Archipendium 2014 - Группа авторов

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Bar “La Bohème” (entre amis) is located in the “Galeria de Paris” street, amidst the downtown area of Porto. The redesign sought to implement and structuralize the space, creating its own identity. The solution was formalized through the texture and the colour of the wood, which defines the space and provides depth to the structure’s design. This structure, which was placed along the corridors and namely at the walls and ceiling, allows to subvert the whole appearance of the space, appealing to its visitors sense of discovery. The bar spans three levels: the main floor, basement and a mezzanine. The latter establishes a visual relationship with the main floor. The bar counter is located at the main floor’s bigger span, next to the entrance door and public access. The previously adopted functional solution was maintained, although we opted to change the (only) existing counter’s location in order to give it a larger dimension, functionality and space for its customers. The involving wooden structure was maintained on the lower level (basement) as to create uniformity with the main floor, and a large wine showcase was added. The building’s facade is clad in granite ashlar. We assumed that the previous window frames were made of solid wood, as to the resemblance of some existing adjacent buildings. Changes made to the façade were solely at the level of framework and entrance span, combining an “Afizélia” wood (natural colour) with colourless laminated glass. The proposed functional solution seemed more appropriate for the establishment’s new areas of operation and organization. The composition and design of the elements in the framework were formulated taking into account the interior design of the space, while introducing rhythm by drawing vertical uprights. This also ensured some security, preventing the installation of security systems previously installed.

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Academie MWD I Carlos Arroyo Dilbeek I Belgium I 2012

      The Academie MWD sits at a uniquely varied crossroads; South: the main square; North: Wolfsputten, a protected forest; West: CC Westrand, a Brutalist community centre; and East a series of quaint suburban villas. Architect Carlos Arroyo had a distinct challenge: erecting a building with a quality of its own, which makes sense from all four directions. Arroyo carefully modulates scale and form: the jagged edge of the roof mimics those of the homes across the street, growing gradually to the cantilevered auditorium at the other end, and rising up to look face to face towards the monumental volumes of CC Westrand. Image and texture dematerialise the volume: the façade seems to blend into the forest. The building changes dramatically as we move along the sidewalk; walking towards the forest, we see forest; walking towards the grey Westrand we see greys, whites and blue skies. Looking straight into the façade, we see the colours of a painting by A. Hoppenbrouwers, the architect of neighbouring Westrand.

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The Dome for Floriade 2012 I ZENDOME Venlo I The Netherlands I 2011

      Floriade 2012—the largest and most important gardening exposition in the world takes place once every 10 years in the Netherlands. The mission was to inform and welcome the over 2 million international visitors from April to October 2012 to the 66 hectares of exhibition grounds with its theme gardens and pavilions in an extraordinary way. The agency DST Experience communication, Sky-Skan and ZENDOME worked together intensively from the idea to the realization of the 300 qm large geodesic dome with a specially developed vacuum membrane for perfect 360° projections. Inside a silver mobile cupola a fulldome film helped making the Floriade theme world an immersive experience right after checking in. The fact that the easily deconstructable dome could be moved without any negative effects for nature to be used at the next event was another clear example of the quality of the mobile architecture.

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House of Generations I Gerhard Mitterberger Austria I 2012

      As opposed to the improvements of the last century, the retirement home of our current times—owing to several restrictions—develops back into the infirmaries of the 19th century. Due to the high level of the residents’ care dependency, there is a lack of vitality in their everyday lives. The aim of this house is to create a generation-spanning environment. Centre piece of the facility is a special-care home with 41 beds, just big enough to be run economically and small enough to enable family-like groups and individual care. Additionally, there are 14 appartments that are connected to the care home. The “living room” of these appartments is a lounge on the ground floor with a large sun deck. The architectural design meets the demand for “diffusion”: The rooms fluently blend into each other. They are transparent and open to the public spaces. Living zones, lounges and internal “streets” replace common corridors.

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Moravian Church Amsterdam ZO I 70F architecture Amsterdam I The Netherlands I 2013

      The commission for this building started as early as 2006. After a long design process, along with extensive design meetings with the principal, the design was ready to be presented to the strict supervising committee of the municipality. Supervisors Ton Schaap and Michael van Gessel where praising in their final conclusion: “The church is in its tough plasticity and reluctant use of materials a big plus for this part of Amsterdam.” The building is simple in its definition. The entrance and the kitchen have become the focus of the church. Adjacent to the left and right you will find the meeting hall and the main church hall. Above the meeting hall, on the first floor you will find the flexible meeting rooms. The main church hall itself has a balcony on the first floor. The rest of the first floor is an open space, with a from 9 meters and up ascending roof. This space ends in a 13 meter high light tower; a light roof light spanning the full with of the venue, allowing for indirect sunlight. Light and the colour white are of great importance to the liturgy of the Moravian church. The daylight that enters the main church hall through the roof is the key element of the whole building. It defines the introduction of the visitor to the main church hall. On top of that, the building function as a light-beacon to the surrounding area. The main entrance with its high glass façade always emits light, giving a strong “welcome” signal to its surroundings. The 550 white chairs with their white legs mostly translate the “white” in the liturgy in the main church hall. It ads to the clear and ordered feel to the interior design. For the facade we chose a mixed white-yellow brick with the brickwork in a “wild” pattern. Putting the building o a mound emphasizes the strong monolithic character of the building. With it’s sober and reluctant character, the building subordinates itself to it’s function: The modern church building.

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Temporary Museum (Lake) I studio Anne Holtrop Heemskerk I The Netherlands I 2010

      The drawings that were used to make the Temporary Museum (Lake) were made by chance. Not likeness or beauty is its key aspect, as in traditionalism; nor logic or ratio as in modernism; but rather “the possible” in the sense of what is merely conceivable, the idea that all things can be perceived and conceived differently. Chance struck me as a way of making work that does not reference to anything specific. But the mind of the viewer, like my mind, wishes to see things in them, like in a Rorschach inkblot. Jumping between different visions the mind projects its own ideas on it. Each construction, each gesture is a new reality. So is the use of one of these drawings to make the temporary museum.

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