BOAS FESTAS!!!

João Pernão

Serpentine Gallery

Serpentine Gallery is one of London’s best-loved galleries for modern and contemporary art. Its Exhibition, Architecture, Education and Public Programmes attract approximately 750,000 visitors a year and admission is free.


Todos os anos é montado nas imediações da Galeria um Pavilhão Temporário realizado por arquitectos de renome mundial como é o caso de Álvaro Siza Vieira e Eduardo Souto Moura, Zaha Hadid, Rem Koolhaas com a designer Cecil Balmond, Oscar Niemeyer ou artistas como Olafur Eliasson


A última intervenção foi realizada por Frank Gehry



estas são imagens da fase de desmontagem no ínicio de Novembro





r | t a

DENYS LASDUN

vejam também imagens de algumas obras deste arquitecto em 

http://www.flickr.com/photos/keithp66/2882666969/in/pool-lasdun

joão pernão

Brutalismo

Term coined by the British architectural critic Reyner Banham to describe the approach to building particularly associated with the architects Peter and Alison Smithson in the 1950s and 1960s. The term originates from the use by the pioneer modern architect and painter Le Corbusier of 'beton brut' – raw concrete in French. Banham gave the French word a punning twist to express the general horror with which this concrete architecture was greeted in Britain. Typical examples of Brutalism are the Hayward Gallery and National Theatre on London's South Bank. The term brutalism has sometimes been used to describe the work of artists influenced by Art Brut.

National Theatre . London . South Bank .
Architect Sir Denys Lasdun

r | t a

PAVILHÃO DA FEIRA DO LIVRO DE MADRID

O concurso para o Pavilhão da Feira do Livro de Madrid foi ganho por dois colegas, Olga Sanino (nossa aluna no 5º ano em 2005/06) e Marcelo Dantas. Aqui fica o link para verem fotos da obra concretizada e lerem um pouco mais sobre a ideia que lhe deu origem.

http://abarrigadeumarquitecto.blogspot.com/2008/11/olga-sanina-marcelo-dantas-pavilho-da.html

João Pernão

escaleras de la granja_ toledo

de Martínes Lapeña-Torres Arquitectos






http://theworldofarchitecture.blogspot.com/2008/04/ja-martnez-lapea-y-elias-torres.html

diana

MY PLAYGROUND at the Mountain

não posso esperar

r|ta

BMW Gina light concept.

Context over Dogma.

Duarte Oliveira

ESTUDIO BAROZZI VEIGA szczecin philharmonie . polónia . concurso 1º prémio

Diana Coelho

2004 TBA Festival Temporary Theater

The Portland Institute for Contemporary Arts (PICA) is a magnet for artists who take creative risks. The keystone of its annual programming, PICA's Time-Based Art Festival (TBA) draws international audiences and performers to Portland, Oregon, for pioneering performances that address culture, aesthetics, and ideas through theater, performance, dance, media, and music. The festival also serves a social function, forging discourse among artists and audiences.

To accommodate performances and social events, the venue needs for TBA 2004 included a 200-seat theater, in addition to a cabaret stage, bar, and café. A major PICA donor and Portland developer provided the raw space for these venues within a vacant warehouse, called "Machineworks." Portland's BOORA Architects then provided pro bono programming and design for the theater, creating it within the building's volume and reserving space for remaining performance and social needs. Guided by mock-ups to illustrate construction details, a team of volunteers then built the theater within a $10,000 construction budget.

The building's structural grid served as the driver for the diagram of the theater. As sufficient clear area for the stage could be found only within one of the building's structural bays, seating would be positioned in the bays of the grid surrounding the stage. The design team then positioned this whole assembly in front of existing offices lining one wall of the building, whose aesthetic qualities warranted concealment for their inconsistency with the qualitative goals for the festival environment. A small interstitial space between the rear of the theater and the offices preserved the functionality of the offices, capturing them for use as back-of-house support spaces. The efficient positioning of the theater within the warehouse reserved a large area of the building's remaining space for the cabaret, bar, and café. This open and uninterrupted space reflected the nature of the social activities taking place within the Machineworks venue while still achieving the desired degree of isolation for the theater.

To differentiate the theater volume from the surrounding volume of the warehouse, a scaffold ""media wall"" partially bisects the warehouse, defining the rear of the audience chamber and creating the envelope that encloses the theater. Illuminated from within, the media wall's interior and exterior are clad in the translucent materials pegboard and visqueen, respectively, giving the festival environment its signature quality: the glowing media wall offers the striking and ghostly experience of interacting with a volume of light contained within a gritty industrial shell. After passing a hanging entry marquee made of pegboard and suspended from the arm of a swinging crane, patrons entering the warehouse pass through a portal in this media wall, marked with a projecting canopy. The space within the media wall conceals technical equipment, transformers, and cabling, as well as an elevated control room that serves both the theater and the cabaret stage. Inside the theater, a scaffold substructure accommodates the three banks of long-tiered bench seating. Their assembly from five gallon plastic buckets, ½-inch MDF board, and recycled carpet tiles allowed all the materials to be returned to their original suppliers after the theater was dismantled.

www.boora.com

Diana Coelho

Ensaio sobre a Cegueira

Fernando Meirelles, realizador reconhecido internacionalmente e já nomeado para os Óscares (O Fiel Jardineiro, Cidade de Deus), transporta para o cinema uma das mais aclamadas obras de José Saramago, Vencedor do Prémio Nobel.

Uma cidade é devastada por uma epidemia instantânea de “cegueira branca”. Face a este surto misterioso, os primeiros indivíduos a serem infectados são colocados pelas autoridades governamentais em quarentena, num hospital abandonado.
Cada dia que passa aparecem mais pacientes, e esta recém-criada “sociedade de cegos” entra em colapso. Tudo piora quando um grupo de criminosos, mais poderoso fisicamente, se sobrepõe aos fracos, racionando-lhes a comida e cometendo actos horríveis.
Há, porém, uma testemunha ocular a este pesadelo: uma mulher, cuja visão não foi afectada por esta praga, que acompanha o seu marido cego para o asilo. Ali, mantendo o seu segredo, ela guia sete desconhecidos que se tornam, na sua essência, numa família. Ela leva-os para fora da quarentena em direcção às ruas deprimentes da cidade, que viram todos os vestígios de uma civilização entrar em colapso.
A viagem destes é plena de perigos, mas a mulher guia-os numa luta contra os piores desejos e fraquezas da raça humana, abrindo-lhes a porta para um novo mundo de esperança, onde a sua sobrevivência e redenção final reflectem a tenacidade do espírito humano.

in http://www.castellolopesmultimedia.com/blindness/

sónia

E.M.P.A.C. - Grimshaw Architects

A propósito deste novo exercício, achei interessante este exemplo em termos de criação de um espaço de espectáculos (e não só) anexado a posteriori a um Instituto Politécnico. Penso poder "destravar" a criatividade para este início de processo de desenho.


" EMPAC is a platform for performance and research incorporating four distinct and specialized venues under one roof: an acoustically optimized 1,200 seat Concert Hall, a 400 seat Theater, and two black box studios created for flexible use by artists and researchers. Also provided are artist-in-residence studios, audiovisual production and post production suites, audience amenities, and student and support facilities.

So that the traditional and the experimental may be seen as yoked together yet distinct, Grimshaw arranged the concert hall and atrium axially with the main entrance in a linear sequence on the north side of the building, while the studios and theater form an adjacent sequence on the south."

"... A conceptual dialogue was then initiated between these two sequences by seeing the Concert Hall manifested as the physical presence of an object in space, while the Theater and studios represent the physical absence of discovered voids within a solid.

Because the main entrance is at hilltop level, close to the roof, while the volume of the Concert Hall is fitted into the slope below, a large “found space” opens up between the two. Upon entering the building, visitors find themselves at the top of the Atrium and main circulation area, looking down at the exterior of the concert hall: a curved hull wrapped in solid cedar planks. "

"Access to the Concert Hall is provided via elevated walkways that span the atrium like gangplanks. The entire hull of the Concert Hall is contained within the Atrium, allowing public circulation all around it.

Designed to be a first-class venue for symphonic music, yet equally capable of accommodating jazz, amplified music, presentations, film, and dance with electronically generated sound and video projection, the Concert Hall is configured traditionally in a “shoe box” format: as a long, narrow room of wood and masonry construction. The floor and lower walls are all finished in maple, while the upper walls are clad in a combination of precast acoustic panels made of gypsum and precast stone. The room is slightly convex in form to maximize acoustic diffusion.

The ceiling is made of panels of fabric less than one millimeter thick, supported on a delicate web of stainless steel cables. The fabric was specially selected and woven for EMPAC and is optimized for gentle reflectivity to high-frequency sound and increasing transparency to mid- and low-frequency sound, providing acoustic support to the musicians and audience while allowing the volume above the ceiling to generate reverberance. The ceiling panels form a convex shape overall and exhibit a gently glowing surface when illuminated. "



" The Theater is equipped to the highest standards available to professional theater companies and offers an extraordinary resource for Rensselaer’s experimental artists and student performers. The Theater can be used with or without its orchestra pit. Movable seating at the parterre level, along the sides, allows artists to configure the theater as a proscenium space or to extend the playing area along the sides of the audience. The framing of the side galleries accommodates the attachment of projection screens and loudspeakers, allowing the audience to be immersed in virtual environments. Finished with maple floors and high-quality plaster walls, the theater has a slightly less formal treatment than the concert hall, so that its architectural presence can recede when the stage lights come up. "

"Total area: 221,200 square feet
Concert Hall: 11,500 square feet (seating 1,200)
Theater: 4,500 square feet (seating 400)
Studio 1: 3,500 square feet
Studio 2: 2,500 square feet
Rehearsal Studio: 1,500 square feet
4 Artist-in-Residence Studios
Completed: October 2008

Client: Rensselaer Polytechnic Institute
Architects: Grimshaw Architects "

Fonte: http://www.arcspace.com/architects/grimshaw/dbba/dbba.html


Espero que ajude a expandir horizontes para a criação dos projectos!

João Pereira

JUAN MUÑOZ

FUNDAÇÃO SERRALVES

" A exposição chega ao Porto depois de passar pela Tate Modern, em Londres, e pelo Museu Guggenheim, em Bilbao.

Considerado um dos mais importantes escultores dos últimos vinte anos, Juan Muñoz (1953-2001) alcançou a notoriedade em meados da década de 1980, a altura em que protagonizava o movimento vanguardista do regresso à forma humana na arte."

O seu trabalho traduz-se numa forte experiência sensorial, reunindo elementos como a luz, o som, a imagem, a expressão corporal, a perspectiva, a escala… trabalhados em simultâneo ou isoladamente, provocando no observador as mais diversas sensações, interpretações e pensamentos…

- Shadow and Mouth
- Towards the Shadow


- The Prompter
- Seated Figures with Five Drums





http://www.serralves.pt/actividades/detalhes.php?id=1439


Serralves, até 18.Janeiro.2009




maria joão

Arquitectos Herzog and De Meuron . Elb Philarmonie.

A nova sede da Elb Philarmonie.Esta nova obra estará pronta em 2010 e contempla a remodelação da sede desta orquestra filarmónica. Situada por cima da actual sede no porto da cidade de Hamburgo (na Alemanha), este novo edifício vai contemplar dois auditórios (o grande com capacidade para 2.150 pessoas e o pequeno com 550 lugares).Para além dos dois auditórios o novo complexo compõe-se ainda de um hotel, restaurantes e um condomínio.

O estúdio de arquitectura Herzog & De Meuron, com sede na cidade suíça de Basileia, foi fundado por Jacques Herzog e por Pierre de Meuron em 1978. Para quem não sabe, são os Arquitectos que projectaram o " Bird `s Nest " na China, para os Jogos Olimpicos de 2008.

http://www.mahalo.com/Herzog_and_de_Meuron

http://www.herzogdemeuron-film.com/en/home/

http://www.youtube.com/watch?v=jIYNJz6y3CU

Raquel Dias

CENTRO DE INTERPRETAÇÃO DO VULCÃO DOS CAPELINHOS

Faial, Açores

Arq. Nuno Lopes

O facto de grande parte do edificiado se implantar abaixo do nível do solo, permite dessimular a construção no terreno, evitando um grande impacto na paisagem dos Capelinhos. O Farol dos Capelinhos, também foi soterrado pelas cinzas do Vulcão, em 1957/58.

Assim se criam relações com o existente.

Mais informação em:

http://www.vulcaodoscapelinhos.org/centro/

http://arquitectura.pt/forum/f10/ilha-do-faial-centro-de-interpreta-do-vulc-do-capelinhos-nuno-lopes-11123.html

Vera Aguiar