<br /><a href="http://www.notcot.org/post/62728/" ><img src="http://www.notempire.com/images/uploads/ruster.jpg"></a> <br/><br/>Happy & Red RUSter Candy - adorable lollipop shape and packaging. <br/><br/><i> (Want more? See <a href='http://www.notcot.org/'>NOTCOT.org</a> and <a href='http://www.notcot.com/'>NOTCOT.com</a>)</i>
<br /><a href="http://www.notcot.org/post/62727/" ><img src="http://www.notempire.com/images/uploads/newfields.jpg"></a> <br/><br/>Newfields, a Place for Nature & the Arts in Indianapolis, IN has a great logo by Young & Laramore. <br/><br/><i> (Want more? See <a href='http://www.notcot.org/'>NOTCOT.org</a> and <a href='http://www.notcot.com/'>NOTCOT.com</a>)</i>
© Ari Hatzis
- Architects: Biasol
- Location: 10/12 Gwynne St, Cremorne VIC 3121, Australia
- Area: 480.0 m2
- Project Year: 2016
- Photographs: Ari Hatzis
From the architect. Ideas of culture and connectivity underpinned our design for the Gwynne Street Studio, a dynamic warehouse conversion in Cremorne, an inner-city suburb of Melbourne. The brief called for two new tenancies within a warehouse shell – a new office for Create Company and a new studio for our own practice, with a shared boardroom and breakout space.
The warehouse’s art deco exterior and the neighbourhood’s creative/industrial past provided rich inspiration for our design. Once a hub for manufacturing, Cremorne has seen an influx of young professionals, start-ups and creative industries in recent years, breathing new life into its mix of warehouses, factory shells and Victorian cottages.
We retained the warehouse’s brick bounding walls and the steel trusses that supported
<br /><a href="http://www.notcot.org/post/62726/" ><img src="http://www.notempire.com/images/uploads/drinkin.jpg"></a> <br/><br/>Drinkin' Smokin' & West Coastin': A Group Love/Hate Letter to LA opens tonight at the Think Tank Gallery in DTLA - and that's just the beginning of an epic month of events, installations, and quite the roster of artists. <br/><br/><i> (Want more? See <a href='http://www.notcot.org/'>NOTCOT.org</a> and <a href='http://www.notcot.com/'>NOTCOT.com</a>)</i>
Cortesía de Equipo Primer Lugar A team led by Alberto Moletto, Cristóbal Tirado, Sebastián Hernández and Danilo Lagos has been selected as the winners of the Punta Arenas International Antarctic Center (CAI) design competition. The ambitious state-owned project sought to create a "distinctive and iconic infrastructure that is necessary to consolidate the position of Chile as an Antarctic country and Punta Arenas as the main gateway city to West Antarctica." Take an in-depth look at the winning proposal, described by its authors as a hybrid building, organized "formally and programmatically from strata or superimposed layers, materially varied to host diverse program elements, each with its own character." Here, the architects tell their story.
Men Wanted: For hazardous journey, small wages, bitter cold, long month of complete darkness, constant danger, safe return doubtful, honour and recognition in case of success.
NEON is a nonprofit organization that works to bring contemporary culture closer to everyone.
The Theater of Disappearance is a site specific, outdoor and indoor installation by Argentinian artist Adrian Villar Rojas in Greece, at the National Observatory of Athens (NOA), located on the archaeological site of the Hill of the Nymphs. Built in 1846, the National Observatory is the first scientific research institution in Greece and consolidates nearly two centuries of astronomy since Greek independence in 1832. This is a project curated by Elina Kountouri, that forms part of NEON’s work to establish a link between contemporary culture and the historical and archaeological heritage of Athens.
Today, almost 170 years later, this commission sees Villar Rojas negotiating with an archaeological site for the first time as he radically alters both the indoor and outdoor space of the National Observatory, occupying an area
© Federico Cairoli
- Architects: Ctrl G, 51-1 arquitectos
- Location: Medellin, Antioquia, Colombia
- Architects Ctrl G: Catalina Patiño, Viviana Peña
- Architects 51 1: César Becerra, Manuel de Rivero, Fernando Puente Arnao
- Design Team: Sebastián Monsalve, Jorge Gómez, Eduardo Peláez
- Area: 7500.0 m2
- Project Year: 2015
- Photographs: Federico Cairoli
- General Coordinator: Isabel Dapena
- Collaborators: Luisa Amaya, Oscar Cano, Lucia Largo, María Camila Giraldo, Juan Camilo Arboleda, Nicolás Martínez, Favio Chumpitaz, Bruce Wong, Felipe Vanegas, Carolina Vélez, Luisa Echeverry, Juliana Vélez, Felipe Walter, Mónica Suarez, Sebastián Mejía, Camilo Martínez, Paula Mesa, Juan David Vargas, Luisa Lara, Juan José Riva, Juan Pablo Giraldo
- Construction Collaborators: Lina Durango, Laura Burgos
- Structural Engineering: CNI Ingenieros Consultores - Nicolas Parra G.
- Engineering Collaborators: Ivan Dario Acevedo, Lorena Cañon, Carol Pavon, Santiago Parra
- Builder: Conconcreto
- Interventory: Luis Guillermo Restrepo y Cia S.A.S.
- Client: Museo de Arte Moderno de Medellín y Alcaldía de Medellín
- Ctrl Continue reading "Modern Art Museum of Medellín Extension / Ctrl G + 51-1"
Stairs do more than take you up a floor; they represent a journey the architect wants you to travel. The act of ascending and descending extends beyond planning. Projects like Herzog and De Meuron’s expressive staircases in VitraHaus, Sou Fujimoto’s inhabited stairs in Musashino’s Library and even MVRDV’s giant urban staircase allowed individuals to achieve entirely new perspectives of their surroundings or even city. Staircases hold their own as elements of architectural expression. Some blend in; others puncture a space with their unique shape and materials. "Among all the architectural elements, with no doubt, the stair is for the building the same as the arteries and veins to the human body. As these carry blood to all organs, those with a similar branch, are essential for communication. In a figurative sense, the stair would be like the heart of a building, which fills it with life.
Courtesy of Miguel Marcelino
- Architects: Miguel Marcelino
- Location: Lisbon, Portugal
- Area: 115.0 m2
- Project Year: 2016
- Collaborator: Débora Martins
- General Contractor: Vassalo & Sousa
From the architect. This apartment, built in the 80s, has problems that are typical of the architectural debilities of most of the portuguese housing buildings of the second half of the XX century: low ceilings throughout the house, subdivided spaces, long narrow kitchens, winding corridors and numerous protrusions of pillars and beams that reveal an unresolved conflict between structure and architecture.
The intervention seeks to reduce the usual sectioning between kitchen, hall, corridors and living room, creating a fluid space with large visual fields and richer possibilities of appropriation. The bedrooms maintain a private character and the toilets are redrawn so as to break the feeling of claustrophobia. Protruding structural
© Andrea Thiel Lhotakova
- Architects: e-MRAK
- Location: Sněžka, Czech Republic
- Lead Architects: Martin Rajniš, Patrik Hoffman, Jan Mach, Tom Plzenský, David Kubík, Josef Franc
- Area: 112.0 m2
- Project Year: 2007
- Photographs: Andrea Thiel Lhotakova
From the architect. It’s hard to find a more difficult place for building a house than the peak of Mt. Sněžka. Wind speeds reach up to 250 km/h, winter temperatures hit record freezes, it is the most strictly protected zone of a national park.
How to build in such a locality without spending excess money, and create a house that would remain in the minds of the people who visit? This building is a cousin of the storage depots of Amundsen’s or Scott’s polar expeditions or the houses that you see in Greenland or the Spitzbergen Islands.
It enters on tiptoes into the national park: it is of wood and glass, standing on delicate metal
© Gatis Rozenfelds - Zigmārs Jauja
- Architects: NRJA
- Location: Riga, Latvia
- Lead Architects: Uldis Lukševics, Ivars Veinbergs, Zigmārs Jauja, Linda Leitāne-Šmīdberga
- Area: 400.0 m2
- Project Year: 2017
- Photographs: Gatis Rozenfelds - Zigmārs Jauja
From the architect. Two separate apartments for two families make up the volume which complies with the strict regulations of Riga historical center.
The height of the volume corresponds to the buildings across the street; the varying slopes of the roof react to the geometry of the nearby roofscape.
The materials used for facades – black brick, painted timber boards and Rheinzink tin sheets – respond to the surrounding context of historical buildings.
The tonality of used materials corresponds symbolically to the location – Ogļu (from latvian -
Visitors can occupy any of the 6-meter-tall columns to experience various lighting conditions created from the perforations. The rigid geometry of the installation will be carefully distorted by the artwork of Felice Varini, who's known for his playfully mind-bending art installations.
<img src="https://d38w84nuu9j2kr.cloudfront.net/images/650x/vx/vxabe0g0y8lki8ny.jpg" width="650" height="867" border="0" title="" alt="" />Out of 18 competitive teams, Pezo von Ellrichshausen and Swiss artist Felice Varini were chosen to design a temporary public art installation for the <a href="https://www.hull2017.co.uk/" >Hull UK City of Culture 2017</a> in Hull, England. Their winning proposal, “A Hall for Hull”, features 16 perforated, galvanized-steel columns, which will be specifically arranged in a grid formation in front of Hull Minster to highlight the symmetry of the church's facade.