The project consist in the reconstruction of building from the 19th century, inserted in the Lapa/Prazeres district. The pre-existing build was in an advanced degree of degradation, the facades and the side walls were the only usable structure.
The Metla Building stands out on the campus of the University of Joensuu due to its material and its concise form. From the exterior, the building appears to be a wood box. The forecourt, which is the gate to the building and which is demarcated by the walls made from logs from demolished houses. The offices and laboratory facilities of the research institute curl around the inner courtyard and the vestibule. The yard is dominated by the conference facilities, which resemble a boat that has been turned upside down, and the sloped columns of the vestibule, which have been inspired by the log booms from floating logs down rivers.
Cabel Industry produced software systems for banks. Then new headquarters is created using a single sign: architectural global shape, fastenings, entrance cuts, furniture handles and decorations. During the day coloured glass create liquid chromatic effects inside black and white offices, instead of night time when coloured cuts project out vivid lighting effects underlining holes, cuts and shapes of the building.
Cabel Industry headquarters, Empoli, Italy, by Massimo Mariani, via: dezeen
Ginkgo Lounge, Portimão, Portugal, by Tiago Rosado, via: Arch Daily
The project demonstrates how architecture can delicately integrate in nature. Designed by Graça Correia and Roberto Ragazzi, it is located on a plot bordering the Cavado River in the Gerês region of Portugal. It elegantly composes with the natural surroundings, as its pure volumetric form with its concrete finish anchors itself on one side, and then protrudes in the air with an impressive cantilever that points toward the river.
Gerês House, Caniçada, Vieira do Minho, Portugal, by Graça Correia e Roberto Ragazzi, Correia Ragazzi Arquitectos
Yatzer has an in-depth article about the new BMW Museum by Atelier Bruecknen in Munich. Opened on June 21st, 2008, it sets a new standard in the realm of brand-focused museums. Along with the BMW Welt, opened in October 2007, and the BMW factory tour, the museum is the final component of the BMW Triad, where two million visitors are expected annually.
In contrast to construction projects of other automobile manufactures, the new museum building would not originate in a green meadow; instead, it was a matter of integrating the new museum into the existing structural fabric of the group headquarters in Munich, according to the brochures handed out at the start of the tour. Here, trendsetting architecture already had a presence from the original 1973 plans of the Viennese architect Karl Schwanzer. This ensemble consists of the “Four Cylinder” high-rise construction, the adjoining low buildings, and the “Museum Bowl” which carries the BMW logo on the roof, and has subsequently developed into a landmark of the car group.
The southern edge of Los Banos [in the San Joaquin valley], where only dusty roads and distant silos interrupt the endless landscape of tilled Central Valley soil, seems an unlikely place to happen upon the work of America’s architectural icon. But past the cattle feedlot and leaning hay barn, deep in a field where winter wheat and cantaloupe mark the seasons, sits a ranch house designed by an aging Frank Lloyd Wright.
Located in the southern suburban area of Paris along wide boulevards and roadway interchanges, in an industrial landscape characterised by a succession of boxes, the RATP Bus Centre in Thiais controls all the bus lines in the south and east of Paris.
The structure displays a non slippery texture of dots in relief like a game of Lego.
In the early 1950s Richard Neutra conceived a 2,500-square-foot log house in Bozeman, Montana, featuring hand-hewn logs in a nod to the state’s vernacular.
Neutra was invited to deliver a lecture on his perceptions of urbanism in the West for a university summer program at Bozeman. Nick Helburn, a professor of geography at Montana State University, fondly remembers the architect sarcastically remarking that suburban ranch developments were characterized by “seven feet of ranch on one side of the house and seven feet on the other.” Helburn also recalls being particularly impressed with Neutra’s position on landscape and nature. After Neutra’s lecture, Helburn introduced himself and asked if the architect might be interested in working with him and his wife on a “small and modest project.”
Neutra decided the house was to be of log construction from the outset and that this decision was made with financial, technical and aesthetic concerns in mind. The more unusual aspects of the project are the sod roof, the log construction and the radiant heating system.
Helburn house, Bozeman, Montana, USA, by Richard Neutra
via: Architectural Digest