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After gathering input from students all day, John Dean of Leathers and Associates draws up a plan for Chatfield's new playground.
Project: Center for American Progress
USA MIllwork
Architect: OTJ Architects
General Contractor: D|Watts Construction
Architect C. F. Sparrell designed this former city hall, erected in 1895. It has been listed on the National Register of Historic Places.
Columbus, Indiana is located between Indianapolis and Louisville, Kentucky in southern Indiana's Bartholomew County. It serves as its county's seat.
Occupying what was originally a C19th warehouse, offices of Paul McAneary Architects.
This project is the result of recession economics – as young architects, survival required creative thinking beyond the drawing board – applying business to architecture – by looking at every angle, this project was conceived. PMA had outgrown its first office but were forced out due to the landlord raising the rent by 50 per cent. Paul negotiated a substantial rent free period with a new landlord in lieu of substantial transformation of his dilapidated listed warehouse building. Economically, traditional procurement would not have been feasible for PMA. The creative solution, from both design and economic perspectives was for this young architects practice to setup a design and build company – which has since went on to build 2 further small projects. On top of this the procurement of construction materials was a further economic issue. As architects we wanted the highest spec for our office but were economically challenged. Recycling was employed on a massive scale. Off cuts of reconstituted stone became the kitchen and bathroom tops. The 3.2m high glass facade of the office was even recycled from another project – making the project feasible. It has to be said that over the 2 years we have spent slowly building the office – we have probably learned more from our experiments than through any previous education by experimental building our own office. Two days after the completion of our new basement we suffered a massive flood from the building above us. The office was 200mm deep in water – we lost much research – but this was actually an opportunity for us to redesign some of the destroyed built details that we had thought of better solutions since completion – the greatest test of all. Indeed the experiments have become very important to us as a practice and they continue – as we have built, what we call our 'laboratory' – a workshop in our new basement where we constantly run tests, make mockups and explore detail before construction as well as make architectural models. A sky light has been introduced into the ground floor ceiling to the rear of the office, bringing light to the full extent of the plan. It is placed above a design room, directly above a glass box down into the basement level laboratory. This connects all the levels of the project, and providing a second shaft for architectural models to be dramatically raised through. To make the basement level functional, it was imperative to increase the height of the room and bring natural light. PMA used a special fibre reinforced concrete floor, that could be cast as a tiny 70mm thick slab – that avoided underpinning costs. The open space is designed for exhibitions and presentations, with clean light walls and completely adaptable lightng – 4 light wells and a structural glass and structural metal mesh floor will bring the maximum amount of natural light possible down, whilst connecting the two areas of the office. The ground floor facade has been developed following secure by design consultations with the Police as the passageway outside the office suffered drug dealing, prostitution, and urination due to its location on a dark back alley in London's West End. The facade is made from solid oak beams that respect its neighbours, finished entirely flush, removing many nooks that facilitated crime and the glass being full height, gives a sense of overlooking that has reduced crime level significantly. The light natural coloured facade that has oak and unpainted render has not suffered typical graffiti (it would appear graffiti artists respect the integrity of natural elements). The results of the facade, that has been installed for a few months now, is that it has changed the atmosphere of this medieval narrow pedestrian passage way and countless passers have made the effort to come and tell us of their delight and how they feel safer whilst applauding the design.
[Open House London]
the governance of metropolitan development
Santiago de Chile
the governance of metropolitan development
Santiago de Chile
Architects
ABC March 8th 2014
Glasgow, Scotland
All photos by Stacey Auld @ Music Box Unwinds.
All rights reserved. Do not remove watermark.
Palais Kranz (Argentinierstraße)
The palace is located on Argentinierstraße 25-27 in the 4th district of Vienna Wieden.
History
The palace was built in 1880 by architect Gustav Korompay together with the architect Viktor Rumpelmayer for the financier Wilhelm Zierer in neo-baroque style. Executive architect was Donatella Zifferer. The palace was as summer palace along the avenue road, as the Argentinierstraße was formerly known, set up. The by Fellner and Helmer in 1889 built glas house, refers to the original purpose. The palace was later bought by Dr. J. Kranz who, inter alia, Friedrich Ohmann with the redesign of the inner rooms commissioned. 1910, a two-storey courtyard wing was added. The palace houses since 1945 the Russian Trade Representation in Austria.
The two storey building rests on a low grooved white base area with barred basement windows. The facade is characterized by the contrast between the white architectural decoration and the light terracotta of flat the banded facade. The additive lined up seven window axes of the first floor are alternately roofed with pointed gables and arched pediments on consoles. In the lintel fields between the consoles themselves are framed by grotesque rich baroquised foliage. The upper floor has simpler segment arched windows and frames with ears. Volute consoles bear the beams of the cornice with fascia balustrade. Between the consoles runs a band with alternating at the corners concave rounded elongated rectangular windows and plaster panels with rich baroquised jewelery. The lateral semi-circular portal is decorated with festoons, double volutes, cartridge and foliage plus with concavely running, cranked beams roofed. On the left a short piece of a garden wall connects to the next door situated Palais Wessely. A semi-circular portal with rich baroquised jewelry and a curly semi-circular roofing leads into the courtyard. The wall is adorned with a pop-up window that is divided into three parts by two herme pilasters. The middle part is roofed with a curly gable.
Inside the vestibule houses conceals a remarkable feature: An Oculus with vista on the stucco ceiling of the room above it. The paneling in the large parlor is in the style of Louis XV. in white and gold decorated. The ceiling of the parlor are decorating on canvas painted and embedded paintings of Julius Berger and Tina Blau, in the execution of the parlor Gustav Klimt and Franz Matsch during their period of study took part. They show Flora, Bacchus and, probably, Ariadne.
The wrought iron work came from Albert Milde, who was the Imperial Court locksmith.
de.wikipedia.org/wiki/Palais_Kranz_(Argentinierstra%C3%9Fe)
Architect: Gunilla Svensson Arkitektkontor
Built in: 2009
A low energy house with an exterior of Rustproof tin.
More information about Gunilla Svensson Arkitektkontor - (In Swedish)
More information about Flaggskepparen 5 - (.pdf In Swedish)
Sun screen framing and support structure were one hour rated with attaching elements either galvanized or stainless steel.
Architects
Glasgow Garage
Wednesday November 14th 2012
All photos by Stacey @ Music Box Unwinds Webzine.
Please do not remove watermark/credit
Architect Josef Fanta (1856-1954), a Czech architect, furniture designer, sculptor and painter. A student of Josef Zítek, Fanta developed into one of the most prominent representatives of Czech Art Nouveau architecture. He created many notable public architectural works including the Prague Railway Station (first called the Franz Josef Station, opened in 1909), and nicknamed "one of the final glories of the dying empire. Fanta’s design was inspired by the North Station in Paris, which was once a model for many European stations. The interiors were decorated by sculptors Stanislav Sucharda and Ladislav Šaloun.
Nederland, The Netherlands, Holland,, Pays-Bas, Holanda, Schiedam, Willemsbrug in Schiedam, Nieuwe Haven, El puente Guillermo en Schiedam, Architect, arquitecto de la municipalidad de Schiedam, M. van Erkel, año de construccion 1861, bouwjaar, 1861,
La chanson sur l'ennemi de classe
1.
Quand j'étais petit, j'allais à l'école,
et j'appris: ça c'est à moi, et ça à toi.
Et une fois l'apprentissage accompli,
il me semblait que ce n'était pas tout.
Et je n'avais rien à manger au petit déjeuner,
et d'autres, si, en avaient:
Et ainsi j'ai fini par tout apprendre quand même
sur la nature de l'ennemi de classe.
Et j'appris le pourquoi et le comment
concernant la brèche qui traverse le monde.
Et elle perdure entre nous, parce que la pluie
tombe de haut en bas.
2.
Et ils me disaient: Si je suis sage,
alors je deviendrai leur semblable.
Mais je pensais: Si je suis leur mouton,
alors jamais je ne deviendrai boucher.
Et plus d'un de nous je vis,
qui mordit leur hameçon.
Et quand lui arriva ce qui nous arriva à toi et à moi,
alors il s'étonna.
Mais moi, cela ne m'étonnait pas,
très tôt je découvris leur jeu:
Le fait est que la pluie tombe vers le bas
et, c'est comme ça, il ne tombe pas vers le haut.
3.
Voilà que j'entendis battre le tambour,
et tous parlait de ça:
Maintenant nous devrions faire des guerres
pour une petite place au soleil.
Et des voix rauques nous promettaient
monts et merveilles.
Et des caïds aux ventres gavés
criaient: Ne flanchez pas maintenant!
Et nous pensions: Maintenant ce n'est plus
qu'une question d'heures,
puis nous aurons ceci et cela.
Mais la pluie de nouveau tombait vers le bas,
et durant quatre années nous bouffions de l'herbe.
4.
Et une fois, tout d'un coup, la parole était:
Maintenant, on va faire République!
Et là, cet homme-là est semblable à l'autre,
qu'il soit maigre ou gros.
Et ceux qui étaient affaiblis à force d'avoir faim
plus que jamais étaient animés d'espoir.
Mais ceux qui étaient repus de manger,
tenaient autant d'espoir.
Et je disais: Là, quelque chose cloche
et étais rempli de doutes troubles:
Ça cloche, ça, si la pluie
est censée tomber vers le haut.
5.
Ils nous donnèrent des bulletins pour voter,
nous rendîmes les armes.
Ils nous firent une promesse,
et nous donnâmes notre fusil.
Et nous entendions: Ceux qui savent faire,
ceux-là vont nous aider maintenant.
Nous devrions nous mettre au travail,
ils feraient le reste.
Alors je me laissai entraîner de nouveau
et, comme on le demandait, me tenais tranquille
et pensais: c'est gentil de la part de la pluie,
qu'il veuille tomber vers le haut.
6.
Et bientôt après j'entendis dire,
maintenant tout serait arrangé.
Si nous supportons le moindre mal
alors on nous épargnera le pire.
Et nous gobions le curé Brüning,
pour que ce ne soit pas le junker Papen.
Et nous gobions le junker Papen,
car sinon c'était le tour de Schleicher.
Et le curé passa le relais au junker,
et le junker passa le relais au général.
Et la pluie tombait vers le bas,
et elle tombait vachement drue.
7.
Pendant que nous courrions avec des bulletins de vote,
ils fermaient les usines.
Tant que nous dormions en face d'une agence pour l'emploi
où on nous tamponnait les attestations,
ils ne se sentaient pas inquiétés par nous.
Nous entendions des slogans comme ceux-là:
Du calme! Attendez juste un peu!
Après une crise majeure
viendra un boom majeur!
Et je dis à mes collègues:
C'est comme ça que parle l'ennemi de classe!
Quand celui-là parle de bon temps,
il est question de son temps.
La pluie ne peut pas aller vers le haut,
juste parce que tout d'un coup il voudrait être sympathique
avec nous.
Ce qu'il peut c'est ça: il peut cesser,
à savoir, quand le soleil brille.
8.
Un jour je les vis marcher
derrière de nouvelles banderoles.
Et beaucoup parmi nous disaient:
Il n'y a plus d'ennemi de classe.
Voilà, à leur tête, je vis
des gueules que je connaissait déjà,
et j'entendais des voix beugler
dans le vieux ton de sergent.
Et tranquillement, à travers les drapeaux et les fêtes
la pluie tombait nuit et jour.
Et tout le monde qui était couché dans la rue
pouvait la sentir.
9.
Ils s'exerçaient assidûment à tirer
et parlaient de l'ennemi à haute voix
et furieusement pointaient du doigt au-delà de la frontière.
Et c'est nous qu'ils visaient.
Car nous et eux, nous sommes ennemis
dans une guerre que seul l'un gagne.
Car ils vivent de nous et crèvent
si nous cessons d'être les coolies.
Et c'est pour cela aussi que
vous ne devez pas être étonnés,
s'ils se jettent sur nous, comme la pluie
se jette sur le sol.
10.
Et celui parmi nous qui fut achevé par la faim,
il tomba dans une bataille.
Et celui parmi nous qui mourut,
il fut supprimé.
Celui qu'ils vinrent chercher avec leurs soldats,
avoir faim ne l'enchantait pas.
Celui à qui ils enfoncèrent le mandibule,
il avait demandé du pain.
Celui à qui ils promirent le pain,
maintenant ils le prennent en chasse.
Et celui qu'ils amènent maintenant dans le cercueil de zinc,
il a dit la vérité.
Et celui qui, voilà, y croyait quand ils disaient
qu'ils étaient ses amis,
celui-là, c'est qu'il s'attendait
à ce que la pluie tombe vers le haut.
11.
Car nous sommes ennemis de classe,
quoi que jamais on nous dise:
Celui parmi nous qui n'osait pas lutter,
il s'est aventuré à mourir de faim.
Nous sommes des ennemis de classe, tambour!
Cela, ton tambourinement ne peut le masquer!
entrepreneur, général et junker -
notre ennemie, voilà ce que tu es!
De cela, rien ne sera bougé,
là, rien ne sera arrangé!
La pluie ne tombe pas vers le haut,
et d'ailleurs on lui en fait grâce, de ça!
12.
Que ton peintre badigeonne autant qu'il veuille,
il ne recouvrira pas la déchirure!
L'un reste et l'autre doit céder,
ou bien moi ou bien toi.
Et quoi que j'apprenne encore
voilà ce qui reste comme b-a-ba:
rien, jamais, je n'aurai en commun
avec la cause de l'ennemi de classe.
Le mot ne se trouvera pas
qui nous unisse un jour.
La pluie tombe de haut en bas.
Et tu es mon ennemi de classe.
BERTOLD BRECHT.
Architect: Bror Thornberg (at Thorsten Roos – Bror Thornberg Arkitektkontor)
Built in: 1976-1978
Client:
The church and parish house were designed by architect Bror Thornberg at the architect firm, Thorsten Roos - Bror Thornberg Architects. The building is protected under the Heritage Act (KML; Kulturminneslagen, 4 kap § 4, 2002-06-07)
AD Architects has undertaken a number of cancer related projects on this site over the last ten years, including an MRI laboratory, Cyclotron and Radio Pharmacy, and Linear Accelerator.
This is the first CyberKnife robotic radiotherapy suite in the NHS. The facility includes a treatment room, control room and ancillary accommodation.
The highly shielded treatment room is housed within a dramatically reconfigured linear accelerator bunker on the site and the facility provides state of the art radiotherapy treatment to NHS patients.
We have worked hard to achieve as calming an environment as space and resources will allow.
Image by: Andy Spain Photography.
Architects
ABC March 8th 2014
Glasgow, Scotland
All photos by Stacey Auld @ Music Box Unwinds.
All rights reserved. Do not remove watermark.
It resembles a village with a square and other small places of assembly. Built at the beginning of the 1970s (Address: Hagåkersgatan and Nyvångsgatan in Landskrona). Architect: Ralph Erskine.
From an exhibition at the National Center for Architecture and Design (in short form ArkDes) in Stockholm.
Architectes : Dominique Jakob & Brendan MacFarlane
Inauguration : avril 2012
www.parisinfo.com/musee-monument-paris/71547/Les-Docks-Ci...