Celosia Building / MVRDV with Blanca Lleó

Sumber : iai_diy@yahoogroups.com; Wednesday, September 2, 2009 4:35 AM

Architect: MVRDV & Blanca Lleó
Location: Madrid, Spain
Client: EMVS
Year: 2009
Budget: 12.6M Euro
Constructed Area: 21,550 sqm
Photographs: Ricardo Espinosa

In Madrid-Sanchinarro the first residents received the keys to their apartments in the just completed Celosia building. Jacob van Rijs of MVRDV and Blanca Lleó have completed the social housing block near the Mirador Building, which is an earlier collaboration. The perforated block of Celosia assembles 146 apartments, communal outside areas throughout the building, and parking and commercial program in the plinth. The total floor area is 21,550 sqm. With a construction cost of 12,6 million Euro the apartments can be sold for affordable prizes. The city block is opened and allows wind and light to enter the building, offering vistas and outside spaces contrasting the surrounding area. The client is EMVS, the public housing corporation of the city of Madrid.

The given volume of the city block was divided into 30 small blocks of apartments. These blocks are positioned in a checkerboard pattern next to and on top of each other, leaving wide openings for communal patios throughout the building. 146 one-, two- and three-bedroom apartments are all accessed via these communal spaces. Most apartments offer additional private outdoor space in the shape of a loggia right behind the front door. Inhabitants have the possibility to gather in the communal high-rise patios which offer views towards the city and the mountains and provide natural ventilation in summer. Opening the front doors connects the private outdoor areas to the communal area.

The façade is made of coated concrete which was from the ground floor up constructed in complete mould system, an efficient and clean way to cast concrete, keeping the construction cost to a minimum; an important asset for this social housing project. The polyurethane coating allows the façade to shimmer and reflect depending on the light condition.

All windows are floor to ceiling height and can be shielded from the sun. Each apartment has the possibility of cross ventilation through two or three facades and enjoys views through the building and to the surrounding. A system of power efficient boilers is used in the building; solar panels on the roof heat water reducing energy consumption further.

Underneath the building a parking garage on two levels provides 165 parking spaces. The ground floor offers room for 6 individual retail units.

The nearby Mirador building which was completed by MVRDV and Blanca Lleó in 2005 also discusses the traditional building block by putting it vertical. The Celosia building is horizontally arranged around the interior court but opposes the generic introverted architecture in the area by bringing light and communal space into the building allowing a perhaps more extraverted Spanish lifestyle as every apartment opens up to a small plaza.

reVision Dallas / Entangled Bank

Sumber : iai_diy@yahoogroups.com; Wednesday, September 2, 2009 4:36 AM

The Re: Vision Dallas competition named three winners, two of which we previously featured on AD (DB + P and Atelier Data + Moov). The third winner is Little, a studio based in North Carolina, with their Entangled Bank proposal. “Entangled Bank combines heavy duty technological prowess with artistic integration of systems. The building is designed as a holistic, integrated design…The Entangled Bank entry materials was incredibly impressive… Each unit type was designed, completed with suggested sale price and amount of energy consumption. A wide array of green collar job programs were provided that work with the design of the building to engage residents and educate visitors. All of the jurors were struck by the thorough and joyous submission of Entangled Bank,” explained juror Eric Corey Freed.

More about the project (including a great video) after the break.

Entangled Bank is a series of complex networks connecting various elements in the community. Similar to how “a natural bank itself is meant to sustain and offer every opportunity for its constituents to succeed”, the same notion can be related to the social landscape of Dallas. “This project offers the opportunity to develop a network that supports those that flourish…but also rehabilitates those that have withered,” explained the architects.

The project utilizes innovative sustainable strategies to improve the natural environment. The south facing solar facade is seamlessly woven together with vertical wind turbines and an onsite biogas plant. The tower is on the south side to be self shading to the courtyard below, and sculpted by the angles of the sun. The east face of the tower is a folded plate living wall, incorporating the units for maximum day-lighting control, not revenue.

Yet, the architects went a step further and began to wonder if “perhaps this project will seek to sustain what might be our richest and most influential resource…the human. All too often we focus on hanging the effect without reviewing the cause.” Inspired by the entangle bank metaphor, the project developed into a space that will ”fertilize” an old parking lot in the hopes that dormant seeds of retail, commercial, residential and social equality if given water, in the form of education and teaching, and sunlight, represented in the sustainable movement of nature and man, can encourage this bank to flourish and grow beyond its original footprint.” In doing so, the proposal hopes to transform the city block into not just a newer city or country, but eventually create “a world that can sustain itself and also rehabilitate and support the people that are a part of that network.”

FIRM: Little
Charlotte, Noth Carolina

Team Members:
Bradley Bartholomew
Ashley Spink
Stacy Franz
Kevin Franz
Kumar Karadi
Don Breemes
Coby Watts
Chad Lukenbaugh
Jason Bizzaro
Ryan Davis
Philippe Bouyer
Bo Sun

Villa extension by O+A

Sumber : iai_diy@yahoogroups.com; Wednesday, September 2, 2009 4:39 AM

Amsterdam architects O+A have completed an extension to a villa near Eindhoven in the Netherlands.

The upper story houses a glazed conference room, with a wood-clad garage below.

Photographs are by O+A.

Here’s some more information from O+A:

–

O+A was commissioned by a private client to design the addition to a detached villa.

The project brief entailed the design of a carport for two cars and a conference space.

The villa, designed and built in the 1970s, has an extroverted addition which was completed in the 1990s.

In avoiding a cacophony of material and form, the villa was taken as a starting point for this latest addition.

The particular shape of the roof is a result of bureaucratic zoning law limitations, technical limitations in constructing a foundation next to the existing house, and demands in terms of use.

The architectural ambition is especially evident beneath this roof, where the functions ‘conferencing’ and ‘parking’ form two intersecting L-shaped volumes.

The climatised conference space is enclosed with minimally detailed, structural glazing.

The carport is not climatised and is enclosed with timber boards, which seamlessly continue into the ceiling- and wall finishing.

Beneath the roof, an interesting dialogue arises between material and space.

The project was completed in July 2009.

An aspect that sets this commission apart is that O+A has assumed the roles of both chief contractor and glass engineer.

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Gambar tanpa Identitas

Pagi ini menemukan album foto tua yang ditinggalkan Pak Wandi, ahli perencanaan di salah satu kantor. Saya rasa itu untuk saya karena beliau pernah cerita ingin meminjamkan foto-foto Kampung Baluwarti lama. Segera saya pindai tiap foto di dalam album. Satu yang menarik perhatian saya. Dibanding foto yang lain, yang satu ini menggunakan kertas doff. Di luar itu, saya yang tidak begitu paham Solo tentu saja tidak paham apa yang hendak diceritakan dalam foto itu.

Saya lempar foto itu ke laman fesbuk saya. Ini beberapa komentar orang tentang foto ini :

"menilik pelemnya "struggle karate" yg menurut penrawangan simbah google tyt produksi thn 1971, maka dapat diramalkan bahwasanya ini foto antara tahun 71-75an, atau mungkin 80'an ?
pelem negatif warna, kabarnya sudah ada di Indonesia sejak tahun 80'an. sedang pada foto yg digunakan ini, pelem BW yg populer pada tahun sebelum pelem negatif warna masuk, mungkin foto ini produksi 71-80'an ya ?"

"Di dekat bioskop ada museum"

"posternya tu dtulis pelemnya main tgl 13-15 april 72...ya ini poto taun itu lah... lokasinya di dkt pertigaan/perempatan jalan besar di deket museum...hayo dimana?"

"APR 72 --> bulan tahun ya ? kiran kode pelem hehehehehe gambar posternya keren, semacam rambo jadul gituh"

Dari luas gambar itu, yang paling cepat menarik perhatian ternyata poster film yang posisinya di atas. Judulnya menarik dan gambar di dalam poster sama menarik. Dan tentu yang penting, ada informasi tahun di situ yaitu tahun 1972 yang kami duga tahun diputar film ini.

Meski belum tahu benar lokasinya, sepakat bahwa tahun ambil foto ini adalah 1972.

Colonial buildings of Indonesian plantation town left to crumble

Sebenarnya tulisan lama, dikirim Meutia Chaerani lewat milis FDU. Saya ambil lagi karena akhir-akhir ini sering lewat Klaten, dan selalu melewati pabriknya PG Gondang, yang kalau dilihat rasanya kurang terawat.

MEDAN, Indonesia, April 5 (AFP) --

Art deco homes, Chinese shopfronts, Moorish-inspired landmarks and Malay stilt-houses -- Medan's rich blend of architectural heritage tells the story of its unique history.

But the 600 colonial buildings gracing this city on the jungle-clad Indonesian island of Sumatra, the centre of a plantation boom more than a century ago, is slowly crumbling and activists blame apathy and ignorance.

"Medan, when it comes to old buildings, has reached a critical, worrying stage. We have reached the point where destruction should be halted for good," warns Soehardi Hartono executive director of the non-profit Sumatra Heritage Trust.

Medan's architectural heritage reflects the cosmopolitan nature of its population back in the 19th century, when it began a rapid expansion after tobacco and rubber plantations planted by Dutch settlers flourished on Sumatra.

Dutch and British expatriate families lived in opulent mansions from where they oversaw personal fiefdoms of thousands of Indonesian and migrant plantation workers, while Chinese merchants dominated trade.

Today a fusion of colonial buildings designed by the Dutch as well as British architects -- who came from their own nearby outpost of Penang -- mix with an array of others in this city on the banks of the Deli River.

The western settlers left Medan after Indonesia proclaimed independence from the Dutch in 1945, and their plantations were taken over by the young state. While tobacco continues to be grown in North Sumatra, palm oil has since replaced it as the region's top crop.

This city of some two million people, now Indonesia's fourth largest, remains largely off tourist maps, although glimpses of its more sedate past can still be seen in what remains.

But according to Hartono, less than a fifth of the 600 significant buildings are properly cared for, with the remainder neglected or simply left vacant, putting Medan's living history at risk.

Tavip Kurniadi, who heads the North Sumatra chapter of the Indonesian Association of Architects, says a combination of factors have conspired to threaten the buildings.

"Ignorance on the side of building owners and a lack of political will to preserve those buildings on the part of decision-makers are the core causes behind the ongoing rate of destruction," Kurniadi says.

He says that agencies were aware of the buildings' importance but lacked the power to protect them, with their top officials harbouring no vision for the future -- a complaint echoed around Indonesia, the world's fourth most populous nation, when it comes to urban planning.

"They are thinking short term, and business and economic considerations override other considerations most of the time when it comes to handing out permits and licenses" to pull down or modify buildings, Kurniadi says.

Ketut Wiradnyansa, who heads the government's North Sumatra Archeology Office, counters that compared to other major Indonesian cities, Medan's old buildings are "in general still in relatively good condition".

However, he agrees that stricter enforcement of existing laws is possible.

"We already have laws and regulations, at city, provincial and national levels. They are not perfect but if we could get them strictly enforced, it would represent a great step towards the preservation of the city's cultural and historical heritage," Wiradnyansa says.

But there has been a failure too to follow the spirit of the heritage laws.

For instance the former Bank Modern building, a prominent landmark, was torn down except for its two-storey facade and five new storeys now incongruously protrude upwards behind it.

The 1929-built building by Stork, a Dutch company supplying machinary to various plantation companies here, had been a focal point of Medan's former business district of Kesawan.

"The city authorities argue that the municipal law on protected old buildings only demand that the facade of the buildings in Kesawan be unchanged -- and nothing is mentioned of the inside part," Hartono says.

Nevertheless, Hartono says public awareness about the importance of the city's heritage is gradually growing, with his community-run organisation generating greater interest here.

The municipal administration also plans to survey heritage buildings next year, he says.

The Sumatra Heritage Trust meanwhile is actively lobbying authorities to expand Medan's list of 42 heritage buildings and provide incentives for owners of old buildings to care for them rather than tear them down.

"We have already lost many (of the buildings) and their destruction should not be in vain. Their destruction should become a lesson for us all, that it should be prevented in the future," Hartono says.