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Thursday, 11 April 2013


MFO-Park

Switzerland

Zürich Oerlikon 




Design team:

Planergemeinschaft MFO-Park burkhardtpartner/raderschall
Burckhardt + Partner AG Architekten / Raderschall Landschaftsarchitekten AG














 2007 Nomination für den International Urban Landscape Award 
2006 Auszeichnung guter Bauten im Kanton Zürich, Anerkennung 
2006 Auszeichnung für gute Bauten der Stadt Zürich 
2003 public design-Preis Düsseldorf 
2003 BDLA-Preis Bund Deutscher Landschaftsarchitekten, Würdigung


Wednesday, 10 April 2013

ORQUIDEORAMA

Colombia 

Medellin   2005-2006 






Design team:

Felipe Mesa + Alejandro Bernal (Planb architects)
Camilo Restrepo + J. Paul Restrepo


Architecture and organisms
The Construction of an Orchideorama should come up of the relation between architecture and the living organisms. It should not make any distinction between natural and artificial; on the contrary, it should accept them as a unity that allows architecture to be conceived as a material, spatial, environmental organization that is deeply related to the processes of life.


 Two scales of the organic 
The organic is understood in two different scales, and each of them allows us to understand different aspects of the project:
Micro scale: A scale that holds the principles of material organization, defines geometrical patterns, it is nature living structures configuration.
Visual – external scale: It allows us to relate phenomenologically and environmentally to the world, and perceive, notice the world. 


The “organic” as material organization 
The microscale of the organic, such as its capacity to be organized in precise laws of geometry patterns (Direct example: Honeycomb structure), allows us to build a single module (we call it Flower – tree, which mean a flower form figure with the size and properties of a tree), that when it becomes systematically repeated, it allows us to define growing properties, its evolution and its adaptability. Its geometry. 


The “organic” as environmental phenomena
The big scale of biomorphic structures, and in this case specifically: Flowers or/and tress allows us to define perception as a situation where visitors can feel the extension of a forest, a shadow garden. In the other hand it allows us display a set of technical facilities such as collecting water and to structure the modules as hollow trunks.



 


Doing architecture as sowing flowers 
We propose the Orchideorama to be built as sowing flowers: One flower – tree grows, and just beside it, another will appear, until the complete system of Flower – tree structures are defined. They can grow or be sow where is possible, adapting its system structure to the field where it is intended or needed. 


An Orchideorama is not a storage facility structure
Industrial architecture is not the response to develop an Orchideorama. The Orchideorama is composed of 10 Flower – tree structures, that can be built individually, and allow the system grow or response to any uncertainties, such as budget, construction inconvenients or political decisions.



Three species of Flower – Tree structures. Lively Patios.
The Flower - tree structure has three different contents according to is location and its definitions. Each Flower - tree is “hollow” in the center and each of them configures a small hexagonal patio.
The patios have three different characters: 

1. Flower – tree – Light (Small temporary gardens) 
2. Flower – tree – plants (Orchids, exotic and tropical flowers)
3. Flower – tree – animals (Feeding birds facilities – butterfly breeding place) 


Sunset Chapel

 Mexico

Acapulco


Design team:

Design: BNKR Arquitectura
Project Leaders: Mario Gottfried, Javier González & Roberto Ampudia



 The client brief was pretty simple, almost naïve: First, the chapel had to take full advantage of the spectacular views. Second, the sun had to set exactly behind the altar cross (of course, this is only possible twice a year at the equinoxes). And last but not least, a section with the first phase of crypts had to be included outside and around the chapel. Metaphorically speaking, the mausoleum would be in perfect utopian synchrony with a celestial cycle of continuous renovation.


 Two elements obstructed the principal views: large trees and abundant vegetation, and a behemoth of a boulder blocking the main sight of the sunset. In order to clear these obstructions (blowing up the gigantic rock was absolutely out of the question for ethical, spiritual, environmental and, yes, economical reasons) the level of the chapel had to be raised at least five meters. Since only exotic and picturesque vegetation surrounds this virgin oasis, we strived to make the least possible impact on the site, reducing the footprint of the building to nearly half the floor area of the upper level.
Acapulco’s hills are made up of huge granite rocks piled on top of each other. In a purely mimetic endeavor, we worked hard to make the chapel look like “just another” colossal boulder atop the mountain.








Farnborough Airport

United Kingdom









Hampshire





























 Description:
International design competition win to deliver a new business aviation airport. The project includes a 35m high tower, 12,000sqm aircraft hangar and a 4,000sqm operations and headquarters building, which won a RIBA Award.
Innovations & Added Value
Innovative operations building design delivered under budget; 25,000 aluminium shingles used on the terminal which are 100% recyclable; delivered without incident or reportable lost days




Design team:

Director: Peter Farmer
Associate Director/Senior Project Architect: Scott Fenton
Divisional Director + Technical Coach: Paul Green
Associate Director and Project Leader on hangars: Will Leung
Divisional Director: Colin Calderhead
Project Architect: Nina Penn