Wednesday, 8 February 2012

Vanke Triple V Gallery by Ministry of Design 6 February 2012

Vanke Triple V Gallery by Ministry of Design
Vanke Triple V Gallery by Ministry of Design
Here are some images of an extremely pointy pavilion in Tianjin, China, by Singapore studio Ministry of Design.
Vanke Triple V Gallery by Ministry of Design
A band of Corten steel cladding surrounds the triangular building, pitching upwards at each corner to cantilever over triangular windows.
Vanke Triple V Gallery by Ministry of Design
Doors on two of these glazed corners provide separate entrances to a showroom and an information centre, both for property developer Vanke.
Vanke Triple V Gallery by Ministry of Design
A lounge and bar for entertaining clients is located in the building’s third corner.
Vanke Triple V Gallery by Ministry of Design
We’ve noticed a trend of Corten-clad buildings lately – see a few more of them here.
Vanke Triple V Gallery by Ministry of Design
Photography is by Edward Hendricks, CI&A Photography.
Vanke Triple V Gallery by Ministry of Design
Here’s a little more explanation from Ministry of Design:

Vanke Triple V Gallery
Designed as a permanent show gallery and tourist information center for China’s largest developer Vanke, MOD’s dramatic design for the TRIPLE V GALLERY has become an icon along the Dong Jiang Bay coastline.
Vanke Triple V Gallery by Ministry of Design
Click above for larger image
Despite its obvious sculptural qualities, the building’s DNA evolved rationally from a careful analysis of key contextual & programmatic perimeters – resulting in the TRIPLE V GALLERY’S triangulated floor plan as well as the 3 soaring edges that have come to define its form.
http://www.dezeen.com/?p=190904
Click above for larger image
The client’s program called for 3 main spaces: a tourist information center, a show gallery & a lounge for discussion.
Requiring their own entrances, the tourist center and the show gallery are orientated to separate existing pedestrian pathways and can be operated independently.
Vanke Triple V Gallery by Ministry of Design
An extension of the show gallery, the lounge area is where discussions are conducted. This space takes advantage of the panoramic views of the coastline and comprises a sculptural bar counter.
Tectonically, the building responds to the coastal setting and is finished in weather-sensitive corten steel panels on its exterior and timber strips on the interior walls and ceiling for a more natural feel.
Vanke Triple V Gallery by Ministry of Design
Architectural & Interior Design: Ministry of Design – Colin Seah, David Tan, Daniel Aw, Jeremiah Abueva, Lynn Li, Noel Banta
Site Management: Annie Su, He Ting
Contractor: Nantong No.2 Construction Group (Archi), Beijing Grain. Rain Architectural Design Co., Ltd. (ID) C&S: Tenio Design And Engineering Co., Ltd.
M&E: Tenio Design And Engineering Co., Ltd.
Land Area: 16,850 sqm
Built in GFA: 750 sqm
Facilities: Reception, Model display, Open discussion area, Bank service area, Electricity Room, AV Room, Office, Meeting Rooms, VIP Rooms, Cloakroom, Restrooms, Information center
Construction duration: 4 months
Opening: November 2011

Museum der Kulturen by Herzog & de Meuron20

Museum der Kulturen by Herzog & de Meuron

Interesting material and overhang planting. Drooping plantation... hung "willow-like" planting.

Museum der Kulturen by Herzog & de Meuron
Architects Herzog & de Meuron have positioned a scaly crown over the top of this Basel museum (photographs by Roland Halbe).
Museum der Kulturen by Herzog & de Meuron
The renovated Museum der Kulturen reopened in September and exhibits ethnographic artefacts and images from around the world.
Museum der Kulturen by Herzog & de Meuron
The architects added a new gallery floor to the building, beneath the irregularly folded roof of shimmering ceramic tiles. A steel framework supports the roof, creating a column-free exhibition area.
Museum der Kulturen by Herzog & de Meuron
On the existing storeys the architects extended a selection of windows down to ankle-height and removed a floor to create a new double-height gallery. The entrance to the museum is relocated to the rear, where a courtyard slopes downs to lead visitors inside.
Museum der Kulturen by Herzog & de Meuron
Dezeen visited Basel back in October and talked to Herzog & de Meuron partner Christine Binswanger about the recently opened museum – listen to the podcast here.
Click here to see more stories about Herzog & de Meuron.
Here’s some more text from the architects:

The Museum der Kulturen Basel goes back to the middle of the nineteenth century. Replacing the Augustinian monastery on the Münsterhügel, the classicist building by architect Melchior Berri opened in 1849. The “Universal Museum,” as it was then called, was the city’s first museum building. Designed to house both the sciences and the arts, it now holds one of the most important ethnographic collections in Europe thanks largely to continuing gifts and bequests. In 1917, with holdings of some 40,000 objects, an extension by architects Vischer & Söhne was added. A second extension was projected in 2001 to accommodate what had, by now, become holdings of some 300,000 objects. Modifications would include an entrance especially for the Museum, thereby giving it a new identity.
Extending the building horizontally would have meant decreasing the size of the courtyard, the Schürhof. Instead the Vischer building of 1917 has been given a new roof. Consisting of irregular folds clad in blackish green ceramic tiles, the roof resonates with the medieval roofscape in which it is embedded while functioning at the same time as a clear sign of renewal in the heart of the neighbourhood. The hexagonal tiles, some of them three-dimensional, refract the light even when the skies are overcast, creating an effect much like that of the finely structured brick tiles on the roofs of the old town. The steel framework of the folded roof allows for a column-free gallery underneath, an expressive space that forms a surprising contrast to the quiet, right-angled galleries on the floors below.
Up until now, the Museum der Kulturen and the Naturhistorisches Museum shared the same entrance on Augustinergasse. The former is now accessed directly from Münsterplatz through the previously inaccessible rear courtyard, the Schürhof. The courtyard, in its patchwork setting of the backs of medieval buildings, has now become an extension of the Münsterplatz. Part of the courtyard has been lowered and an expansive, gently inclined staircase leads down to the Museum entrance. Hanging plants and climbing vines lend the courtyard a distinctive atmosphere and, in concert with the roof, they give the Museum a new identity. We look forward to having the courtyard become a social meeting place for all kinds of Museum activities and celebrations.
The weighty, introverted impression of the building, initially concealing its invaluable contents, is reinforced by the façades, many of whose windows have been closed off, and by the spiral-shaped construction for the hanging vegetation mounted under the eaves of the cantilevered roof above the new gallery. This is countered, however, by the foundation, which is slit open the entire length of the building and welcomes visitors to come in. These architectural interventions together with the vegetation divide the long, angular and uniform Vischer building of 1917 into distinct sections. The white stairs, the roof overhang, the climbing plants, the series of windows in the “piano nobile” and the glazed base lend the courtyard direction and give the building a face.
The windows were closed up not just to enhance the weight and elegance of the building; the additional wall space provided by this measure was equally important. The few remaining openings have been enlarged and now extend to the floor. The window reveals are so deep that they form small alcoves that look out onto the old town.
The sequence of rooms follows the same pattern on all three gallery floors. Only two rooms stand out: on the second floor, directly above the entrance, a large room with windows on one side faces the courtyard. Further up, a ceiling has been removed, creating a two-story room with a narrow window slit, where larger objects in the collection can be displayed. Visitors can look down on this new anchor room from above, much like the room containing the Abelam House, thus also providing orientation within the Museum.
The renovation of the galleries followed similar principles throughout. The older rooms have classicist coffered ceilings; those added later have concrete beams in one direction only. With the goal of restoring the original structure of the rooms, dropped ceilings were removed and technical services integrated as discreetly as possible into existing architectural elements.
Project Name: Museum der Kulturen
Address: Münsterplatz 20, 4051 Basel, Switzerland
(formerly Augustinergasse 2)
Project Phases: Concept Design: 2001-2002
Schematic Design: 2003
Design Development: 2003-2004
Construction Documents: 2008-2010
Construction: 2008-2010
Completion: 2010
Opening: September 2011
Project Team 2008-2010 Partner: Jacques Herzog, Pierre de Meuron, Christine Binswanger
Project Architect: Martin Fröhlich (Associate), Mark Bähr, Michael Bär
Project Team: Piotr Fortuna, Volker Jacob, Beatus Kopp, Severin Odermatt, Nina Renner, Nicolas Venzin, Thomas Wyssen
Project Team 2001-2004 Partner: Jacques Herzog, Pierre de Meuron, Christine Binswanger
Project Architect: Jürgen Johner (Associate), Ines Huber
Project Team: Béla Berec, Giorgio Cadosch, Gilles le Coultre, Laura Mc Quary

Tuesday, 31 January 2012

Chapel of the Assumption Interior by John Doe

Chapel of the Assumption Interior by John Doe

Chapel of the Assumption Interior by John Doe
Grégory Lacoua and Jean Sébastien Lagrange of French design studio John Doe designed furniture for this Parisian chapel, which has been renovated by French architects 3box.

Chapel of the Assumption Interior by John Doe
The Chapel of the Assumption was originally completed in 1961 by French architect Noël Le Maresquier, and features a swooping ceiling and floor-to-ceiling stained glass wall.
Chapel of the Assumption by John Doe
John Doe created oak pews and lecterns, a granite altar and stone font for the chapel, all with a 20mm gap between the supports and top surface to appear as though floating.
Chapel of the Assumption by John Doe
The font is formed by a simple depression in a slab of stone, which holds a litre of water.
Chapel of the Assumption by John Doe
Renovation of the chapel and circulation was undertaken by French architects 3box.
Chapel of the Assumption by John Doe
See Dezeen’s top ten: churches »
Chapel of the Assumption by John Doe
Photographs are by Felipe Ribon.
Chapel of the Assumption by John Doe
Here’s some more information from the designers:

Chapel of the Assumption by John Doe
John Doe, the design studio created by Grégory Lacoua and Jean Sébastien Lagrange has hallmarked the new decor of the Chapel of the Carmelites of the Assumption in Paris (16th).

A chapel already intended as an architectural gesture in 1959 by Noël Lemaresquier (a disciple of Le Corbusier), but which was very quickly made impractical following the canonization in 2007 of Saint Marie Eugenie of Jesus, founder of the congregation: a canonization which provoked an immediate flood of visitors requiring efficient organisation.
Chapel of the Assumption by John Doe
An original design and architecture strain that the nuns did not hesitate for a second to confide to contemporary designers to make it intelligible.
Chapel of the Assumption by John Doe
It is over to the 3Box team of architects to whom the reconversion of the chapel has fallen, by rethinking the reception and the circulation of the pilgrims.
Chapel of the Assumption by John Doe
Whilst the John Doe duo tackled liturgical furniture: pews; prie-dieu; altar; font; tabernacle and lectern; so many typologies beyond domestic design that John Doe handles accurately for his very first large- scale building project.
Chapel of the Assumption by John Doe
The paths of design being penetrable, it is always a question of a small, terribly human creative detail which unites and gives meaning to the furnishing as a whole.

The John Doe duo worked on a small, exactly 2cm hiccup.
Chapel of the Assumption by John Doe
A 2 cm gap between the levels and the supports, a small permanent elevation which draws a distinction in the formal vocabulary and that the nuns immediately seized upon to best adapt this new place.
Chapel of the Assumption by John Doe
The font, the altar and the pews consequently levitate together visually.
Chapel of the Assumption by John Doe
The impeccably designed pews have been produced in oak to allow large ranges and integrate other constraints, starting with prayer of the hearts: that is face to face, one of the Congregation’s peculiarities.
Chapel of the Assumption by John Doe
The centre of the chapel is therefore reserved for nuns who face each other, the regulars situated on the periphery.
Chapel of the Assumption by John Doe
A spacialisation highlighted by the rhythm of the sound of feet: as the centre is approached, the denser it becomes.
Chapel of the Assumption by John Doe
The seating is distributed according to different modules: stalls for the nuns (with or without integrated storage for psalters and bibles); 3 differently sized pews for the congregation with or without prie-dieu.
Chapel of the Assumption by John Doe
The black Zimbabwean granite altar, containing a relic of St Marie Eugenie, has been designed with the same unfailing care, as if it had always been there, a slab of pure stone above ground, the perfect résumé of the altar reduced to its primary function (an altar is originally a simple flat stone which can be mobile and conserve the whole of its function).
Chapel of the Assumption by John Doe
The font is made from Auberoche stone and by the softness of its line becomes “a simple drop laying a stone,” as the John Doe duo desired.
Chapel of the Assumption by John Doe
Capable of holding a litre, it is as functional as it is minimal and delicate.
Chapel of the Assumption by John Doe
John Doe.
In the Anglo-Saxon culture, a John Doe is a corpse whose identity is unknown, someone anonymous.
Chapel of the Assumption by John Doe
Mocking show cased design, Grégory Lacoua and Sébastien Lagrange therefore chose the proper noun of a unknown generic, an identity which is not one to personify their design whose vocabulary claims to be as free as possible.
Chapel of the Assumption by John Doe
Free of the need to establish themselves as personalities, but very determined to play in the big boys’ arena in the permanent competition register aiming to determine the best response for each question asked.

Haus + by Anne Menke and Winkens Architekten

Haus + by Anne Menke and Winkens Architekten

Modest space comfortable and look at details