LITMIR.BIZ

      When asked of what his vision for the future temple would be, Master Sheng Yen, the founder of the Monastery and Dharma Drum Buddhist Group, answered that he “sees” the temple in his meditation dhyana, “It is a Flower in Space, Moon in Water,” he said. “Let’s name it the Water-Moon Monastery.” Thus began the Water-Moon Monastery. Situated on the vast Guandu plain, facing the Keelung River and with the Datun Mountain as its backdrop, the design takes advantage of its natural surroundings and strives to build a tranquil spiritual place. After passing through two walls of different heights that serve as buffer from the expressway outside, upon entering the temple, visitors face the view of the Main Hall that sits at the far end of a80-meter long lotus pond. The reflections on the pond of the over-sized colonnades and the flowing golden drapes in between create a scene of illusory quality. Using architectural concrete as the main material, the design reduces the color and form to a minimum, conveying the spirit of Zen Buddhism. The lower part of the Grand Hall is transparent, giving it an impression of its upper wooden “box” being suspended in theair. On the west side of the Grand Hall, a massive wooden wall is carved with the famous “Heart Sutra” in Chinese characters. As the lights shine through the carved-out characters, the space is infused with an aura of culture and spirituality. Outside the long corridor, the characters of the “Vajracchedika Prajnaparamita Sutra” are cast void on the prefabricated GRC panels, providing additional religious meaning while functioning as sunshades. When the scripture is imprinted onto the interior surface by the sunlight, it is as if the Buddha’s teaching, in an unspoken manner, is revealed.

Circolare , Ecole Del Rusco I Ciclostile Architettura Bologna I Italy I 2012

      For the fourth edition of Ecole del Rusco: the exhibition about art and recycling in Bologna, was set up an artistic and sensory journey through the squares of the city, with five installations by young designers, dedicated to the touch, sight, taste, hearing and smell. The temporary art installation “Circolare” is a project of landscape using products made with recycled materials compared with the same materials in their original form. The dialectical opposition between the waste raw material in its original form and the object?made from it has the dual function of showing concrete results from a recovery action and to stimulate the tactile curiosity of the public who can verify personally the effect of such recovery. The containers that collect the protagonists of this dialogue are big spheres that symbolically through their shape indicate the circular process of the recycling act.

Tudela - Culip Restoration Project I EMF + Ardèvols Consultors Cap de Creus I Spain I 2010

      The project is related to an important aspect of what landscape architecture is about, namely identifying, unveiling and eventually transforming a site, to fit with what is already there. Revealing & celebration “the real” landscape and its specificities. Indeed, the project’s goal was not to build or un-build, a landscape but to conceive the conditions for its experiencing. To do so, the process involved in-depth site reconnaissance and precise on-site cartography making. During the 5 years process, the designers walked more than 200 km on site, took and studied more than 15,000 images, and received up to 50 specialists in different fields related to nature restoration, in search for ways to optimize deconstruction, nature dynamic reclamation, and social valorization. The commission was approximated as an open process, enabling flexibility to integrate the discoveries following deconstruction. For instance the solution to enhance a “Pegmatite” outcrop at the entrance was found and negotiated with the builder during work. Constructively a minimalist approach was taken, reducing materials to those on site plus Cor-ten steel, for its landscape integration and its resistance to sea exposure, and using only few consistent construction details repeated through the site. ‘Robustness’ for a landscape that accepts little domesticities.

Umeå Art Museum I Henning Larsen Architects Umeå I Sweden I 2011

      The Art Museum, Bildmuseet, at Umeå University is situated at the new Arts Campus by the Umeälven river. The campus also comprises the Academy of Fine Arts, the Institute of Design and the new School of Architecture. The consolidation of artistic institutes and exhibition facilities is based on a close collaboration between various companies with a view to allow art, design and architecture to benefit from one another. Umeå’s position as a centre of art and education is strenghtened with a new silhouette by the river. In its previous facilities, the museum has displayed international contemporary art and classic art-historical exhibitions side by side since 1981. The new museum more than doubles the exhibition area and, with its protruding, visible location by the river, it will become a new landmark in the area.

      The tower comprises three exhibition halls placed upon each other—with inserted floor plans featuring the auditorium, children’s workshops and administration. The large, square exhibition halls are free from structural elements and offer ample daylight, let in through

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