The community, which is the second fastest developing city in norway, lacked a defined identity
and welcoming public domain. In an area affected by a divided urban layout, the proposal aims
to create a space that would engage and integrate civilians into the less welcoming city center.
‘Lantern’, which sits in a narrow, pedestrian only square, was designed to accommodate a range of
potential activities including a market and a concert venue. Imagined as a place that would stimulate
creativity through creativity, the tree-like pavilion becomes a sculptural object and a destination in
the middle of the binary city.
This painting called “Not Available” by Paul Mutant is for everyone who has ever experienced the YouTube geo-blocking crap.
COME ON PAINT ME WHITE AGAIN is and interesting conversation of sorts, between mobstr and the Newcastle City Council – an exhibit in non-collaborative collaboration.
Bangladesh is a fertile alluvial land in the Gulf of Bengal and the land with the highest population density in the world. On average nearly 1000 people live in every square kilometre and over 80% of the population live in rural areas. Much of the vernacular built tradition uses earth and bamboo as a building material, however, construction techniques are error-prone and many buildings lack foundations and damp proof coursing. Such buildings require regular mainte- nance, are often prone to damage and last on average only 10 years.
It is particularly important to improve the quality of living in the rural areas in order to counteract the continuing popula- tion migration to the cities. The primary potential for developing building in the rural areas is the low cost of labour and locally available resources such as earth and bamboo.
The project’s main strategy is to communicate and develop knowledge and skills within the local population so that they can make the best possible use of their available resources. Historic building techniques are developed and improved and the skills passed on to local tradesmen transforming in the process the image of the building techniques.
Concept and Design
METI aims to promote individual abilities and interests taking into account the different learning speeds of the schoolchil- dren and trainees in a free and open form of learning. It offers an alternative to the typical frontal approach to lessons. The architecture of the new school reflects this principle and provides different kinds of spaces and uses to support this approach to teaching and learning.
On the ground floor with its thick earth walls, three classrooms are located each with their own access opening to an organically shaped system of ‘caves’ to the rear of the classroom. The soft interiors of theses spaces are for touching, for nestling up against, for retreating into for exploration or concentration, on one’s own or in a group.
The upper floor is by contrast light and open, the openings in its bamboo walls offering sweeping views across the sur- roundings, its large interior providing space for movement. The view expands across the treetops and the village pond. Light and shadows from the bamboo strips play across the earth floor and contrast with the colourful materials of the saris on the ceiling.
Building construction and techniques
The building rests on a 50cm deep brick masonry foundation rendered with a facing cement plaster. Bricks are the most common product of Bangladesh’s building manufacturing industry. Bangladesh has almost no natural reserves of stone and as an alternative the clayey alluvial sand is fired in open circular kilns into bricks. These are used for building or are broken down for use as an aggregrate for concrete or as ballast chippings. Imported coal is used to fire the kilns.
Aside from the foundation, the damp proof course was the other most fundamental addition to local earthen building skills. The damp proof course is a double layer of locally available PE-film. The ground floor is realised as load-bearing walls using a technique similar to cob walling. A straw-earth mixture with a low straw content was manufactured with the help of cows and water buffalo and then heaped on top of the foundation wall to a height of 65cm per layer. Excess material extending beyond the width of the wall is trimmed off using sharp spades after a few days. After a drying period of about a week the next layer of cob can be applied. In the third and fourth layers the door and window lintels and jambs were integrated as well as a ring beam made of thick bamboo canes as a wall plate for the ceiling.
The ceiling of the ground floor is a triple layer of bamboo canes with the central layer arranged perpendicular to the layers above and beneath to provide lateral stabilisation and a connection between the supporting beams. A layer of planking made of split bamboo canes was laid on the central layer and filled with the earthen mixture analogue to the technique often used in the ceilings of European timber-frame constructions.
The upper storey is a frame construction of four-layer bamboo beams and vertical and diagonal members arranged at right angles to the building. The end of the frames at the short ends of the building and the stair also serve to stiffen the building. These are connected via additional structural members with the upper and lower sides of the main beams and equipped with additional windbracing on the upper surface of the frame. A series of bamboo rafters at half the interval of the frame construction beneath provide support for the corrugated iron roof construction and are covered with timber panelling and adjusted in height to provide sufficient run-off.
Finishes and fittings
The exterior surface of the earth walls remains visible and the window jambs are rendered with a lime plaster. The framework constructon of the green façade to the rear is made of bamboo canes seated in footings made of old well pipe and with split horizontal timbers as latticework. The interior surfaces are plastered with a clay paster and painted with a lime-based paint. The ‘cave’s are made of a straw-earth daub applied to a supporting structure of bamboo canes and plastered with a red earth plaster. The upper storey façades are clad with window frames covered with bamboo strips and coupling elements hung onto the columns of the frame construction. A fifth layer of cob walling provides a parapet around the upper storey forming a bench run- ning around the perimeter of the building and anchoring the upper storey frame construction and roof against wind from beneath. A textile ceiling is hung beneath the roof is lit from behind in the evening. The cavity behind the textiles ventilates the roof space.
On-site labour using and training the local workforce
The masonry foundation was constructed by a company from the regional capital Dinajpur around 20km from Rudrapur. The earth building works and bamboo construction was undertaken by local labourers. The building techniques were implemented and developed on the job together with architects and tradesmen from Germany and Austria. 25 local tradesmen from the vicinity were trained during the building works creating new jobs and providing professional “help for self-help”.
Exemplary nature, transferability, follow-on projects
School handmade showcases the potential of good planning and design, from the arrangement of the building on the site to the realisation of aspects in detail. Furthermore it demonstrates the possibilities of building with earth and bamboo using simple methods as the continua- tion of a local rural building tradition and can serve as an example for future building developments in the area.
A stable foundation and a damp proof course are the primary technical prerequisites for building with earth, making the buildings last longer and reducing maintenance requirements. For smaller room spans, the newly developed bamboo ceiling construction can be made entirely out of local materials using handmade jute rope and bamboo dowelling.
METI, Modern Education and Training Institute
METI enables children and young people in the region to take classes up to the age of 14 and provides workshops for trade-oriented professions. The idea is to provide the rural population with access to good, holistically-oriented educa- tion. The children and young people are encouraged to develop into responsible, motivated and creative personalities and to use their skills to improve and develop their immediate rural environment. Reading, writing and arithmetic as well as languages are offered in a free environment and through open forms of learning. Meditation, dance and creative writ- ing are part of everyday learning at the METI School as are discussions, learning as part of a group and self-critical and social behaviour.
from the designers:
WhiteOut is deployed as a series of sequential dividers along the aged wood beams of the Hallein Salt Factory, Austria. Suspended, lightweight and nebulous, the installation is a floating mass, exploring the phenomenological and visual affects of extreme weather conditions. Movement though the passages is a reactive experience as the dividers ‘inflate/deflate’ to the body’s static repletion – the width of the passages varies from 30cm to 90cm.
California-based Studio Shift completed their concept phase of a new Aquatic Center in the Sichuan Province of China. Expected to be completed in the spring of 2013, the center will connect adjacent public infrastructures, such as a riverfront promenade, as a circulation system which will become “the connective tissue linking the disparate program elements and site edges, ultimately, delineating the overall programmatic organization of the structure.”
The dominant feature, a large swimming lagoon, is carved into the site between the riverbed and the Aquatic Center. A sandy beach surrounds the lagoon and defines two discrete areas of varying privacy. The lagoon filters the abundant Miyi rainwater and the adjacent Anning River as primary sources of water. Bio-remediation technology will be implemented to filter and purify the water through a system of bio-films and low-energy consumption pumps that contain hungry micro-organisms that feed on pollutants in the water.
A landscape roof above the parking garage serves as a means for rainwater collection and reduction of the local heat island effect. In addition to the greened roof, the bronze metal roof is specifically designed to capture and distribute rainwater with the intention of complementing the overall master plan agenda of resource conservation while improving existing river conditions.
Two major exterior public spaces, programmed with casual water activities and retail areas along the eastern edge, allow the public to engage the project in a more passive capacity. “These public spaces assume a dimension appropriate to large-scale aggregation in order to facilitate a broad range of high-intensity activities as well as casual gathering.”
The complex features a spa level which descends partially into the site, creating a relationship with the swimming lagoon, and a complete series of exterior pools surrounded by a raised sun deck and pool level cabanas, changing facilities and an open-air café and restaurant. Along the southern edge of the site, a residential tower featuring over 80 rental units and 6 special suites are sited directly into the water, creating a unique connection to the lagoon. “The residential tower responds to the adjacent, planned context in usage and scale while simultaneously creating a semi-private condition for the southern edge of the swimming lagoon.”
Now we also have some images of the competition’s First Prize winner: New York-based Reiser + Umemoto RUR Architecture PC with their Taiwanese partners FEI & CHENG ASSOCIATES.
from the architects:
Pop music, while a global phenomenon, is regional in its definition. The Taiwanese Pop music scene typifies the phenomenon; while it crosses borders and cultures and dialects, it nevertheless has produced styles and genres with distinct transnational form and appeal. Though many aspects of pop culture exist in a hyper-technological or virtual realm, there is a need for a defined physical hub dedicated to the production and reception of pop.
The Taipei Pop Music Center features a gradient of mixed-use spaces, from the fully public realm to the interior of the auditorium, allows the visitor to partake of the event dynamic however they choose to visit this complex. Whether they plan a night of music or are browsing the myriad shops, markets, cafes, and restaurants, the complex will be a 24-hour attraction independent of the schedule of performances in the theaters. The TPMC features a new elevated public ground, which bridges the two building sites presently divided by Xinsheng Rd. Corridor. The elevated public space is a pedestrian zone creating a coherent public space distinct yet connected to the life of the city, and effectively joining the three major zones of the complex, the Main Concert Hall, Outdoor Amphitheater, and the Hall of Fame. The public space is in itself a focus for outdoor events, surrounded by cafes, restaurants and shops. Here, the spectacle of pop music can be celebrated and broadcast to the world.
The Main Hall features a 3000-seat indoor auditorium and a tower dedicated to the pop music industry. This hybrid of theater and tower will allow direct communication on an everyday basis between producers, artists, and the music industry community. In effect, this hybrid is a cultural incubator bringing the entire music community, production and performance, together under one roof.
The Hall of Fame becomes an ongoing daily destination – an outlet to track the T-Pop industry, linked with performances, hall of fame induction ceremonies, outdoor spaces, and media projections. Within the Hall of Fame is the main exhibition space, digital media center, two lecture halls, and the Sky View Lounge with commanding views from box seats of the entire event space. Lining the street adjacent to the Hall of Fame, live houses provide smaller performance venues and a vibrant street front that is integrally connected to the street life of Taipei.
The form of the Outdoor Amphitheater is a hybrid of circus and city, and with the addition of a mobile stage, The Robot Theater, the design can adapt to a spectrum of event scales, public uses and mass events. The four docking positions of the Robot Theater along the elevated public ground allow for multiple event scales, accommodating a range of audiences from 16,000 people to smaller shows operating simultaneously or with other functions such as day or night markets. In its most compact crystalline form, the Robot Theater docks with the Hall of Fame, creating an intimate performance space for Hall of Fame induction ceremonies and other VIP events. A technological net provides solar screening and LED lighting to the Outdoor Amphitheater, and connects the Hall of Fame, Robot Theater, and Main Hall together.
As opposed to a singular or inflexible performance venue, the TPMC allows both high-end, in-demand performances to coexist with small, up-and-coming artists. This has consequences not only for the diversity of concert-goers that the center will attract, but can also have important collaborative effects on pop music production in Taipei. We envision the Taipei Pop Music Center as a coherent environment, not merely a collection of performance spaces but a vibrant new part of the city itself. As Hollywood is to world cinema so the Taipei Pop Music center will be to Asian Pop.
Located in one of Istanbul’s most populated and diverse neighborhoods, Besiktas is an eclectic area with a village-like atmosphere that is in the process of urban renewal. The Besiktas Fish Market is located on a triangular site. It is an iconic venue where many locals and visitors buy fresh fish daily. The construction of the old fish market was in very poor shape and needed to be replaced.
The design solution was to maintain its iconic neighborhood presence, while also reaffirming its welcoming feeling. GAD designed a triangular shaped concrete shell covering the entire site with large openings at street level. The concrete shell provides a column-free interior space, optimizing the project’s programmatic needs. The new design injects a contemporary and pragmatic solution, at once preserving the fish market’s history.
via archdaily (thanks Martha)
The 360° kiosks provide a minimum footprint and maximum flexibility. Each unit consists of four cantilevered units for seating, display, storage and lighting, which can be individually adapted by the actual vendors. They allow for a multitude of strategies to facilitate their commercial needs. Products are stored in drawers with shelving units that can be pulled out to maximise display surface just like a Swiss army penknife,. The constant transformations create a dynamic visual performance within the urban landscape.
…………from the designers (sorry about the bad translation):
Reclamation of the site & Confrontation of modern and tradition
The site is located in the outer Bukchon nearby the designated cultural properties of Seoul city like rampart of Seoul. Hyehwamun, Kim Sang Hyeop’s House. Many Korean-style houses are existed till now, but remained houses are removed at that with the housing development prevalence of multi-family house last year. So it is one of the villages that are in progress of modernization and Jo Rin Hun is same case that is pressed with the high-storied neighborhood. It was a distressed situation to unavoidably remove the existing Korean traditional house as a position of culture destroyer.
Inheritance of spatial tradition & Perpendicular residence/city as a ‘village’
The character of history and place of the Korean-style house inherited spatially by composing the ‘garden’ of existing house for ‘garden’ of Jo Rin Hun. This garden functions as a spatial element that satisfies the right of sphere and ownership with the recognition that each of the household living in this house is the owner of each separate house. Many detached house composed vertically with outside-stair as a passage and the small outside space will be a ‘city windpipe’ that connects that city and architecture strongly.
Multi-function of translucent skin & Mass being un-architecturally
By incoming the neighbored landscape with the expended metal translucent board, the light, wind, sound through the small vertical courtyard surrounded by each houses are effective and forming introverted calm spatial environment. It is intended to function hiding neighborhood, filtering surrounding landscape, control of the light by me lid of the outer cover adjoins neighborhood with translucent skin.
Indistinct landscape of the village, clearly visible shape of the Korean-style house, the whole views of Seoul with Namsan tower and the festive night views were the landscape program of Jo Rin Hun. The city and architecture are endowed with strong mutual response and finally this mass become to carry the un-architectural property of matter of transparency introversion, translucence extroversion. It is intended to feel Jo Rin Hun, which is vertical and huge mass comparatively, as ‘un-architectural’ property of matter to harmonize with the horizontal stable landscape formed by the remaining Korean-style houses and to form a new city context that corresponds to the change. It lost by the shaded portion of road, right to enjoy sunshine, cultural property protection. By indoor planting to the remaining mass, It could be recognized as an ecological mass, as well as, the whole could recognized as if translucent/opaque un-architectural object are covered with expended metal and intended to grant a formable sensitivity that harmonized with the image of Korean style house to the structure of skin.
Introduction of nomadic program and nature & Reduction of construction expenses
I aimed at nature-friendship by introducing the nature positively and aimed lies latent a small and abundant spatial story by residence together with the large and small houses.
By openly establish the secret private life programs, that is, concealable action apparatus like shower, bathtub, close-stool, washstand, he/she could liberate from restraint of secrecy by him/herself and could present action of life. With the preparation to feel the instinctive pleasure in the nature that is an instinctive environment, all the action of him/herself become a sight and concerned object. So it was an interesting work to plan the ‘place’ where exist a history and story to aware of the vestige of life always.
Such program is small, but could be said it is large, because there are a lot of contributions that sensed as large space and form a various/dramatic space, reduction of construction expenses.
The construction expense is a mountain to go over. It was effective for cost administration to minimize the expenses with the effort by using cheap materials like concrete floor, wall finishing, dryvit excluded finishing materials, prefabricate sandwich panel and simplification of process.
Light-house of life
I expect Jo Rin Hun, un-architectural architecture, to be a ‘light house of city’ that always lightens the neighborhood and to be a place where record and preserve the historic character of the site.