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
Floating Roof House is located at the foot of a hill. A floating roof allows the slope to continue through the interior space.
The Tjibaou Centre Cultural in New Caledonia commemorates Jean-Marie Tijibaou, who sought Kanak independence from France. France enlisted Renzo Piano for this center after his death.
The 10 “cases” resemble the vernacular of the region, with consistent bowed vertical framing and wood ribs. The unique structure displays the Kanak ingenuity of building design, a clear statement to the world of something special. The structures addresses the difficulties of finding a way to express traditions of the Pacific in modem language. The 10 hut-like structures of the centre, of up to nine storeys, are organized into three villages.
Tjibaou Centre Cultural, New Caledonia, by Renzo Piano
The woods around the villa are dark, which means it is important to ensure that as much light can enter the house as possible. However, the more glass is used in a building, the more difficult it is to maintain the dividing line between inside and outside, private and public. Therefore the building plot is divided into three long strips at right angles to the road. The bottom and southernmost strip is reserved for the garden, the middle strip contains the villa itself and the most northern strip offers access to the house: this is where the drive, parking space and the entrance are located. This layout of the site means that those parts of the house that the residents prefer to keep private are out of sight.
Built in the brutalist style of architecture of the 1970’s, the house was subsequently renovated several times following a more traditional approach to house design especially by converting large open spaces to a more cellular room design. The renovation reopened the ground floor so that it became an open loft-like space from front to back. By installing a new fully glazed wall at the rear garden side of the house, it was possible to extend the sense of the outdoor space through to the interior.