View allAll Photos Tagged architect...
View through window on walk to the top, Sagrada Familia temple, architect Antonio Gaudi, Barcelona, Spain © Linda Dawn Hammond/ IndyFoto 2007
Nativity façade, East Side, Sagrada Familia Temple , architect Antonio Gaudi . Barcelona, Spain
Passion façade, West Side
Walk to top, written Sacrifici Oracio Almoina, brilliant, perpetually unfinished building, Latin Catholic.
www.sagradafamilia.cat/sf-eng/
SYMBOLOGY
Christian symbology is to be found in all Gaudí's work, but the most evident example of its application is the church, which tells the life of Jesus and the history of the faith.
To that end the church has been built over the years according to Gaudí's original idea, which expresses the Catholic faith in the architecture: Jesus and the faithful, represented by Mary, the apostles and the saints. That can be seen in the eighteen bell towers, which symbolise Jesus, the Virgin, the four evangelists and the twelve apostles; on the three facades, which represent the human life of Jesus (from birth to death), and in the interior, which suggests the celestial Jerusalem, where a set of columns, dedicated to Christian cities and continents, represent the apostles.
BEGINNINGS: 1883-1913
After undertaking the project in 1883, Gaudí built the crypt, which was finished in 1889. As he started work on the apse (and the cloister), everything went at a good pace thanks to the donations. When he received a large anonymous one, he thought of doing a new, bigger work: he discarded the old neo-Gothic project and proposed a more monumental and innovatory one in terms of both forms and structures and the construction. Gaudí’s project consisted of a large church with a Latin cross ground plan and high towers; it carried a major symbolic load, in both architectural and sculptural form, with the ultimate aim of being a catechistic explanation of the teachings of the Gospels and the Church.
In 1892 he began work on the foundations of the Nativity façade because, as he said himself, “If, instead of making this decorated, ornamented and swollen façade I had begun with the Passion, hard, bare and as if made of bone, people would have stepped back.” In 1894 the apse façade was finished and in 1899 the Roser door, one of the entrances to the Nativity cloister.
PRESENT: 1986-2010
In 2000 the vaults of the central nave and the transept were built and work began on the foundations of the Glory façade. That year, on the occasion of the new millennium, a mass was held inside the church which provided an opportunity to grasp the grandiosity of the work.
In 2001 the central window of the Passion façade was completed with the installation of a stained glass window dedicated to the resurrection, the work of Joan Vila-Grau. The four columns of the centre of the crossing were also finished.
Wikipedia
Towers
Every part of the design of La Sagrada Família is replete with Christian symbolism, as Gaudí intended the church to be the "last great sanctuary of Christendom". Its most striking aspect is its spindle-shaped towers. A total of eighteen tall towers are called for, representing in ascending order of height the Twelve Apostles, the four Evangelists, the Virgin Mary and, tallest of all, Jesus Christ. (According to the 2005 "Works Report" of the temple's official website, drawings signed by Gaudí found recently in the Municipal Archives indicate that the tower of the Virgin was in fact intended by Gaudí to be shorter than those of the evangelists, and this is the design — which the Works Report states is more compatible with the existing foundations — that will be followed. The same source explains the symbolism in terms of Christ being known through the Evangelists.) The Evangelists' towers will be surmounted by sculptures of their traditional symbols: a bull (St Luke), a winged man (St Matthew), an eagle (St John), and a lion (St Mark). The central tower of Jesus Christ is to be surmounted by a giant cross; the tower's total height (170 m) will be one metre less than that of Montjuïc (a hill in Barcelona), as Gaudí believed that his work should not surpass that of God. Lower towers are surmounted by communion hosts with sheaves of wheat and chalices with bunches of grapes, representing the Eucharist.
Façades
The Church will have three grand façades: the Nativity façade to the East, the Glory façade to the South (yet to be completed) and the Passion façade to the West. The Nativity facade was built before work was interrupted in 1935 and bears the most direct Gaudí influence. The Passion façade is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being flogged and on the crucifix. These controversial designs are the work of Josep Maria Subirachs.
Interior
Tree-like supporting pillars of roof
The church plan is that of a Latin cross with five aisles. The central nave vaults reach forty-five metres while the side nave vaults reach thirty metres. The transept has three aisles. The columns are on a 7.5 metre grid. However, the columns of the apse, resting on del Villar's foundation, do not adhere to the grid, requiring a section of columns of the ambulatory to transition to the grid thus creating a horseshoe pattern to the layout of those columns. The crossing rests on the four central columns of porphyry supporting a great hyperboloid surrounded by two rings of twelve hyperboloids (currently under construction). The central vault reaches sixty metres. The apse will be capped by a hyperboloid vault reaching seventy-five metres. Gaudí intended that a visitor standing at the main entrance be able to see the vaults of the nave, crossing, and apse, thus the graduated increase in vault loftiness.
The columns of the interior are a unique Gaudí design. Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms. The simplest example is that of a square base evolving into an octagon as the column rises, then a sixteen-sided form, and eventually to a circle. This effect is the result of a three-dimensional intersection of helicoidal columns (for example a square cross-section column twisting clockwise and a similar one twisting counter-clockwise).
[edit] Geometric details
Alpha and Omega carving at Sagrada Família entrance.
Key to the symbolism of the church.
The towers on the Nativity façade are crowned with geometrically shaped tops that are reminiscent of Cubism (they were finished around 1930), and the intricate decoration is contemporary to the style of Art Nouveau, but Gaudí's unique style drew primarily from nature, not other artists or architects, and resists categorization.
Gaudí used hyperboloid structures in later designs of the Sagrada Família (more obviously after 1914), however there are a few places on the nativity façade—a design not equated with Gaudí's ruled-surface design, where the hyperboloid crops up. For example, all around the scene with the pelican there are numerous examples (including the basket held by one of the figures). There is a hyperboloid adding structural stability to the cypress tree (by connecting it to the bridge). And finally, the "bishop's mitre" spires are capped with hyperboloid structures[3]. In his later designs, ruled surfaces are prominent in the nave's vaults and windows and the surfaces of the Passion facade.
Symbolism
Themes throughout the decoration include words from the liturgy. The towers are decorated with words such as "Hosanna", "Excelsis", and "Sanctus"; the great doors of the Passion façade reproduce words from the Bible in various languages including Catalan; and the Glory façade is to be decorated with the words from the Apostles' Creed.
Areas of the sanctuary will be designated to represent various concepts, such as saints, virtues and sins, and secular concepts such as regions, presumably with decoration to match.
Areas of the sanctuary will be designated to represent various concepts, such as saints, virtues and sins, and secular concepts such as regions, presumably with decoration to match.
My Architect commercial Video Rating: / 5 New book features the Judaic work of renown architect and artist Kenneth Treister Internationally recognized architect and artist Ken Treister's touch can be found all over his hometown of Miami, but until recently his soaring, daring designs had not
videogalleria.net/my-architect-vo-rv-042110-wmv/
Visit videogalleria.net to template videos for your business
www.landandshelter.com/ - The architect will put the designs on paper and see to it that they are fully implemented while construction.
Architects; Richard Sheppard, Robson & Partners, 1961-64.
I remember the excitement of Churchill competition particularly related to the disappointment of not seeing Stirling & Gowan's scheme getting a go ahead as their proposals were deemed to be not suitable for building in phases, one of the competition’s conditions.
Sheppard Robinson were possibly not the cutting edge of inventive architecture but they certainly knew how to build functional and pleasing buildings and there is hardly any visitor or student who is not impressed with the calm, almost ‘well worn’ gentle 'brutalism' this project still offers. I never miss the opportunity to have a walk around it when I find myself in Cambridge as the changing weather, landscaping and light conditions never fail to offer one or two delightful sights of a building which is still maturing like a good wine.
I have been anxiously waiting to see the emergence of the latest courtyard by '6a' as the result of their competition winning scheme at Churchill and would offer you a glimpse of their approach based on the birth currently in progress. The architects apparently are faithfully retaining the original theme of courtyards but impishly proceeding to dismantle it systematically. There are a number of intriguing twists to formulate an entire quiz show for some imaginary architectural programme. The questions will demand to highlight the 'contrasts' between use of materials like timber boarding and concrete surface patterns, spatial organisation of private and communal spaces for the occupants and many other 'role reversals' this scheme can rightly divulge to an intelligent architectural observer.
I might be getting a bit carried away but in a way I feel this courtyard is a parody of Stirling & Gowan's original site layout of their competition entry.
You decide for yourself but have a quick look at their proposals on
by clicking on the project for Churchill College.
Gone are the brutal concrete structural elements and rustic brickwork panels. The new structure is mostly timber frame apart from some concrete boxes for rigidity and curved plinth bases.
You may scratch your head and wonder about the context but we are entering 21st century with its own grammar and syntax.
Abandoned car and weedy car-park, back of the Foster Mills complex (Calder and Kitchen, 1898+), Cambridge. Demolished 2010.
Our landscape feasibility study to see if this quiet dead end street would be suitable for converting into a shared type space. Please see our website for more information on our Liverpool Grove project
Vans Warped Tour 2013
Gexa Energy Pavilion
Dallas, TX
8.2.13
© Rebekah Stearns Photography
Do not use without permission- rebekahs.photogrphy@gmail.com
Architects; Architects Co-Partnership. Project Architect, Kenneth Cappon. Early 60s.
When I visited the campus there was an exhibition in Hexagon celebrating 50th Anniversary of Essex University.
The writing above the door as you approach the building (which lies like an island on the major South-North pedestrian route) says;
" This is one of the early buildings and featured on postage stamp once
no one knows what to do with it, which is a pity as its a nice space"
This well presented and the successful exhibition must point towards a hint or two in answering the question posed here.
It is also worth remembering that the building seems to act as a central 'hing' and is the focal points for the
campus. Apart from being a good space it can act as a prime display window for 'town and gown', showing off
University's achievements both past and present. More exhibitions to introduce various on-going research projects
and achievements of alumina etc to residents and visitors.
"Friends of McMillan Park is a group of community volunteers who support sustainable development and long-term planning for McMillan Park and Washington, DC. We believe that historic preservation and sustainability go hand in hand, and we would love to see McMillan Park set a high standard as a great metropolitan park of the 21st century." - friendsofmcmillan.org/about-us/
---
Select photos published in The Future of D.C.'s Abandoned McMillan Park | Architect Magazine | Urban Design, Urban Development, Developers, Development, Mixed-Use Development, Historic Preservation, McMillan Park, Frederick Law Olmsted
Published in ggwash.org/view/61108/a-court-just-halted-dcs-mcmillan-de...
Project Specs
Pattern: Architect Scarf by Suzan Mischer
Pattern Source: Greetings from Knit Cafe
Yarn: Malabrigo Merino Worsted, 84 g Black (181 yds), 57 g Tuareg (123 yds), 54 g Polar Morn (117 yds), and 28 g Marine (60 yds)
Needles: US 10 Denise needles
Finished Size: 79" x 5.5"
Modifications: Changed color pattern, slipped both first and last stitches on wrong side to create smoother edges
This is the second part of my present to Kenny to go along with the Koolhaas I already made for him. The pattern couldn't be simpler!
Architects; OMA. Rem Koolhaas, Ellen van Loon
Having looked at the New Court from narrow Swithin’s Lane and the Churchyard, the views of New Court from Queen Victoria Street are easier to understand when looking at the architectural massing and volumes set against Wren’s Church.
The proportions of tallest vertical end elevation directly responding to the spire proportions with monochromatic treatment in its simplicity works well and reflect plain surfaces of Wren’s spire.
The floating pavilion raised on pilotis is the crowning piece of the new composition both visually and functionally. The rooms housed at this highest vantage point, no doubt act as a climax for visitors to this very special Bank for special clients. The slightly tilted glazed elevation hints at the presence of roof garden below, with a breathtaking view of the cityscape unrolled in front. The wedged tilting fillet facing the spire is a cheeky playful wink at Wren’s spire and deflects attention of visitors from Wrens modest Church within a touching distance to his masterpiece of St Paul’s dominating the skyline in front. The clients who no doubt will be brought here at a suitable moment, served with the best bottles Rothschild cellars can offer, will have to concede to this privilege of witnessing this culmination of centuries of experience by this old establishment which grew with all this surrounding history as they reach for the pen aiming for signing at the dotted lines.
City library De Krook, Ghent Belgium - COUSSÉE & GORIS ARCHITECTS, RCR ARQUITECTES
De Krook is the City of Ghent’s public library, a building that is both isolated and yet integrated into the urban fabric. Despite its central position, it occupies a site that was all but inaccessible until the construction of the building and layout of the public space. The library is imposing yet finds its place within the surroundings. De Krook stands on a low bank in the bend of the river Muinkschelde, and the angles of the building follow the line of the water. Thanks to the new pedestrian bridges, access routes and passageways, the renovation of the ‘winter circus’ and renewal of the nearby buildings, the library has become a focal point in the city. It is a new pole and a ‘crowd-puller’. The library is a building stacked in layers and thus makes reference to the former harbour and industrial activities on the river. The views, colours and lights of the city stream into the building. Large staircases and vertical voids across several floors break the pronounced horizontal thrust. De Krook unites the new public library and the Imec-Mict-Ugent centre for digital innovation in a single building. This sows the seed for a sort of ‘living laboratory’ for the city. The building’s metal structure is a visible presence at all points, with a level of finish that is extremely controlled and sober. De Krook is a major new component in an urban district with a high concentration of libraries, archives and museum collections.
Pieter Uyttenhove
Sou Fujimoto Architects, Manal Rachdi OXO Architectes and Nicolas Laisné Associés, Won
the first Prize for the new Learning Centre of the Ecole Polytechnique, in Paris-Saclay.
On March 16th, 2015, the Ecole Polytechnique designated Sou Fujimoto Architects, Manal
Rachdi Oxo architects and Nicolas Laisné as winners of the design competition organized
for the construction of the new Learning Centre of the Ecole Polytechnique, in Paris-Saclay.
The operation aims to design a single building where study programs will be shared
between six education and research institutions as the Ecole Polytechnique, Institut Mines-
Telecom, AgroParisTech, ENSTA ParisTech, ENSAE ParisTech and Institut d'Optique
(IOGS),
!