /><br />Post-Pompidou, and after a partnership with Peter Rice, Piano established his own firm, the Renzo Piano Building Workshop, in the late 1980s. The firm currently employs 130 people and is working on about 20 projects. Its two main offices are in Paris and Genoa, and the practice recently opened a small office in New York. Piano himself, now 70, focuses on four projects at a time and still regularly travels among all three offices. This week he's working on the Whitney Museum and an expansion at Columbia University.<br /><br />The project at Columbia includes a $1 billion-plus scheme to add 1.2 million square feet to the university. The proposed new buildings, which extend north along eight blocks starting at 125th Street and Broadway, will include a medical research center for neurology, a school of art, a business school building, and a meeting center. These academic facilities will be located above and below an open lobby that can be used as a gathering area.<br /><br />Piano says the project "is about reinventing the campus of the 21st century" and includes public spaces such as a theater, a public library, and art galleries, so it's integrated with the surrounding community. It's a controversial project: Some members of the West Harlem neighborhood are unhappy that it proposes to take up 17 acres of space now occupied by small retailers. Other residents remain cautious. For now, construction is set to start as early as fall, 2008.<br />Changing Times<br /><br />It's not the first time that Piano has attempted to reinvent a traditionally staid environment. The new New York Times Building in midtown Manhattan is covered with a curtain wall of white ceramic rods that are intended to reflect the color of the sky as it changes. The luminous building is a stark counterpoint to the old New York Times HQ, which operated out of a converted factory made of concrete and steel. Such use of light is central to all of Piano's designs, and many of them include floor-to-ceiling glass and open plans.<br /><br />"In New York, all the buildings become red in the evening, blue after it rains. This building will be even more metamorphic," he says of the Times design. "The feeling of the building keeps changing. It takes on the color and the spirit of the moment."<br /><br />Piano's fascination with light and lightness inform his chosen wonders of the world and his own designs. He says it's "instinct" to make light and transparency a moving force in all good architecture. From the "house of glass" (La Maison de Verre) in Paris to the Palm House in Kew Gardens in London to his very own Maison Hermés in Tokyo, light plays a central role in the elegance and ingenuity of his design. As he paces the street, looking at a brand new building site, it's what captures and inspires him.<br /><br /><br />Source : <a href="http://www.businessweek.com/innovate/content/nov2007/id2007117_552694.htm">___</a><br /></span>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-73220244462714915092007-12-05T15:32:00.001+07:002007-12-15T13:50:20.704+07:00BOROBUDUR<div xmlns='http://www.w3.org/1999/xhtml'><p><object height='350' width='425'><param value='http://youtube.com/v/Vb9UpGJMIeA' name='movie'/><embed height='350' width='425' type='application/x-shockwave-flash' src='http://youtube.com/v/Vb9UpGJMIeA'/></object></p></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-13312805853167961262007-12-05T14:58:00.000+07:002008-12-10T15:22:14.065+07:00Milwaukee's Urban Ecology Center<span style="color: rgb(255, 0, 0);font-family:Helvetica,Arial;font-size:100%;" > </span><meta equiv="Content-Type" content="text/html; charset=utf-8"><meta name="ProgId" content="Word.Document"><meta name="Generator" content="Microsoft Word 11"><meta name="Originator" content="Microsoft Word 11"><link rel="File-List" href="file:///C:%5CDOCUME%7E1%5CCIPTAK%7E1%5CLOCALS%7E1%5CTemp%5Cmsohtml1%5C01%5Cclip_filelist.xml"><span style="font-size:100%;"><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PlaceType"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PlaceName"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="City"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="place"></o:smarttagtype></span><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="156"> </w:LatentStyles> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id="ieooui"></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><style> <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} a:link, span.MsoHyperlink {color:blue; text-decoration:underline; text-underline:single;} a:visited, span.MsoHyperlinkFollowed {color:purple; text-decoration:underline; text-underline:single;} p {mso-margin-top-alt:auto; margin-right:0cm; mso-margin-bottom-alt:auto; margin-left:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:612.0pt 792.0pt; margin:72.0pt 90.0pt 72.0pt 90.0pt; mso-header-margin:35.4pt; mso-footer-margin:35.4pt; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} </style> <![endif]--> <p style="text-align: justify;"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_YStBSI-sMoA/R1ZalS_5ZfI/AAAAAAAAAB8/ORNDD-oSo1k/s1600-h/13678_image_2.575x489.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="http://3.bp.blogspot.com/_YStBSI-sMoA/R1ZalS_5ZfI/AAAAAAAAAB8/ORNDD-oSo1k/s320/13678_image_2.575x489.jpg" alt="" id="BLOGGER_PHOTO_ID_5140395621491500530" border="0" /></a></span></p><p style="text-align: justify;"><span style=";font-family:Arial;font-size:100%;" >The <st1:placename st="on">Urban</st1:placename> <st1:placename st="on"></st1:placename></span><span style=";font-family:Arial;font-size:100%;" ><st1:placename st="on">Ecology</st1:placename> <st1:placetype st="on">Center</st1:placetype> in <st1:city st="on"><st1:place st="on">Milwaukee</st1:place></st1:city> simply radiates with a special kind of wholistic beauty. It's a charming, efficient, respectful, and delightful structure, and more. It's a community building whose building has helped build a community.<o:p></o:p></span></p> <p style="text-align: justify;"><span style=";font-family:Arial;font-size:100%;" >Designed by <a href="http://www.archiplanet.org/wiki/The_Kubala_Washatko_Architects%2C_Inc.%2C_Cedarburg%2C_Wisconsin%2C_USA">The Kubala Washatko Architects</a> in relatively close collaboration with client and constructors, the four-story metal-sided timber frame building is bedecked with generous overhangs, wrap-around porches, and a large rooftop photovoltaic array. It sits at the intersection of a dense city neighborhood with several acres of once-decrepit <a href="http://www.greatbuildings.com/architects/Frederick_Law_Olmsted.html">Frederick Law Olmsted</a>-designed park land, which the <a href="http://www.archiplanet.org/wiki/Urban_Ecology_Center%2C_Milwaukee%2C_Wisconsin">Urban Ecology Center</a> is helping to rehabilitate.<o:p></o:p></span></p> <p style="text-align: justify;"><span style=";font-family:Arial;font-size:100%;" >Inside the building, the sense given by large open floors around a central brick-chimneyed atrium, exposed structure, high ceilings, and frank natural materials — including atrium balusters with bark intact — coalesces around the impression of a classic park lodge, daylit, comfortable, and rustically elegant.<o:p></o:p></span></p> <p style="text-align: justify;"><span style=";font-family:Arial;font-size:100%;" >In fact, the center functions in part as a kind of park lodge in the city. Specifically serving the residents in a two-mile radius around their east-side Milwaukee, Wisconsin location, the 20,000-square-foot (1,900-square-meter) Urban Ecology Center building supports a multifaceted outdoor recreation program for urban youth as well as science education, accredited research, citizen science, environmental appreciation, and green building.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >To connect with nature, most environmental education centers have been set in the country, often in a nature preserve surrounded by living wildlife habitat. Fronting on a regular city street, while backing onto the acres of open space of <st1:place st="on"><st1:placename st="on">Riverside</st1:placename> <st1:placetype st="on">Park</st1:placetype></st1:place>, the <a href="http://www.archiplanet.org/wiki/Urban_Ecology_Center%2C_Milwaukee%2C_Wisconsin">Urban Ecology Center</a> seems to get the best of both. The urban location encourages neighborhood drop-ins — from the house painter in spattered coverall with an interesting spider to identify — to the kid after school pausing for a round of foosball in the main room then settling into volunteer work for the center. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >The main entrance to the building is on the south, past the rainwater-retention pond and a garage built of salvaged brick. The front doors enter straight into the main hall of the building, centered on a double-height space around a high-efficiency wood stove, with a modest reception area to the side. The warm wood paneling of the main interior space was donated by Menominee Tribal Enterprises from their sustainably managed forest — one of many gift and salvage elements integrated throughout construction. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >Driven significantly by the approach of Ken Leinbach, the center's executive director, the <a href="http://www.archiplanet.org/wiki/Urban_Ecology_Center%2C_Milwaukee%2C_Wisconsin">Urban Ecology Center</a> took an endlessly creative approach to the details and execution of sustainable building. The Center saw its construction project as an opportunity both for embodying environmental stewardship and for deepening community connections. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >The couches and chairs framed with bark intact and the railings around the atrium carry some of the building's many stories. Ken worked with local premium furniture maker La Lune Collection, to have some of their naturally-finished woodwork made for the center from sustainable willow and poplar rather than their standard materials. The resulting process has evolved into a line of more sustainable furniture from La Lune. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >The main space also exhibits the flexibility of space that helps the center function gracefully. Functioning as a large hall that can hold several dozen visitors, the space is also provides comfortable gathering places for small groups, with wall inflections, furniture groupings, and variations in ceiling height providing soft degrees of separation. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >The pervasive spirit of play in this environmental education center appeals to children of all ages. From a small "secret" door on the north side, dual slides sweep down to the main space, through a passageway painted as a stream and its banks. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >Behind the brick chimney and wood-paneled back wall of the main space, staff offices occupy three levels of a backstage realm. One office is paneled with wood from local high school bleachers, and another with wood from an 1850 mill. Staff area countertops are made from wheat board (ground wheat shafts bound with nontoxic glue), and the floors are covered with carpet made from recycled-rubber. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >Staff and students and other visitors are encouraged to mingle at the common snack corner in the main space on each floor. One set of shared restrooms serves each floor as well. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >The building's second floor continues the fun, flexible space. Subspaces can be defined by movable dividers, built economically with hollow-core-door construction, and painted pro-bono by a noted illustrator living in the neighborhood, with scenes of the adjacent <st1:place st="on"><st1:placename st="on">Milwaukee</st1:placename> <st1:placetype st="on">River</st1:placetype></st1:place>. Native plants grow on shelves in the south windows. Operable windows allow natural ventilation. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >One anonymous wood-paneled wall includes a large pivoting section that opens to the "Camouflage Room." Donated carpet squares cover the floor in movable tilings which users are encouraged to rearrange. Windows provide ample daylight, which can be modulated by four ceiling-hung sliding mural panels, which rest neatly between the windows when not in use. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >Outside, the second floor decks connect to a roof garden over the garage space. Even more exciting is the observation tower. The 75-foot (23-meter) tower offers an elevated perspective on the surrounding landscape. The parkland and river to the west and north are naturally beautiful, and the view also encompasses the harder beauty of post-industrial and neighborhood areas adjacent to the center in other directions. Also visible from the tower is the 44.4-kilowatt rooftop photovoltaic array, installed in 2007, which pumps electricity into the city's grid. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >A controllable web cam atop the tower provides virtual access for those who can't climb its steps. On the north side of the tower is an extensive climbing wall. Members of the <st1:place st="on"><st1:placename st="on">Urban</st1:placename> <st1:placename st="on">Ecology</st1:placename> <st1:placetype st="on">Center</st1:placetype></st1:place> can borrow canoes, skis, mountain bikes, and other adventure equipment, as well as tools. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >The center simplified class access for the several schools in its two-mile (3.2-kilometer) service radius by getting its own fleet of small buses<!-- , driven by specially-trained volunteers -->. Staff are encouraged to bike to work, and the basement includes showers and locker rooms for commuter support. <o:p></o:p></span></p> <p><span style=";font-family:Arial;font-size:100%;" >The center's Galvalume® corrugated steel roofing and siding is made from 80-percent recycled content and will be fully recyclable at the end of its life, which should be long and low in maintenance. <o:p></o:p></span><!-- preformatted body content end --></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >The center's gray-water system was challenging to plumb in a way that complied with current local building codes. Cisterns in the garage store up to 350 gallons of rainwater collected from the south-facing roof areas. To meet code, that water is treated onsite to drinking standards, and then used for flushing toilets. Overflow is directed to outdoor rain barrels and then underground to the pond via a pipe. The north-facing roof areas send water to a rain garden behind the building, with a path of porous Ecocrete™. The front driveway guides rain toward native plantings along the front walk.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >Ken Leinbach and the project team searched and repeatedly found local used materials, from the wood floor of a old school gym that was given a second life on the Center's second floor, to the signature bricks of local brick makers — representing an industry with a long history in <st1:city st="on"><st1:place st="on">Milwaukee</st1:place></st1:city> — which decorate the main atrium chimney.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >As it turned out, these reclaimed materials brought with them priceless stories, threads of cultural continuity that could not have simply been purchased. In addition to their own physical history, in several cases the presence of specific salvaged materials led to human connections with the center for people who had had known them in past material lives. Small signs posted around the building share some of these reclaimed material stories.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >For instance, the maple floor of the second story main space resonates for community members who lived with it, maybe went to their first dance, or an important basketball game, at the local school where the boards had served before.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >Shortly after the building was finished and the expansive floor was revealed, it was recognized as filling a community void — there hadn't been a place to have local dances with all the life and enjoyment brought by a great old-fashioned wood floor.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >Now the Center regularly hosts community dancing — and of course more people are exposed to the center and its goals. It was one of the many surprises to Ken that grew out of his thoughtful way of putting the center project together. He had no way of knowing just how far the construction project could go in connecting community to the organization.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >Old bricks in the central chimney that helps warm the core of the building proudly display historic brick-maker names. On a tour of the newly-built center, one participant recognized her own family name on a brick. She asked Ken if he had any more of those bricks, hoping to reconnect to some of her family history.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >Within weeks of the request, a different community member, clearing out his garage, offered Ken some additional bricks. One of those bricks matched the earlier visitor's family name. Ken was able to return this family artifact to her, found a new supporter for the center, and added another piece to the the larger story the <st1:place st="on"><st1:placename st="on">Urban</st1:placename> <st1:placename st="on">Ecology</st1:placename> <st1:placetype st="on">Center</st1:placetype></st1:place> gives to us.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:100%;"><b style=""><span style="font-family:Arial;">Guiding Lenses for Project Choices<o:p></o:p></span></b></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >Ken Leinbach explained a set of six filters or "guiding lenses" which were used by the <st1:place st="on"><st1:placename st="on">Urban</st1:placename> <st1:placename st="on">Ecology</st1:placename> <st1:placetype st="on">Center</st1:placetype></st1:place> to help with decision making throughout their building project.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:100%;"><b style=""><span style="font-family:Arial;"># Program and Fun Factor</span></b></span><span style=";font-family:Arial;font-size:100%;" ><span style=""> </span>Can we make this decision in a way that will help, enhance, or add support to our organizational program offerings? How? Is there a way this could make our space more fun?<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:100%;"><b style=""><span style="font-family:Arial;"># Environment</span></b></span><span style=";font-family:Arial;font-size:100%;" ><span style=""> </span>If our great grandchildren, seven generations out, were sitting here at the table with us, would they approve of this decision? If the coyote or the deer out in the meadow had a presence at the table with us, would they approve?<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:100%;"><b style=""><span style="font-family:Arial;"># Aesthetics</span></b></span><span style=";font-family:Arial;font-size:100%;" ><span style=""> </span>Will this be aesthetically pleasing? We want people to come back over and over again, and don't want to sacrifice beauty for a purely functional, sustainable building.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >For example, they chose cedar window treatments over alternatives that were visually less interesting. Although the cedar was considered sustainable, it was not the most environmentally friendly option.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:100%;"><b style=""><span style="font-family:Arial;"># Politics</span></b></span><span style=";font-family:Arial;font-size:100%;" ><span style=""> </span>Is this choice in keeping with a culture of respect for our neighbors?<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >Since the Urban Ecology Center is located on government land and adjacent to a residential neighborhood, this filter came into play especially with questions of building placement and the height of the tower. It was also applied to such issues as making sure the kitchen was fully up to commercial code, which prevented use of a particular eco-friendly flooring product. Labor practices of some building product manufacturers also came into play.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:100%;"><b style=""><span style="font-family:Arial;"># Budget</span></b></span><span style=";font-family:Arial;font-size:100%;" ><span style=""> </span>Can this choice be made in a way that helps our budget? Is there a way to make this choice about saving money that can enhance the life of the project?<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" >This was asked cyclically throughout the <st1:place st="on"><st1:placename st="on">Urban</st1:placename> <st1:placename st="on">Ecology</st1:placename> <st1:placetype st="on">Center</st1:placetype></st1:place> project, so it helped optimize creative opportunities to help the project funding go farther. The result is an especially low cost building that is especially full of life and beauty.<o:p></o:p></span></p> <p class="MsoNormal"><span style=";font-family:Arial;font-size:100%;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:100%;"><b style=""><span style="font-family:Arial;"># Time</span></b></span><span style=";font-family:Arial;font-size:100%;" ><span style=""> </span>Does making this choice add time to the project schedule?</span></p><span style="font-size:100%;"><br /></span><p class="MsoNormal"><span style="font-size:100%;"><br /></span></p><p class="MsoNormal"><span style="font-size:100%;">Source : <a href="http://www.architectureweek.com/2007/1128/environment_1-2.html">___</a><br /></span><span style=";font-family:Arial;font-size:100%;" ><o:p></o:p></span></p>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-22744718858829385572007-12-04T14:28:00.000+07:002008-12-10T15:22:14.585+07:00House Recycling<span style="font-family: arial;font-family:arial;font-size:100%;" >by Bob Falk and Brad Guy</span><span style="font-size:100%;"><br /><br /><br /><a style="font-family: arial;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_YStBSI-sMoA/R1UCjC_5ZeI/AAAAAAAAAB0/BrYC8x-Bfus/s1600-h/13496_image_2.150.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 171px; height: 171px;" src="http://1.bp.blogspot.com/_YStBSI-sMoA/R1UCjC_5ZeI/AAAAAAAAAB0/BrYC8x-Bfus/s320/13496_image_2.150.jpg" alt="" id="BLOGGER_PHOTO_ID_5140017350836839906" border="0" /></a><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >Depending on your generation, you may have been taught: "Waste not, want not." Thrift is certainly one incentive for deconstructing buildings for reuse. In addition, many of us are motivated by a desire to be environmentally sensitive, a fondness for antiques and other items from the past, a yearning to have more control over the quality of materials used in construction, or a recognition that many of the materials available for salvage are of higher quality than those produced today.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >As with many environmentally conscious activities, deconstruction and building-material reuse offer a direct and measurable way to reduce one's negative effect on the planet. Building construction, use, and maintenance make up a resource-intensive business.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >In the United States, the construction, use, maintenance, and disposal of houses are responsible for nearly a half of the country's energy use. According to the U.S. Geological Survey, about 60 percent of all material (except food and fuel) used in the economy each year is consumed by the construction industry.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >There are many opportunities to reclaim and reuse building materials. In 1996, the U.S. Environmental Protection Agency (EPA) estimated that the equivalent of 250,000 single-family homes are disposed of each year. This represents an estimated 1 billion-plus board feet (2.4 million cubic meters) of available salvageable structural lumber, or about 3 percent of our annual softwood timber harvest.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >Reusing this lumber could save 4,250,000 trees on 150,000 acres (61,000 hectares) of timberland every year. The amount of recoverable materials is even greater if you add nonstructural building products, such as the millions of windows, doors, and fixtures and the thousands of miles of trim work, siding, and flooring available.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >Not only does unbuilding (and the reuse of building materials) save resources but it can also yield higher-quality materials than are available today. Much of the salvaged lumber available through deconstruction is from the decades of old-growth harvesting — so the wood is higher in density and has fewer defects — which represents a resource largely unavailable today.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >In old factories, silos, and water tanks you can find high-quality heart pine, redwood, and fir timbers; in old barns, pine, chestnut, and oak; and in older school bleachers and benches, quality maple and fir. Factories, farms, and industrial buildings aren't the only sources of such materials; high-quality wood can also be found in millions of older houses.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >In nearly every community, wood flooring, windows, doors, cabinets, and lumber can be salvaged. If you keep your eyes open, high-quality architectural materials, including hardware, period lighting, elaborate bracketry, and trim are also readily available.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >Not an Alternative to Preservation</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >We hope you consider deconstruction only when building preservation or adaptation is not an option. Most buildings are not historically significant; however, it's best if you determine that before deconstruction. Historic preservation typically is invoked only to protect a significant historic, archaeological, or cultural resource.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >We suggest that when preservation of the whole structure is not possible, unbuilding can at least serve as "preservation in pieces" to recover significant construction materials and design features. In some cases, a building shell or only the street front will be retained to preserve historic building character in a community, while the rest is removed to allow for a modern interior.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >Given the selective nature of these projects and the care needed to avoid damaging the parts that might remain, unbuilding is a viable solution. In these situations, the original materials can often be directly incorporated in the preserved building.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >Unbuilding is a good step in preserving resources and avoiding waste; it is directly in line with the tenets of "green building." A simple raised wood-floor, wood-framed older house can weigh 50 pounds per square foot (244 kilogram per square meter). A 1,500-square-foot (140-square-meter) light wood-frame building can therefore weigh more than 37 tons (34 metric tons) or the volume of about three 40-cubic-yard (31-cubic meter) container loads.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >In addition to these raw materials of the building, there are also the original materials consumed to make the finished building materials and the energy and pollution resulting from extraction, processing, and transportation at different stages of manufacture.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >The waste itself becomes a burden in the landfill, consuming land and potentially leaching into soils and groundwater. By deconstructing, you are also doing your neighbors the very simple favor of extending the life of your local landfill.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >The United States is one of the most consumptive nations on the planet. According to John Ryan and Alan Durning's book, Stuff: The Secret Lives of Everyday Things, the average American consumes about 120 pounds (54 kilograms) of natural resources each day. With only about 5 percent of the world's population, the United States consumes about 24 percent of the world's energy. Unbuilding can help decrease this percentage through the direct reuse of building products.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >With a greater realization of the positive effects of greener building practices, the use of recovered materials is typically rewarded in the many green building certification programs that have appeared in recent years.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >Organizations such as the U.S. Green Building Council, the National Association of Home Builders, and the National Association of the Remodeling Industry have all developed green programs for use by the commercial and the residential building markets.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >A green-building certification provides not only a perception of quality but also real energy savings and increased value on a new or renovation project over the long term. More and more municipalities are considering policies and ordinances requiring building deconstruction to be considered along with traditional demolition and disposal.</span><span style="font-size:100%;"><br /><br /></span><span style="font-weight: bold; font-family: arial;font-family:arial;font-size:100%;" >Reuse vs. Recycling</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >The "three Rs" of waste reduction are, in order of priority: reduce, reuse, recycle. This hierarchy suggests that to be as environmentally benign as possible we should first reduce our level of material use, then reuse as many materials as possible, and finally recycle what can't be reused.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >Unbuilding focuses on the reuse and recycling portion of the three Rs, and it's important to make a distinction between these activities. Reuse is the heart of the deconstruction effort, by which the primary focus is to maintain the material or component in its original form. This might include some cleaning, removal, or replacement of some part.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >The intent is to move these salvaged building materials directly back into new construction or remodeling: a used door in place of a new door, a used window instead of a new window, a salvaged joist rather than a new one, and so on. Or the salvaged materials can be used in a new way: a used door becomes a wall panel, a window serves as a cabinet front, or the floor joist is now a wall stud.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >Recycling, on the other hand, is a more indirect use of materials and typically involves changing the form of the material for use as an entirely new material. For example, we wouldn't reuse a concrete pillar from an old building in a new building. It's not practical. However, it is very practical to break up that pillar and recycle the concrete and steel rebar into other uses, such as in roadbeds and new cars, respectively.</span><span style="font-size:100%;"><br /><br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >Unbuilding and its associated reuse are very well suited to wood-framed construction, where most materials can be reused. Demolition and its associated emphasis on recycling are well suited to concrete and steel construction, whose materials are difficult or impossible to directly reuse, and breaking down these materials is an inherent part of the recycling process.<br /><br />Source : <a href="http://www.architectureweek.com/2007/0530/environment_1-1.html">___</a><br /></span>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-13624637258388455902007-12-04T14:08:00.001+07:002007-12-15T13:47:01.112+07:00Art of Asia: Architecture - Four Asian Rooms, Part 2<div xmlns='http://www.w3.org/1999/xhtml'><p><object height='350' width='425'><param value='http://youtube.com/v/k6F6JZsOB8U' name='movie'/><embed height='350' width='425' type='application/x-shockwave-flash' src='http://youtube.com/v/k6F6JZsOB8U'/></object></p></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-81015548472519431922007-12-04T14:07:00.001+07:002007-12-15T13:47:31.253+07:00Art of Asia: Architecture - Four Asian Rooms, Part 1<div xmlns='http://www.w3.org/1999/xhtml'><p><object height='350' width='425'><param value='http://youtube.com/v/z3L23_wCt8s' name='movie'/><embed height='350' width='425' type='application/x-shockwave-flash' src='http://youtube.com/v/z3L23_wCt8s'/></object></p></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-27893904836477583812007-12-04T14:05:00.001+07:002007-12-15T13:51:37.284+07:00Chinese Architecture, Ceramics, Clocks and Calliigraphy<div xmlns='http://www.w3.org/1999/xhtml'><p><object height='350' width='425'><param value='http://youtube.com/v/R0cwObiK4BQ' name='movie'/><embed height='350' width='425' type='application/x-shockwave-flash' src='http://youtube.com/v/R0cwObiK4BQ'/></object></p></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-44191108085164830372007-12-04T13:58:00.001+07:002007-12-15T13:52:29.786+07:00JAPANESE ARCHITECTURE<div xmlns='http://www.w3.org/1999/xhtml'><p><object height='350' width='425'><param value='http://youtube.com/v/HxuGO2mo68k' name='movie'/><embed height='350' width='425' type='application/x-shockwave-flash' src='http://youtube.com/v/HxuGO2mo68k'/></object></p></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-8932926408328187262007-12-04T13:57:00.001+07:002007-12-15T13:54:06.910+07:00GREEN ARCHITECTURE<div xmlns='http://www.w3.org/1999/xhtml'><p><object height='350' width='425'><param value='http://youtube.com/v/A2bYPFKlKeo' name='movie'/><embed height='350' width='425' type='application/x-shockwave-flash' src='http://youtube.com/v/A2bYPFKlKeo'/></object></p></div>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-48474740756683829532007-12-03T15:49:00.000+07:002008-12-10T15:22:14.899+07:00Architecture Review : Pride and Nostalgia Mix in The Times’s New Home<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_YStBSI-sMoA/R1PFES_5ZdI/AAAAAAAAABk/SV1wlC3fZbg/s1600-R/20time2_lg.jpg"><img style="margin: 0pt 10px 10px 0pt; 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margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:612.0pt 792.0pt; margin:72.0pt 90.0pt 72.0pt 90.0pt; mso-header-margin:35.4pt; mso-footer-margin:35.4pt; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} </style> <![endif]--> <p class="MsoNormal"><span style="font-family:arial;">Writing about your employer’s new building is a tricky task. If I love it, the reader will suspect that I’m currying favor with the man who signs my checks. If I hate it, I’m just flaunting my independence.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;">So let me get this out of the way: As an employee, I’m enchanted with our new building on <st1:street st="on"><st1:address st="on">Eighth Avenue</st1:address></st1:street>. The grand old 18-story neo-Gothic structure on <st1:street st="on"><st1:address st="on">43rd Street</st1:address></st1:street>, home to The New York Times for nearly a century, had its sentimental charms. But it was a depressing place to work. Its labyrinthine warren of desks and piles of yellowing newspapers were redolent of tradition but also seemed an anachronism.</span></p><p class="MsoNormal"><br /><span style="font-family:arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;">The new 52-story building between 40th and 41st Streets, designed by the Italian architect Renzo Piano, is a paradise by comparison. A towering composition of glass and steel clad in a veil of ceramic rods, it delivers on Modernism’s age-old promise to drag us — in this case, The Times — out of the Dark Ages.</span></p><p class="MsoNormal"><br /><span style="font-family:arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;">I enjoy gazing up at the building’s sharp edges and clean lines when I emerge from the subway exit at 40th Street <st1:street st="on"><st1:address st="on">and Seventh Avenue</st1:address></st1:street> in the morning. I love being greeted by the cluster of silvery birch trees in the lobby atrium, their crooked trunks sprouting from a soft blanket of moss. I even like my fourth-floor cubicle, an oasis of calm overlooking the third-floor newsroom.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><br /></p><p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Yet the spanking new building is infused with its own nostalgia.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">The last decade has been a time of major upheaval in newspaper journalism, with editors and reporters fretting about how they should adapt to the global digital age. In <st1:state st="on"><st1:place st="on">New York</st1:place></st1:state> that anxiety has been compounded by the terrorist attacks of 2001, which prompted many corporations to barricade themselves inside gilded fortresses.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Mr. Piano’s building is rooted in a more comforting time: the era of corporate Modernism that reached its apogee in <st1:state st="on"><st1:place st="on">New York</st1:place></st1:state> in the 1950s and 60s. If he has gently updated that ethos for the Internet age, the building is still more a paean to the past than to the future.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">What makes a great <st1:state st="on"><st1:place st="on">New York</st1:place></st1:state> skyscraper? The greatest of them tug at our heartstrings. We seek them out in the skyline, both to get our bearings and to anchor ourselves psychologically in the life of the city.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Mr. Piano’s tower is unlikely to inspire that kind of affection. The building’s most original feature is a scrim of horizontal ceramic rods that diffuses sunlight and lends the exterior a clean, uniform appearance. Mr. Piano used a similar screening system for his 1997 <st1:placename st="on">Debis</st1:placename> <st1:placetype st="on">Tower</st1:placetype> for Daimler-Benz in <st1:state st="on"><st1:place st="on">Berlin</st1:place></st1:state>, to mixed results. For The Times, he spent months adjusting the rods’ color and scale, and in the early renderings they had a lovely, ethereal quality.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Viewed from a side street today, they have the precision and texture of a finely tuned machine. But despite the architect’s best efforts, the screens look flat and lifeless in the skyline. The uniformity of the bars gives them a slightly menacing air, and the problem is compounded by the battleship gray of the tower’s steel frame. Their dull finish deprives the facades of an enlivening play of light and shadow.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">The tower’s crown is also disappointing. To hide the rooftop’s mechanical equipment and create the impression that the tower is dissolving into the sky, Mr. Piano extended the screens a full six stories past the top of the building’s frame. Yet the effect is ragged and unfinished. Rather than gathering momentum as it rises, the tower seems to fizzle.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">But if the building is less than spectacular in the skyline, it comes to life when it hits the ground. All of Mr. Piano’s best qualities are in evidence here — the fine sense of proportion, the love of structural detail, the healthy sense of civic responsibility.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">The architect’s goal is to blur the boundary between inside and out, between the life of the newspaper and the life of the street. The lobby is encased entirely in glass, and its transparency plays delightfully against the muscular steel beams and spandrels that support the soaring tower.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;">People entering the building from Eighth Avenue can glance past rows of elevator banks all the way to the fairy tale atrium garden and beyond, to the plush red interior of TheTimesCenter auditorium. From the auditorium, you gaze back through the trees to the majestic lobby space. In effect, the lobby itself is a continuous public performance.</span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">The sense of transparency is reinforced by the people streaming through the lobby. The flow recalls the dynamic energy of Grand Central Terminal’s Great Hall or the <st1:place st="on"><st1:placename st="on">Rockefeller</st1:placename> <st1:placetype st="on">Center</st1:placetype></st1:place> plaza, proud emblems of early-20th-century mobility.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Architecturally, however, The New York Times Building owes its greatest debt to postwar landmarks like Skidmore, Owings & Merrill’s Lever House or Mies van der Rohe’s <st1:placename st="on">Seagram</st1:placename> <st1:placetype st="on">Building</st1:placetype> — designs that came to embody the progressive values and industrial power of a triumphant <st1:country-region st="on"><st1:place st="on">America</st1:place></st1:country-region>. Their streamlined glass-and-steel forms proclaimed a faith in machine-age efficiency and an open, honest, democratic society.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Newspaper journalism, too, is part of that history. Transparency, independence, the free flow of information, moral clarity, objective truth — these notions took hold and flourished in the last century at papers like The Times. To many this idealism reached its pinnacle in the period stretching from the civil rights movement to the Vietnam War to Watergate, when journalists grew accustomed to speaking truth to power, and the public could still accept reporters as impartial observers.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;">This longing for an idealistic time permeates the main newsroom. Pierced by a double-height skylight well on the third and fourth floors, the newsroom has a cool, insular feel even as the facades of the surrounding buildings press in from the north and south. The well functions as a center of gravity, focusing attention on the paper’s nerve center. From many of the desks you also enjoy a view of the delicate branches of the atrium’s birch trees.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Internal staircases link the various newsroom floors to encourage interaction. The work cubicles are flanked by rows of glass-enclosed offices, many of which are unassigned so that they can be used for private phone conversations or spontaneous meetings. Informal groupings of tables and chairs are also scattered about, creating a variety of social spaces.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">From the higher floors, which house the corporate offices of The Times and 22 floors belonging to the <st1:place st="on"><st1:placename st="on">developer</st1:placename> <st1:placetype st="on">Forest</st1:placetype> <st1:placetype st="on">City</st1:placetype></st1:place> Ratner, the views become more expansive. Cars rush up along <st1:street st="on"><st1:address st="on">Eighth Avenue</st1:address></st1:street>. Billboards and electronic signs loom from all directions. By the time you reach the 14th-floor cafeteria, the entire city begins to come into focus, with dazzling views to the north, south, east and west. A long, narrow balcony is suspended within the cafeteria’s double-height space, reinforcing the impression that you’re floating in the Midtown skyline.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Many of my colleagues complained about the building at first. There’s too much empty space in the newsroom, some groused; they missed the intimacy of the old one. The glass offices look sterile, and no one will use them, some said.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">I suspect they’ll all adjust. One of the joys of working in an ambitious new building is that you can watch its personality develop. From week to week, you see more and more lone figures chatting on cellphones in the small glass offices with their feet atop a table. And even my grumpiest colleagues now concede that a little sunlight and fresh air are not a bad thing.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Even so, you never feel that the building embraces the future wholeheartedly. Rather than move beyond the past, Mr. Piano has fine-tuned it. The most contemporary features — the computerized louvers and blinds that regulate the flow of light into the interiors — are technological innovations rather than architectural ones; the regimented rows of identical wood-paneled cubicles chosen by the interior design firm Gensler could be a stage set for a 2007 remake of “All the President’s Men,” minus the 1970s hairstyles.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Maybe this accounts for the tower’s slight whiff of melancholy.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Few of today’s most influential architects buy into straightforward notions of purity or openness. Having witnessed an older generation’s mostly futile quest to effect social change through architecture, they opt for the next best thing: to expose, through their work, the psychic tensions and complexities that their elders sublimated. By bringing warring forces to the surface, they reason, a building will present a franker reading of contemporary life.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;">Journalism, too, has moved on. Reality television, anonymous bloggers, the threat of ideologically driven global media enterprises — such forces have undermined newspapers’ traditional mission. Even as journalists at The Times adjust to their new home, they worry about the future. As advertising inches decline, the paper is literally shrinking; its page width was reduced in August. And some doubt that newspapers will even exist in print form a generation from now.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;">Depending on your point of view, the <st1:place st="on"><st1:placename st="on">Times</st1:placename> <st1:placetype st="on">Building</st1:placetype></st1:place> can thus be read as a poignant expression of nostalgia or a reassertion of the paper’s highest values as it faces an uncertain future. Or, more likely, a bit of both.</span></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><span style="font-family:arial;">Source : <a href="http://www.nytimes.com/2007/11/20/arts/design/20time.html?_r=1&oref=slogin">___</a><br /></span></p>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-34671694608856280172007-12-03T15:36:00.000+07:002007-12-15T13:56:35.483+07:00Top 7 Architecture Book Collections<meta equiv="Content-Type" content="text/html; charset=utf-8"><meta name="ProgId" content="Word.Document"><meta name="Generator" content="Microsoft Word 11"><meta name="Originator" content="Microsoft Word 11"><link rel="File-List" href="file:///C:%5CDOCUME%7E1%5CCIPTAK%7E1%5CLOCALS%7E1%5CTemp%5Cmsohtml1%5C01%5Cclip_filelist.xml"><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="156"> </w:LatentStyles> </xml><![endif]--><style> <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} h3 {mso-margin-top-alt:auto; margin-right:0cm; mso-margin-bottom-alt:auto; margin-left:0cm; mso-pagination:widow-orphan; mso-outline-level:3; font-size:13.5pt; font-family:"Times New Roman"; font-weight:bold;} a:link, span.MsoHyperlink {color:blue; text-decoration:underline; text-underline:single;} a:visited, span.MsoHyperlinkFollowed {color:purple; text-decoration:underline; text-underline:single;} p {mso-margin-top-alt:auto; margin-right:0cm; mso-margin-bottom-alt:auto; margin-left:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:612.0pt 792.0pt; margin:72.0pt 90.0pt 72.0pt 90.0pt; mso-header-margin:36.0pt; mso-footer-margin:36.0pt; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} </style> <![endif]--> <p><span style="font-family:arial;font-size:100%;">From <span style="color: rgb(51, 51, 255);"><b><a href="http://architecture.about.com/library/blbr-submit.htm">Submit a Book Review</a></b></span><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;">From the thousands of books on architecture and home design, we've scouted out the very best. This index lists favorite titles in a wide range of categories. Included are floor plan collections, reference works, books for architecture students, and -- for lighter reading -- lively fiction in which architecture is the hero.<o:p></o:p></span></p> <h3><span style="font-family:arial;font-size:100%;">1. <a href="http://architecture.about.com/cs/magazines/tp/homeownerbooks.htm">Books for Homeowners, Home Builders, and Home Remodeliers</a><o:p></o:p></span></h3> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;">Everything you need to know to build or remodel your home: Construction guides, how-to resources, building cost estimators, house plans, building plans, and books on choosing paint colors, building decks, and other home remodeling projects. <o:p></o:p></span></p> <h3><span style="font-family:arial;font-size:100%;">2. <a href="http://architecture.about.com/od/gifts/tp/giftbooks.htm">Photo Books and Gift Books</a><o:p></o:p></span></h3> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;">Give these for gifts or keep them for yourself. These "coffee table" books have lush photographs of the world's great buildings, from ancient castles to modern skyscrapers.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;"><o:p></o:p></span></p> <h3><span style="font-family:arial;font-size:100%;">3. <a href="http://architecture.about.com/cs/magazines/tp/studentbooks.htm">Books for Architecture Students</a><o:p></o:p></span></h3> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;">For university students, essential reference books, books on architecture theory, and exam study manuals for architecture, engineering, and related fields.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;"><o:p></o:p></span></p> <h3><span style="font-family:arial;font-size:100%;">4. <a href="http://architecture.about.com/library/weekly/aa080299.htm">Fiction About Architecture</a><o:p></o:p></span></h3> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;">Architecture is the hero in these fun novels. Skyscrapers, haunted houses, and other buildings help shape the story and, sometimes, architects are the heroes (or villains).<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;"><o:p></o:p></span></p> <h3><span style="font-family:arial;font-size:100%;">5. <a href="http://architecture.about.com/cs/teacheraidsk12/tp/">Architecture Books for Kids and Classrooms</a><o:p></o:p></span></h3> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;">For small tots, school children, and teenagers, these books are fun and educational. Parents and teachers will find this list helpful to select age-appropriate books about architecture and home design. <o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;"><o:p></o:p></span></p> <h3><span style="font-family:arial;font-size:100%;">6. <a href="http://architecture.about.com/cs/greenconcepts/tp/healthyhome.htm">Books on Healthy Design and Green Architecture</a></span><span style="font-size:100%;"><a href="javascript:void(0)" tabindex="10" onclick="return false;"><span>Publish Post</span></a></span></h3> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;">Books and building guides for buildings that use non-toxic, allergy-safe, eco-friendly materials and practices.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;"><o:p></o:p></span></p> <h3><span style="font-family:arial;font-size:100%;">7. <a href="http://architecture.about.com/od/communitydesign/tp/urbanbooks.htm">Books About Cities and Towns</a><o:p></o:p></span></h3> <p class="MsoNormal"><span style="font-family:arial;font-size:100%;">It is human nature to seek utopia. Architects and town planners have developed many theories on how to build the ideal cities and towns. A group of designers known as "New Urbanists" are proposing ways to minimize sprawl and create "people-friendly" communities. Here are the classic texts about New Urbanism and City and Town Design, along with a few of our favorites.</span></p><p class="MsoNormal"><span style="font-family:arial;font-size:100%;"><br /></span></p><p class="MsoNormal"><span style="font-family:arial;font-size:100%;">Source : <a href="http://architecture.about.com/od/publishers1/tp/bookstore.htm">___</a></span><span style="font-size:100%;"><br /></span><span style="font-family:arial;font-size:100%;"><o:p></o:p></span></p>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-29056933885831964502007-12-03T14:08:00.000+07:002008-12-10T15:22:15.615+07:00GREEN ARCHITECTURE TO ROTTERDAM<span style="font-weight: bold;font-size:100%;" >*******URBAN CACTUS</span><span style="font-size:100%;"><br />is a housing project in the Vuurplaat section of Rotterdam by UCX Architects / Ben Huygen and Jasper Jaegers and done for Vestia Rotterdam Feijenoord/Estrade Projecten.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_YStBSI-sMoA/R1O15i_5ZYI/AAAAAAAAAA8/TO7WUFpeDtg/s1600-R/ucxarchitects-73-04.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://1.bp.blogspot.com/_YStBSI-sMoA/R1O15i_5ZYI/AAAAAAAAAA8/yWyxUyx2m_c/s320/ucxarchitects-73-04.jpg" alt="" id="BLOGGER_PHOTO_ID_5139651600011847042" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_YStBSI-sMoA/R1O15i_5ZZI/AAAAAAAAABE/WY89eO9WzF0/s1600-R/ucxarchitects-73-02.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://1.bp.blogspot.com/_YStBSI-sMoA/R1O15i_5ZZI/AAAAAAAAABE/Gm33_gL-y4M/s320/ucxarchitects-73-02.jpg" alt="" id="BLOGGER_PHOTO_ID_5139651600011847058" border="0" /></a><br /><br />They placed the 98 residential units on 19 floors, using the pattern of outdoor spaces to determine the overall appearance of the project.<br /><br />The slightly irregular pattern alternates these outdoor spaces to create what are in effect double-height spaces. Each unit then receives more sunlight than a typical stacked composition.<br /><br />Also the terrace area might be equivalent to a constant depth extended around the perimeter (say two meters), but their configuration creates larger "rooms" for gardening and for enjoying the outdoors and the city views.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_YStBSI-sMoA/R1O15y_5ZaI/AAAAAAAAABM/2lj7Q8RShgo/s1600-R/HD30c.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://2.bp.blogspot.com/_YStBSI-sMoA/R1O15y_5ZaI/AAAAAAAAABM/JK61A9R-cfw/s320/HD30c.jpg" alt="" id="BLOGGER_PHOTO_ID_5139651604306814370" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_YStBSI-sMoA/R1O16i_5ZbI/AAAAAAAAABU/5b2z5u2cn_E/s1600-R/HD30b.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://1.bp.blogspot.com/_YStBSI-sMoA/R1O16i_5ZbI/AAAAAAAAABU/qQYzPdGVfJU/s320/HD30b.jpg" alt="" id="BLOGGER_PHOTO_ID_5139651617191716274" border="0" /></a><br /><br />Links:<br /><br /> :: UCX architects<br /> :: Estrade<br /><br />Originally Post By <a href="http://joakimpaz.multiply.com/">___</a></span>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0tag:blogger.com,1999:blog-7511408300348488886.post-45831733709517958722007-12-03T12:03:00.001+07:002008-12-10T15:22:15.996+07:00REM KOOLHAAS BALLOON<span style="font-family:arial;font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_YStBSI-sMoA/R1OQLy_5ZWI/AAAAAAAAAAk/KxMkN9URZmg/s1600-R/serpentine.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_YStBSI-sMoA/R1OQLy_5ZWI/AAAAAAAAAAk/lKqmiJjgF5A/s320/serpentine.jpg" alt="" id="BLOGGER_PHOTO_ID_5139610132102604130" border="0" /></a><br /><br /></span><span style="font-weight: bold;font-family:arial;font-size:100%;" >London-Serpentine Gallery Pavilion 2006</span><span style="font-family:arial;font-size:100%;"><br />Designed by Rem Koolhaas and<br />Cecil Balmond, with Arup<br />July – October 2006<br /><br />This year's Serpentine Pavilion is co-designed by Pritzker Prize-winning architect Rem Koolhaas and innovative structural designer Cecil Balmond.<br />The centrepiece of the design is a spectacular ovoid-shaped inflatable canopy that will float above the Gallery's lawn. Made from translucent material, the structure will be illuminated from within at night. The canopy will be raised into the air or lowered to cover the amphitheatre below according to the weather.<br />|<br />The walled enclosure below the canopy will be used as a café and forum for daily televised and recorded public programmes including live talks and film screenings. The highlights will include two 16-hour events, bringing together leading artists, writers and thinkers to map the culture of London. This series of events will be a collaboration between Rem Koolhaas and Hans Ulrich Obrist.<br /><br />A major exhibition of works by the German artist, Thomas Demand, will be on show at the Serpentine during this period. Demand is developing work to be included in the Serpentine Gallery Pavilion 2006.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_YStBSI-sMoA/R1OQLy_5ZXI/AAAAAAAAAAs/WOJ1I2g-RR0/s1600-R/serpentine2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_YStBSI-sMoA/R1OQLy_5ZXI/AAAAAAAAAAs/ugKa_Ip4Xds/s320/serpentine2.jpg" alt="" id="BLOGGER_PHOTO_ID_5139610132102604146" border="0" /></a><br />Rem Koolhaas said: "The 2006 Serpentine Pavilion will be defined by events and activities. We are proposing a space that facilitates the inclusion of individuals in communal dialogue and shared experience."<br /><br />Cecil Balmond said: "These Pavilions have evolved with various structural typologies and materials, provoking a debate on architecture; this year the exploration continues not only with typology and material but with the very definition of Pavilion".<br /><br />Originally Post By <a href="http://joakimpaz.multiply.com/">___</a></span>ianimaru..http://www.blogger.com/profile/06025122538850488347noreply@blogger.com0