The striking image of the Plan for the Tokyo Bay developed by Tange
PLAN FOR TOKYO BAY
Kenzo Tange y Laboratory
After World War II, Japan experienced rapid transformation and economic growth. Its architects wanted to contribute to this dramatic change an intensive research effort that would be consolidated in the group articulated around Movimiento Metabolist.
One of the main architects Kenzo Tange and ideologues would be organized various work and research on the forms of architecture and the city of the future. The call Tange Laboratory, Kurokawa compound among others, Isosaki y el propio Kenzo Tange, would produce a radical proposal to overcome the chronic shortage of existing soil in that country's principal metropolis of Asia. It is called the Plan for Tokyo Bay, first published in 1960 in the weekly Shukan Asahi.
The Tange Tokyo Plan defined a grid infrastructure would design a raised occupy the central part of the bay that defines the city and around which to organize its major urbanized areas and port. This powerful system of highways road, communications services and link up directly with the most central and historic Northwest and establish an immense inhabited bridge that would connect with the least busy areas southeast of the sheet of water.
The proposal would support mesh aggregation enchufarían parts built to a random manner and could house premises, administrative and provisions of all kinds, occupying the vacuum formed by the sea. Faced with the difficulties and excessive density of the city, it had reached 10 million in 1960, designed the new city would add other 5 millions more, a strong focus on investment and technology and in a manner consistent with prevailing ideals then urbanism, related to Le Corbusier and the city proposed by the Charter of Athens. The large towers and pills, also reminiscent of Japanese formal traditions and arranged in a random pattern on the mesh territorial, represent an optimistic view of technological development for the future of mankind would not have a true realization.
The oil crisis of the early 70 liquidate this grand vision of an architectural utopia would still echoes long experienced in the urban change in many later developments that would take place throughout Southeast Asia.
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Perspective of the model reflecting a flight of administrative areas. In the background residential pills
Tokyo, Japan. 1960
Inside view of the room
MUSIC AUDITORIUM ROME
Renzo Piano
Roma.Italia.2002
The complex is located near ancient ruins of a villa Roman appeared during excavations, also restored, The intervention consists of three main buildings as a real City of Music on the outskirts of the Roman capital between the Parioli hill and the banks the Tiber near the Olympic stadium.
In the large urban park big three volumes that make up the audience are encompassed radially around the cavea of the amphitheater used for outdoor performances.
These three large volumes are formed by rooms 2700, 1200, 700 locations, where rooms boast innovate in three fields: architecture, acoustics and technical. These organic forms of traditional materials used rooms dominated by wood, brick and lead roofs, where the architect in this intervention brings new ideas into the world of acoustic engineering.
Page of professional office Architect:
Video about the City of Music:
Vision General:
Photography:liaoyusheng
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Main Facade
HOUSE OF THE BEAM
Giuseppe Terragni
Como.Italia.1936
The Italian rationalist architecture in the twenties and thirties living with fascism has been a very interesting period in the history of architecture comtemporanea.
One of the most representative buildings is the Casa del Fascio Terragni Giseppe where his distinctly abstract, deep and dramatic intellectualism, turn those orthogonal grids, an object of meditation spot where you find the value of rationalism of Modernism.
Coated with white marble slabs give it a hard look and solid,where “The Casa del Fascio” a hub 33 m long and 16.5 m high which in turn corresponds to half the length of the building, establishing that all elements are in proportion 1:2 and based on the golden section. Each of the facades has different openings, repeating the pattern in each of them and creating a false vacuum which contrasts with the solidity of this landmark building.
Photography:alejandrosrosmateos
Plans:
Picture of the year 50
View from courtyard
Exterior view of the house
VILLA PLANCHART
Gio Ponti
Caracas.Venezuela.1957
A marriage custom in the fifties the great Milanese architect Gio Ponti this property, at first call “El Cerrito” later to be known by the name of their owners. This home is located on a hill in one of the areas most coveted in town with views over the valley and the city of Caracas.
The idea for the creation of this home comes from the customer premises who requests a housing around a courtyard with views towards the Mount Avila and with ample space to house the works of art, hunting trophies and where the owner Planchart Lord made it a condition that the house could contain his collection of orchids (some 2.000 plants ).
The architect develops an Italian style home but with the necessary conditions to be inhabited in the tropics, around an open courtyard and double height rooms that give a monumental aspect to the spaces.
The architect proclaim repeatedly that the villa is his masterpiece Planchart, where he has been performing all architectural principles. This is the thesis statement you want to demonstrate in the town are all ideas that define the core architecture so Pontian from the analysis of this project we can understand all his work.
“This is my prophecy ... Here in tropical bliss, modern architecture flourish under perfect conditions for this. Elsewhere architecture is a complicated shelter, a den on the ground; Here architecture is a wing under which live in a Garden of Eden "Gio Ponti.
Currently the house has become a foundation that ensures the preservation of the permanent collection, temporary exhibitions and disseminates the culture and art. You can take guided tours of the house and exposure
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Plans:
Ground floor of the house
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Fairway View shot of the building next to the wall of the bridge with the characteristic concrete support of the equestrian statue of Cangrande della Scala.
CASTELVECCHIO RESTORATION OF VERONA
Carlo Scarpa
Corso Cavour. Verona, Italy. 1974
The restoration of Old Castle Verona, by the bridge and home Scaliger family of the same name who guided the destinies of the city in the Middle Ages, would take decades of work by Venetian architect Carlo Scarpa. Destined to be an exhibition space dedicated to the many works of art that had the city was a challenge to balance between maintaining legacy factories and the introduction of new uses and spaces adapted to not renounce contemporary language expression.
With his usual mastery would Scarpa designing spaces for the exhibition seeking to combine sculptures, paintings and utensils supports the proposed, appropriate frameworks and construction details that show your affiliation clear contemporary.
It is perhaps his most significant work and it shows the influence of the architecture of Wright and admiration for traditional Japanese spatiality. The intense effort to detail reflects the method applied doubtful that this architect of all business. One way to work that would challenge the ideas already developed constantly to find new configurations and arrangements by careful use of pencil drawing.
The result is a work of high poetic intensity in which respect for the remains inherited from the past is being relied on any other aesthetic consideration.
Photographs: Peter Guthrie, Flickr Olga y Gómez
References:
Coating design pink Verona marble for the sanctuary wall added
View large courtyard with water slides designed by Scarpa
Ground and first floors of the restored castle
Map of the city of Lisbon in 1755. Eugene Saints. Source: Wikipedia
PLAN FOR RECONSTRUCTION OF BAIXA Lisbon
Marques de Pombal
Lisbon, Portugal. 1775
The earthquake 1755 would be a terrible tragedy that would affect the capital of Portugal, during the reign of Joseph I. Would result in the destruction of the most meanings, including Ribeira Palace, the Casa da India and the port along the river Tagus. The king entrusted his prime minister Sebastian de Melo, Marques de Pombal, reconstruction of the city center in the space which is then recognized as the Baixa.
That effort would be formalized as an orthogonal grid 8 rows of rectangular blocks of the same size, Cuyo estudiarían buildings to be earthquake resistant. In its boundary with the river would run the monumental Praça do Comércio, extensive open space along the river bank in key reinterpret baroque Royal Palace Square that previously existed, también conocida yard as the Paço. At the other end is more secluded design the Praça Rossio which is the main access to the Baixa and one of the busiest places in the city.
The downtown Lisbon would be a precedent for the extensions to be developed in many cities over the next century.
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Plaza del Trade the yard do Paço
View over the roofs of the buildings in the downtown Lisbon
View of the outdoor auditorium in the park with the pond and the museum building in the background
PARK
LA FOUNDATION Calouste Gulbenkian
Gonçalo Ribeiro Telles y Antonio Viana Barreto
By. de Berna. Theisboa, Portugal. 1963
The Calouste Gulbenkian Foundation is a cultural institution dedicated to contemporary art center in the city of Lisbon. The project would be inserted in an ancient woodland exhibition space would retain a substantial portion of the existing vegetation.
From the beginning both buildings would be designed gardens associated as a unit in which the parties maintain a strong interaction. Because of this, This extraordinary perception park is complete from the indoors.
The design of outdoor spaces arises under the influence naturalist so dear to the British landscape that the idea of generating raw meadows, hedgerows and ponds in which frame the existing natural vegetation.
All processing paths, stays furniture and construction details is made in concrete, with a language very related to buildings. A related aesthetic architectures Northern European mid twentieth century which has nothing to envy for quality.
Over the years it appreciates the care and maintenance of
gardening. So, growth and natural unfolding of trees and plants may have contributed greatly to the beauty of the place.
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Assembly drawing gardening performed by Ribeiro Telles
Exterior View of Housing
HOUSE LEIRIA
Manuel Aires Matheus
Leiria. Portugal. 2010
On the outskirts of Leiria (Portugal) find a home as a first impression seems "typical home", but once we entered it is not what it seems. The house is emptied at its center by the light designed by a triple-height courtyard that opens horizontally on the ground floor with garden.
Using a combined basement with main and upper floors are covered all space requirements, thus tricking the eye in a game of white lining a comfortable and comfortable.
The interior uses a multitude of glass panels from floor to ceiling to open an interior space to the external light, with a floor in the form of "U" around the central terrace.
The interior and exterior floors are parquet. Whites in el outer case and preserving the splendor and comfort of wood inside. Also used by the furniture, this color is the wire wood for walls and ceilings of a pure white. Constructively, deck finish using acrylic paint is possible thanks to modern existing waterproofing products.
Photography: Arquinetia
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Internal courtyard housing
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View from covered access
HOUSE OF PLANTS
Paulo David
Madeira. Portugal. 2004
The Art Center in Funchal Casa das Quiet is a building that stands out for its integration into the landscape topography which arises from a policy of creating museums with the aim of decentralizing the Portuguese culture, outside the limits of large cities.
Nestled between high mountains end abruptly at sea its limit is where lies the center consists of a sum of volumes semi-recessed into the volcanic rock and built with this same enclosing a museum playing with the full and empty.
The house stands on a silent das series of roof planes which are punctured by courtyards, ramps and paths that allow access to the building. This cover is visible from the entrance and from part of the journey.
A glassy courtyard linking program organizes all the different rooms with different dimensions. The interior has been designed as a play with contrasting light, clarooscuros games and variations on volumes that give the building an air of vernacular shelter for art.
Photography:elpepuvia
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Photography: Competiline
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Exterior View of the stadium
MUNICIPAL STADIUM BRAGA
Eduardo Souto de Moura
Monte Castro.Braga.Portugal, 2004
Built on a large concrete structure stands on the summit of Mount Castro embedded in ancient Durne granite quarry overlooking the city of Braga. Noted for leverage ancient Greek theaters as the topography of the site to define the building.
With a capacity of 30.000 people. the tiered stadium was built solely on the sides of the pitch., is son of sober has three galleries running through all the stands.
The absence of bleachers in funds allows a dialogue with the landscape and environment,. where we fund see the city of Braga and the other the rock from the quarry.
Each major step is covered with a covering in the style of roof where they are connected together by means of steel cables which resulting in a suspended roof which a touch of lightness to the whole.
Photography:Eleumi
Sketches of previous ideas
Model of the installation
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