+MOOD | recent articles + 3 more
+MOOD | recent articles + 3 more |  |
- 08EMP \ Spaceworkers
- Martin Luther Church Hainburg \ Coop Himmelb(l)au
- “Pagoda” floor lamp \ Lucrecia moribunda
- ANISOTROPIA \ Orproject
| Posted: 17 Aug 2011 07:04 AM PDT
spaceworkers® designed the 08EMP stadium in Mouriz, Paredes. Countering a trend of the current stadium, enclosing its green area inside, was what motivated us in finding this solution. The idea of “giving back” an acre of green space to the town was the main motto for this project. A solid block, which levitates into the landscape. A building which you can see and lets those who pass by see it, too. An open space to the city where football is the main entertaining agent. The solution found refers to a volume that stands in front of the entrance plaza inviting passersby in. On the inside, there's a pitch which takes the leading role, an element that generates emotions.  08EMP, render courtesy Spaceworkers  08EMP, render courtesy Spaceworkers  08EMP, render courtesy Spaceworkers  08EMP - Section, drawing courtesy Spaceworkers + Project credits / dataCode: 08EMP principal architects: henrique marques, rui dinis + All images and drawings courtesy Spaceworkers                  |
| Martin Luther Church Hainburg \ Coop Himmelb(l)au Posted: 16 Aug 2011 08:47 PM PDT
The world-renowned architect Coop Himmelb(l)au has recently completed the Martin Luther Church Hainburg in Austria.
 Martin Luther Church Hainburg, image courtesy Coop Himmelb(l)au | Photo by Duccio Malagamba Architectural Concept In less than a year a protestant church together with a sanctuary, a church hall and supplementary spaces was built in the centre of the Lower Austrian town Hainburg, at the site of a predecessor church that doesn't exist anymore since the 17th century.  Martin Luther Church Hainburg - conceptual diagram, drawing courtesy Coop Himmelb(l)au The shape of the building is derived from that of a huge “table”, with its entire roof construction resting on the legs of the “table” – four steel columns. Another key element is the ceiling of the prayer room: its design language has been developed from the shape of the curved roof of a neighboring Romanesque ossuary – the geometry of this century-old building is translated into a form, in line with the times, via today's digital instruments.  Martin Luther Church Hainburg, image courtesy Coop Himmelb(l)au | Photo by Duccio Malagamba The play with light and transparency has a special place in this project. The light comes from above: three large winding openings in the roof guide it into the interior. The correlation of the number Three to the concept of Trinity in the Christian theology can be interpreted as a “deliberate coincidence”. The church interior itself is not only a place of mysticism and quietude – as an antithesis of our rather fast and media-dominated times – but also an open space for the community.  Martin Luther Church Hainburg, image courtesy Coop Himmelb(l)au | Photo by Duccio Malagamba The sanctuary gives access to the glass-covered children’s corner, illuminated by daylight, which accomodates also the baptistery. The actual community hall is situated behind it: folding doors on the entire length of the space between the two main chambers allow for combining them to one continuous spatial sequence. An folded glass façade on the opposite side opens the space towards the street. A third building element, a longitudinal slab building along a small side alley, flanks both main spaces and comprises the sacristy, the pastor’s office, a small kitchen and other ancillary rooms. A handicapped accessible ramp between the three building components accesses the church garden on higher ground. The sculptural bell tower at the forecourt constitutes the fourth element of the building ensemble.  Martin Luther Church Hainburg, image courtesy Coop Himmelb(l)au | Photo by Duccio Malagamba Like other projects of COOP HIMMELB(L)AU the roof elements of the church building were assembled in a shipyard. The implementation of the intricate geometries required specific technologies of metal-processing and manufacturing only available in shipbuilding industry. The reference to shipbuilding is at the same time also reminiscent of Le Corbusier who served as an important role model, not least because of his La Tourette monastery. Technical Description Due to its shape with three skylights the roof of the Martin Luther Church in Hainburg was designed as a self-supporting steel construction with a stucco ceiling. The structure was assembled in a wharf at the Baltic Sea. The exterior skin is made of 8 mm thick three-dimensionally curved steel plates welded on a frame construction. In turn, this structure of steel plates and frame sits on a girder grid. The compound of grid, frame and steel skin transfers the total load of the roof (23 tons) on four steel columns which are based on the solid concrete walls of the prayer room. The roof construction was delivered in four separate parts to Hainburg, assembled and welded on site. There, the coating of the whole structure was finished and mounted with a crane in the designated position on the shell construction of the prayer room. On the interior ceiling the suspended frame structure was covered in several layers of steel fabric and rush matting as carrier layer for the cladding of the stucco ceiling, whose geometry follows the three-dimensionally curved shape of the roof with the skylights. The free-form bell tower of the Martin Luther Church was also manufactured, by means of shipbuilding technology, as a vertical self-supporting steel structure with wall thickness between 8 and 16 millimeter, only braced by horizontal frames. The 20 meter high tower weighing 8 tons is welded rigidly to a steel element encased in the concrete foundations.  Martin Luther Church Hainburg - Ground floor plan, drawing courtesy Coop Himmelb(l)au  Martin Luther Church Hainburg - Section, drawing courtesy Coop Himmelb(l)au + TeamPlanning: Design Principal: Wolf D. Prix Structural engineering: Bollinger Grohmann Schneider ZT GmbH, Vienna, Austria Fibre cement cladding: Eternit-Werke Ludwig Hatschek AG, Vöcklabruck, Österreich Altar: Idee & Design, Stainz, Austria + Project dataSite area: 420 m² Height sanctuary: 6 m + ChronologyStart of Planning: 2008 + All images and drawings courtesy Coop Himmelb(l)au | Photo by Duccio Malagamba         + More religious architecture on +MOOD Zhongguancun Christian Church | gmp architekten  Church in Piacenza | Studio KUADRA |
| “Pagoda” floor lamp \ Lucrecia moribunda Posted: 16 Aug 2011 06:42 PM PDT
Lucrecia moribunda has created the “Pagoda” floor lamp. + Design statement by Lucrecia moribundaAgain utilizing modern ceramic dishes from the depths of the cupboard I have fashioned a grandiose, ever extending, seven tiered floor lamp profusely immersed in suede floral at every juncture; the piece intrepidly stretches upward bearing similitude to some decorative tower residing in the the Englischer Garten jostling for the most advantageous altitude. Each tier boasts a right side up cup and saucer pairing while the base coupling projects a more contrasting point of view, the bottom being inverted and ”closed” as the top re-establishes congruence proceeding upward in stringent allegiance, ”opened”. As per the shade, a sculpted stiffel has been employed with twisted rope bordering tracing every curving contour.  Image courtesy Lucrecia moribunda  Image courtesy Lucrecia moribunda  Image courtesy Lucrecia moribunda + All images courtesy Lucrecia moribunda          |
| Posted: 16 Aug 2011 05:45 PM PDT
Orproject is pleased to present Anisotropia, a proposal for Busan Opera House. A FROZEN PIECE OF MUSIC Anisotropia, the design for the new Busan Opera House, is based on Klavierstück I, a composition for piano by Orproject director Christoph Klemmt. It is based on a twelve tone row which is repeated and altered by the different voices, in order to create complex rhythmic patterns.  ANISOTROPIA , render courtesy Orproject Anisotropia becomes the physical manifestation of Klavierstück I, a frozen piece of music. The design for the Busan Opera House is based on a simple strip morphology instead of a twelve tone row, which creates the facade, structure and rhythm within itself, its repetition happening in space instead of time. Layers of the strips form the façade structure, and the shifting and alteration of these patterns results in the formation of complex architectural rhythms which are used to control the light, view and shading properties of the façade.  ANISOTROPIA , render courtesy Orproject SHIFTING TONES Klavierstück I uses a twelve tone row which starts with the lowest key of the piano. After its first cycle the row gets repeated, though shifted up by a halftone. However rather than translating up every tone by a halftone, only the lowest tone of the row is translated up by one octave. Like this the row remains the same, but its range has been shifted. In the next repetition this shift continues, but the range now also gets reduced in its size: The  ANISOTROPIA , render courtesy Orproject The range of the twelve tone row continues to be reduced and shifted upwards until only one tone is left in each repetition of the original row. Then the range grows again, and still moving upwards goes through further modulations: The different voices of the piece are starting to separate, the size of the different parallel ranges starts to diverge, they move around each other, until finally they grow together again, still moving up and their range fading out with the highest key of the piano. Piano Piece No.1 is based on a simple row of the twelve tones, but by shifting and translating its range of influence, complex and continuously evolving rhythmic patterns are generated and turned into a floating field of sound.  ANISOTROPIA, render courtesy Orproject STRUCTURE AND LIGHT The proposed façade structure becomes the physical manifestation of Klavierstück I. Instead of on a twelve tone row, it is based on a strip morphology made from curved steel sections that creates the facade, structure and rhythm within itself. The repetition of the lamella happens in space, instead of the repetition in time of the twelve tone row. Parallel layers of the strips form the façade structure, and the alteration of its patterns results in architectural rhythms which are used to control the light, view and shading properties of the façade.  ANISOTROPIA - Facade detail, render courtesy Orproject The façade structure starts to flow from the sea, where its different layers are aligned and appear to be one. (FaçadeDetail01.jpg) Then slowly the layers start to repeat at different intervals, resulting in a shift between them, the alignment breaks up, and a varied field of the façade rhythms begins to emerge.  ANISOTROPIA - Facade detail, render courtesy Orproject The façade structure is altered in the length of its repetition, but also the orientation and the depth of the extrusions are manipulated in order to control the view and light, depending on the programmatic requirements on the inside of the building.  ANISOTROPIA - Facade detail, render courtesy Orproject The flow of the façade layers is influenced by the programs which they enclose. As an effect of this the layers split up at certain points, and after forming a coherent system with the overlay of its rhythms, the individual layers separate and their individual patterns become visible.  ANISOTROPIA - Exploded axo, render courtesy Orproject FLOW The positioning of the façade walls has been developed according to a custom written flow simulation. The algorithm describes a flow that is influenced and altered by a set of deflectors, which each act according to the magnitude of their attraction and the area of their influence. The distribution of the programmatic elements on the site is used as the deflector set that guides the flow of the rhythm lines which originate from the sea. On their way towards the city, the lines flow around the building elements such as the theatre and auditoriums, splitting up and being diverted by the deflectors. In the musical composition the different voices converge again. For the building, the separate façade layers spread out towards the city, form the structure for a bridge, and then slowly fade out and disappear back into the ground. + Project credits / dataTitle: Anisotropia + All images copyright Orproject 2011               + Other performing center / Theather on +MOOD Sinfonia Varsovia Concert Hall | Atelier Thomas Pucher  Dublin National Concert Hall | 3XN architects |
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