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HK Cultural Centre, completed in 1989. Kowloon, Hong Kong.
"The new Hong Kong Cultural Center stands on one of Hong Kong's finest waterfront sites, looking out over Victoria Harbor with its quaint wooden fishing junks and busy passenger ferries parading past the colony's glistening glass and metal skyscrapers. But the $77 million center, designed by a committee of government architects, has no windows. The only opening onto one of the most magnificent waterfront views in the world is a narrow slit of glass that runs up a wall of the low, angular pink-tiled building.
While many people involved in the arts here believe that the sophisticated new center marks the colony's cultural coming of age, much of its significance has been obscured by the debate over its design. ''It is a contentious design; there is no question about that,'' said Wayne Maddern, the center's executive director. ''I would say that 90 percent of the local population don't like it.''
Prince Charles of Britain and his wife, the Princess of Wales, attended opening-day ceremonies in November. There was speculation that the Prince, an outspoken critic of modern architecture, would use the occasion to criticize the design, but he politely declined. ''I would hardly be so tactless as to impart to you my views on the architectural design of this remarkable building,'' the Prince said.
The outside of the building has been described as ''a giant ski jump,'' while the vast, windowless foyer has been compared to ''a high school gym'' and ''a shopping mall without shops.''
''The architects wanted to design a building on Victoria Harbor which made a statement, and you can't question that they succeeded in doing that,'' Mr. Maddern said wryly. Hong Kong residents, performers, critics and newspapers are criticizing everything from the center's lack of windows to the tight fit of the seats in its concert hall. The Hong Kong Philharmonic has already complained about its rehearsal hall, and local dance groups say the theater's dance floor doesn't have enough spring."
By BARBARA BASLER, Special to The New York Times
Published: January 01, 1990
Aviary, London Zoo, 1962-65
Designers; Cedric Price, Frank Newby, Lord Snowdon.
Within the aviary.
More on Cedric Price here.
For Konstantin Mel'nikov's iconic design, with numerous photos, sketches, models, and reconstructions, please see: wp.me/pgGDG-2Tk
Earlier work by the designer of London's Shard skyscraper, Genova native Renzo Piano.
Genoa has become a sort of capital of the Italian modern architecture, as well as European. This is principally owed to Renzo Piano's work, that since the end of the 1980s has been dealing with the restoration of some of the most famous cities of the world. Piano acquired notoriety as from 1992, when Genoa hosted visitors in its Old Harbour, in occasion of the Columbian Celebrations (Colombiadi). The waterfront was completely restored and symbolized by the stylized Great Bigo (a sort of trademark of the genoese portual activity). Beyond a complete restyling of the area, the ancient portual zone nearby the Mandraccio opening, in Porta Siberia, was scenographically enriched by Piano himself with a big sphere made of metal and glass, installed in the port's waters, not far from the Acquario, and unveiled in 2001 in occasion of the G8 Summit held in Genoa. The sphere (called by the citizens Piano's bubble' or the ball'), after hosting an exposition of fens from Genoa's Botanical Gardens, houses now the reconstruciton of a tropical environment, with several plants, little animals and butterflies.
For Konstantin Mel'nikov's iconic design, with numerous photos, sketches, models, and reconstructions, please see: wp.me/pgGDG-2Tk
20240609-8029
Door deze metalen cirkels lopen rode of blauwe buizen waarin verlichting zit. Ik neem aan dat dit 's avonds een spectaculair gezicht moet zijn.
Frankfurt am Main. Begin van een 14 daagse vakantie in Duitsland.
Met een Interrail-pass Frankfurt, Würzburg, Dresden en Berlijn bezocht.
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Aviary, London Zoo, 1962-65
Designers; Cedric Price, Frank Newby, Lord Snowdon.
More on Cedric Price here.
For Konstantin Mel'nikov's iconic design, with numerous photos, sketches, models, and reconstructions, please see: wp.me/pgGDG-2Tk
downstairs the station for the pedestrian ferry to and from Rio de Janeiro and Niteroi, Brazil, and on top the Olimpo restaurant (fantastic food)
The Swiss Reinsurance Company Limited – also known as Swiss Re, 30 St Mary Axe, and Gherkin - is a classic example of contemporary architecture.
For Konstantin Mel'nikov's iconic design, with numerous photos, sketches, models, and reconstructions, please see: wp.me/pgGDG-2Tk
For Konstantin Mel'nikov's iconic design, with numerous photos, sketches, models, and reconstructions, please see: wp.me/pgGDG-2Tk
Refurbishment of a luxury apartment in Knightsbridge, London. We renovated the whole house and added a glass box extension to the rear to link the kitchen / dining room with the garden.
Architects: Stirling & Gowan
The original Patent Glazing shown here was changed later to solve practical problems. The new glazing used larger sections but unfortunately, the delicacy was lost.
www.flickr.com/photos/joseph_beuys_hat/2389715126/in/pool...
Originally TWA Flight Center, Terminal 5
John F. Kenedy International Airport (formerly Idlewild)
Eero Saarinen, architect
Completed 1962
from the Philadelphia Chapter of The Society of Architectural Historians Study Tour, 11Oct08
This house is for sale - love to see a buyer that appreciates this unique modern home.
(note the house was sold and is well loved by its new owners)
Crappy Iphone photo......lunch hour shot of her temporary pavillion in Chicago's Grant Park. Metal framed structure, with fabric skin. This woman is a genius.
Note the Jeanne Gang 'Aqua' building under construction with the Morris Lapidus undulating balconies. Two great female architects.
Essentially an art gallery exhibiting paintings and sculptures of noted artist M.F.Hussain, the Hussain Doshi Gufa in Ahmedabad is located on a campus of the Centre for Environmental Planning and Technology, while becoming a metaphor, balancing the adjunct science and architecture education institutions.
Sense of ablution, comfort conditions of the subterranean, painting abstractions reminiscent of palaeolithic art, and visual reminders of Buddhist caves from Ajanta and Ellora, all influenced the form imagery of a cave for the proposed museum.
As a human intervention and interpretation of a natural form the basic plan organization evolves out of the familiar module of an intersecting circles and ellipse. The spaces formed within are however contiguous and amorphous through inclined planes of domes, curvilinear planes of walls, undulating floors and non rectilinear leaning columns. A footprint of 280m2 nearly doubles its surface area for painting through convoluting planes. The shells, domes and skylight protrusion of various sizes and shapes float on a part buried space and eves gutters extending over ground further accentuate this feeling and anchor the object to the ground. Projecting skylights and skin cutout not only illuminate the spaces within but create mythic shafts and spots of light reminiscent of the galaxy and stars.
Buried spaces, earth mounds, raised volumes and china mosaic finish renders the architecture energy conscious, cutting down it’s energy intake, in an otherwise harsh hot dry climate. Material resources are further optimized through its shell like forms and ferrocement construction techniques. A simply wire mesh and mortar lined floor in a form of natural sag of cloth, evolved through scaled model studies, eliminates the need of any kind of foundation, as the basic form is continuous and efficient in optimizing the stresses and its distribution. Similar economy of material is achieved through roof shells in a form guided by computer designs which resolve stresses to minimum, requiring only an inch thick ferrocement shell without any form work. The construction is carried out with simple hand tools and by semi and unskilled workers on site.
Computer aided designs executed by the tribal, amorphous forms out of basic geometric module; dome volumes relieving and exalting the centredness suggested by the circles in plan; and internal space division through “stone henge” like columns defied by their non vertical alignment and irregular forms are some of the inherent dualities and designed dichotomies of space making to offer a multiple dimensions of mystery and surprise. A sense of discovery synonymous to early caves.
Illusions emerging out of such dualities manifest a healthy dialogue between art and architecture is a setting for art or art is an embellishment of architecture. At Hussain- Doshi Gufa they become mutual references – one animating the other.
For Konstantin Mel'nikov's iconic design, with numerous photos, sketches, models, and reconstructions, please see: wp.me/pgGDG-2Tk