Peter Zumthor. 2009 Pritzker Prize.
Swiss architect Peter Zumthor to be named winner of the 2009 Pritzker Prize, the highest recognition for architects. via nyt [PR]
Swiss architect Peter Zumthor to be named winner of the 2009 Pritzker Prize, the highest recognition for architects. via nyt [PR]
Mecca of modernist architecture now offers tourists chance to stay in its former student quarters. via guardian [PR]
Congress created the Eisenhower Commission in 1999 to plan and raise money for the memorial. Frank Gehry to design it. via portfolio.com [PR]
Architect Dietmar Koering of Arphenotype has designed these electricity pylons for a competition to envisage a new power transmission network in Iceland.
Each pylon to be between 17 and 32 meters tall, with the shape of each varying according to its
longitude and latitude.
Adaptability is an distinction of evolution, but today’s instant variations in [virtual] extended phenotypes call for something stronger: adaptability of nature! In nature material is used with optimum efficiency. Cells continually adapt to precisely fulfill their function.
Through researching organic forms and their production methods the intelligence of the material itself should support the design language, the lightness and stiffness. Fibrous systems and computation is the answer for this new task. Fibrous system in biology: inspiration! Like in the evolution through phenotypes, the production is based on a clear code; where the evolution part and the random variation is bounded to the specific landscape and site.
Architectural form and its relationship to nature, environment and society has rich antecedents to the human body. The idea is that the power net is building one main spine of nowadays society which enables living on a high standard in an age of communication; therefore the spines of the power net reflects an organic language.
The organic structure is covered with a high reflective “lotus-effect” color. It will be cleaned through natural weather conditions and will reflect the nature itself, which strengthens the idea of a graphical integration to the landscape. The final tower will blend into its environment physical and virtual. It creates a feedback loop in the observed system.
Each transmission tower is shaped in height between 17m and 32m by computer-driven equipment according to its site / longitude and latitude. This approach permits the structures to be modeled and easily fabricated translating into a reasonable cost.
For maximum strength and stability the construction method is based on the idea of a Tripod. Once the parameters are set, it is just the location of tower by latitude and longitude, which will result in unique towers.
The main material used for the towers is an aramid-fibre-matrix bounded with eco resin through thermosetting, which gives the material stability to degration, UV, weathering and wind. The main structure will be built through filament winding and resin transfer molding. This material allows also in computer aided manufacturing an organic design language without much more costs. The thickness of the material will change through the whole system, calculated by software to adapt the stiffness to site + location and natural forces like wind.
The towers will be prefabricated and mounted on site on concrete foundation, which will support the idea of natural material on site.
Today’s pursuit to build lightweight for economic, material engineering and environmental reasons is the logical response to today’s changing society where flexibility is the prime survival quality.
Once the system is set up it will be a leading manufacturing site for fibrous systems. The high tech environment makes it hard to copy the design language and production method, which leads to a unique company.
The competition’s organizers Landsnet the Association of Icelandic Architects.
First major US exhibition of Fuller’s work in 35 years and a testament to his fascinating mix of utopian vision and organic pragmatism.
March 14 – June 21, 2009 via mcachicago [PR]
Construction of The Shard began this week and by the time of its completion, in early 2012, London will be the host of one of Europe’s tallest buildings and one of the most techno – logically advanced towers ever built.
The tower to stand at 1,017 feet (310 m) tall and have 72 floors, plus 15 further radiator floors in the roof, making it the tallest building in the country. Renzo Piano, the building’s architect, worked together with architectural firm Broadway Malyan during the planning stage of the project.
The Shard tower was announced with the hope that it would be the tallest building in Europe on completion, surpassing Frankfurt’s Commerzbank Tower, which at 849 ft (259 m) had been the tallest building in Europe since 1997. The Commerzbank has since been surpassed in height by two Moscow skyscrapers, Triumph-Palace and Naberezhnaya Tower, both of which the Shard tower would, in turn, surpass. However, since 2000, construction has started on three skyscrapers in Moscow that will rise higher than the Shard tower, including the 2,009 ft (612 m) Russia Tower that is now on hold. Even though the Russia Tower is on hold the other two, the Federation Tower East and the Mercury City Tower are still scheduled to be completed before the shard. Still, if completed on schedule, the Shard London Bridge may become the tallest building in the European Union.
Like the Empire State Building in NYC, Sears Tower in Chicago, Petronas Towers in Kuala Lumpur, The Shard at London Bridge will become a recognizable symbol of London throughout the world.
Architecturally breathtaking, the concept behind The Shard was designed within seconds in a Berlin restaurant by the renowned architect Renzo Piano, a few years ago. “The tower is designed to be a sharp and light presence on the London skyline, and to be sustainable from every point of view: human, technological, energetic and economic.” Says Piano and he really means it.
The Shard has many sustainable credentials and is expected to use around 30% less energy than other comparable buildings and will also be a virtually car-free building. Can you imagine that? A 320 meter building with parking space for only 47 cars! Modern offices and efficient, flexible spaces suitable for a range of different working environments. A hotel, to be operated by Shangri-La Hotels and Resorts as their first European location, would be expected to take up around a fifth of the available space in the tower. A large pre-let for office space in the tower has been agreed in principle by Transport for London. World recession? We’ve read that 40% of the building has been leased.
Toronto-based Sustain Design Studio, creator of the much-touted MiniHome, is giving a series of workshops in Los Angeles and San Francisco. Sustain has been developing dedicated ecological trailer parks for communities of MiniHome residents as well.
Sustain’s Trevor McIvor and Andy Thomson will be coming to both events to discuss prefab architecture and the future of sustainable community design. They’ll also answer questions on their line of products. Sustain is offering a 25% discount to the first California customer to purchase a 12×34 model, which will be on show at Dwell on Design.
San Francisco Session and Venue Information:
Date: Tuesday, April 7th, 2009, 6:30pm to 9pm
Location: Anshen+Allen Architects. 901 Market St.
*Participating architects will be eligible for AIA continuing education credits. The San Francisco event will take place on Tuesday, April 7, from 6:30-9pm California workshops
Los Angeles Session and Venue Information:
Date: Wednesday, April 8th, 2009. 6.30pm to 9pm
Location: SPF: a Gallery, 8609 Washington Blvd
Producer: sustain design studio
Jonathan Glancey interviews Paffard Keatinge-Clay who worked with the greats – Le Corbusier, Frank Lloyd Wright and Mies van der Rohe. via guardian.co.uk [PR]
Takasugi-an ( too-high tea house), a tea house in Chino, Nagano Prefecture, Japan. Architect: Terunobu Fujimori
Designer: Terunobu Fujimori
Vienna architects Delugan Meissl have completed work on the new Porsche Museum in Stuttgart-Zuffenhausen, Germany. The museum opens January 31, 2009.
The museum will house around 80 chronologically-arranged vehicle exhibits and will be routinely replaced by other historical Porsches, as the majority of the exhibits can be driven on the road.
The company’s production and media archives will also be housed on-site, alongside a 3000-book library, shop, restaurant and conference facilities.
Photos are courtesy of Nathan Willock.
The following is from Porsche…
The successful record of Stuttgart’s sports-car manufacturer – Porsche is both the smallest independent German automaker and the world’s most profitable automaker – is based on decades of experience in automotive manufacturing and in motorsports. The history of Porsche sports cars begins in 1948 with the legendary Type 356 “No. 1,” but the conceptual basis of the brand is the result of the lifelong work of Professor Ferdinand Porsche (1875–1951), which was continued by his son Ferry (1909–1998).
By establishing an independent engineering office in Stuttgart in 1931, Ferdinand Porsche laid the foundations for the House of Porsche, and he made automotive history by pioneering developments for his client companies. During the past six decades, Porsche has experienced many high points as well as low ones. But thanks to efficient production methods, distinctive positioning of its brand, and innovative models such as the 356, 911, 914, 924, 944, 928, and the Boxster and the Cayenne, the former sports-car specialist has developed into one of the world’s most successful automobile manufacturers.
This unique history is both an honor and an obligation. Porsche customers, shareholders, and Porsche fans had often expressed their wish for an inspiring place in which to display the corporate history, and in July 2004 Porsche’s Management Board responded by approving the construction of a new museum at Zuffenhausen’s Porscheplatz. Since October 2005, construction has been underway on a museum that will be an architectural emblem of the Porsche brand and make history as the most spectacular building project ever undertaken by the company. The elaborate new museum will be completed near the end of 2008 and will become the central repository where the Porsche tradition will be preserved and displayed.
Auto fans around the world know that the traditional site of Porsche AG is in Stuttgart-Zuffenhausen. Seventy years ago the erstwhile Porsche engineering office relocated from downtown Stuttgart to the first, newly built Porsche plant in Zuffenhausen. This is where the trial series of what became the “VW Beetle” was built in 1938, as was the forefather of all Porsche sports cars, the Type 64 “Berlin–Rome Car,” in 1939.
In 1950 this Stuttgart suburb became the birthplace of the sports cars bearing the Porsche logo. Today, the 911 model series and all Porsche engines are produced in Zuffenhausen. And Porsche’s new museum will be located here, on Porscheplatz. At this historic location, it will join the Porsche plant and the Porsche Center as the new emblem of the company.
There’s no doubt about it, even now: the new edifice by Vienna’s Delugan Meissl is an eye-catcher. Although the building isn’t quite finished yet, the fascinating impact of the monolithic, virtually floating exhibition hall can already be felt. This bold and dynamic architecture reflects the company’s philosophy and provides a foretaste of the experience that awaits visitors to the future museum. It is designed to convey a sense of arrival and approachability, and to guide the visitors smoothly from the basement level into the superstructure.
In their design, the architects at Delugan Meissl set out to create a place of sensuous experience that reflects the authenticity of Porsche products and services as well as the company’s character, while also reshaping Porscheplatz with an unmistakable appearance.
About 80 vehicles and many small exhibits will be on display at the new Porsche Museum in a unique ambience. In addition to world-famous, iconic vehicles such as the 356, 550, 911, and 917, the exhibits include some of the outstanding technical achievements of Professor Ferdinand Porsche from the early 20th century. Even then, the name of Porsche stood for the commitment never to be satisfied with a technical solution that fails to fully meet or exceed all of its requirements, including opportunities for further improvement.
From the lobby, visitors ascend a spectacular ramp to the entrance of the spacious exhibition area, where they can gain an initial overview of the impressive collection.
Here the visitor is free to choose whether to start chronologically with the company history before 1948, or to head directly into the main area of the exhibition, which contains a chronological history of Porsche products and thematic islands. Both areas are interlinked by the “Porsche Idea” section, which forms the backbone of the exhibition.
The Idea section explains what makes the various themes and exhibits so unique. It tells of the spirit and the passion that motivate the work at Porsche, and pays tribute to the company as well as the people behind the product.
The new museum enlightens the visitor in an impressive, clear, and interesting manner about the entire history of what is now Dr. Ing. h.c. F. Porsche AG. Production cars have been just as important to the name recognition of the Porsche brand as many vehicles designed specifically for racing. Porsche designs have had an impact on individual mobility even in the early years of motorization.
The exhibition layout provides separate exhibit areas for the two periods before and after 1948. “Porsche Idea,” “Product History,” and “Thematic Islands” are the three core elements of the museum concept. Visitors making their way through the exhibition will often find these three main elements thematically interlinked.
The “Porsche Idea“ section focuses on specific, trailblazing technical solutions for interesting challenges from nearly all areas of mobility. Visitors can learn about the values, motivation, and philosophy driving the company throughout its history and to its ultimate success.
The “Product History” section is a chronologically arranged presentation of the history of Porsche sports cars from its beginnings in 1948 to the latest models with all their technological diversity and stylistic individuality.
“Thematic Islands” focus on particular, especially important aspects of Porsche history. Some of them, like “Evolution 911,” are dedicated to specific model series. Others bring together vehicles from different eras, for example in the splendid motorsport history of “Le Mans.”
The Racing Cars
Unlike many other museums, the new Porsche Museum stands for joie de vivre and variety. It will continue to remain committed to the long-established philosophy of the “Museum on Wheels” and will utilize, enhance, and expand the newly assembled collection in Zuffenhausen.
Next year, for instance, the 550 A Spyder will participate in the Mille Miglia, and the 356 Carrera Abarth GT will travel all the way to Australia for the Classic Adelaide.
Instead of a conventional, static exhibition, newly arranged object combinations will create an ever-changing display that reflects the self-image of a company that incorporates both a great tradition and great innovations.
With the “Museum on Wheels” Porsche is taking a route no one else has traveled. Even the classic vehicles in the museum’s collection are serving the purpose for which they were built in the first place: driving!
The Porsche Archive
A central repository is being created in the new museum where all of the historical and contemporary knowledge about the subject “Porsche” is being consolidated. The historical archive of Porsche AG is also moving into the new edifice, where portions of it are visible through glass walls from the lobby.
As the company’s “memory,” the Porsche Archive collects all important information concerning business, technical, social, or cultural matters relating to Porsche AG and its subsidiary companies. The archived items include anything worth saving about the unparalleled Porsche success story, from the beginnings of Ferdinand Porsche as an automobile designer to the engineering office established in 1931 all the way to today’s Porsche AG. The present files of the Porsche Archive cover 2,000 meters of shelf space, including bookshelves, display cases, steel cabinets, and safes.
The Historical Archive with its accumulated knowledge is available not only to internal departments but also to external users, such as journalists and scientists. Many thousands of inquiries annually are handled here in a professional manner by the Porsche archivists.
Designer: Delugan Meissl
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