martes, 29 de enero de 2008
jueves, 17 de enero de 2008
Torre Burj Dubai
Torre Burj Dubai. EMAAR Properties contrató a los arquitectos Skidmore, Owings y Merrill (Chicago, EE. UU) para diseñar y desarrollar el Burj Dubaij. Localizado sobre la Autopista Jeque Zayed, este será la parte central del proyecto mixto que combinará lo residencial, comercial, compras, hotel, hospitalidad y ocio con espacios abiertos verdes. Esperan la terminación de la torre hacia finales de 2008 y estará lista para su ocupación a principios de 2009. Su altura está siendo mantenida en secreto cauteloso hasta su terminación (los arquitectos planearon fundaciones extra-profundas para permitir añadir más pisos por si otro rascacielos en construcción amenaza con ser el más alto) así aseguran que cuando la Torre Burj esté completada, esta será el edificio más alto del mundo. Se estima que la altura será aproximadamente de 810 m. Su construcción comenzó en Septiembre de 2004 y ha estado en construcción sin parar desde el 15 de abril de 2005. El número total de pisos habitables andará alrededor de 160. El 26 de junio de 2006, el Burj tenía 50 niveles y sobre 190 m de alto.
La altura a la azotea del edificio probablemente ande alrededor de 575 m mientras la aguja restante desde el piso 156 hacia la cima, será una estructura de marco de acero, a diferencia del hormigón de la parte inferior. Emaar ha declarado que esta sección de acero puede ser extendida para romper con cualquier otra torre al título de la más alta, sin embargo una vez que la torre este completa la altura no puede ser cambiada. El diseño de la torre es sacado de la geometría de una flor de desierto indígena, así como el modelo que se incorpora encontrado dentro de la arquitectura Islámica. El diseño fue originalmente propuesto por Skidmore Owings y Merrill para la Torre Grollo en Melbourne, Australia.
Los diseñadores formaron el hormigón estructural de la torre Burj - que se parece a una gruesa ‘Y’ en el corte transversal, con un perfil distanciado - para dramáticamente reducir fuerzas sobre la torre, manteniendo la estructura simple. La Torre tiene 15 hileras o grupos de pisos comúnmente formados sobre 100 niveles. Ellos están colocados en un patrón espiral escalonado mientras se sube el edificio. Esto hace que el ancho de la torre cambie en cada revés - diseñado para ‘ confundir el viento ‘, por lo tanto manteniendo las fuerzas más débiles. El edificio usa sistemas DOKA para su estructura inicial.
DISEÑO INTERIOR DEL BURJ DUBAI. El interior de la torre será decorado por Giorgio Armani. Un Hotel Armani (el primero de su clase en el mundo) ocupará los 37 pisos inferiores. Los pisos 45 al 108 tendrán 700 apartamentos privados (que, según el propietario ya estaban vendidos a sólo ocho horas de puestos en venta). Oficinas corporativas y suites llenarán la mayor parte de los pisos restantes, excepto un vestíbulo del 123 piso y el la cubierta de observación interior/exterior del piso 124. La espira también sostendrá el equipo de comunicaciones. Una piscina exterior de entrada cero será localizada sobre el piso 78 de la torre. La torre también destacará el elevador más rápido del mundo, a 18 m/s (40mph).
Articulo colaborado por ARQHYS: http://www.arqhys.com/
miércoles, 16 de enero de 2008
Even if His Own Work Isn’t Broken, a Brazilian Architect Fixes It
Correction Appended
What to do with our aging architectural heroes? What if their genius deteriorates and they begin tinkering with their own masterpieces? A powerful case in point is the Brazilian architect Oscar Niemeyer, who celebrated his 100th birthday this month. In the 1940s, ’50s and ’60s he established himself as one of Modernism’s greatest luminaries, infusing stark abstract forms with a beguiling tropical hedonism that reshaped Brazil’s identity in the popular imagination and mesmerized architects around the globe.
In Brasília, a city that rose out of a savanna in the span of four years, he created at least a half dozen architectural masterpieces — a mind-boggling accomplishment by today’s standards. Today Mr. Niemeyer is held up as one of Brazil’s greatest national treasures, and he seems as spry as ever. He is at work on a cultural center in Aviles, Spain, and another in Niteroi, just south of Rio de Janeiro. He recently unveiled a new line of furniture at the Art Basel Miami fair. And last year he married his longtime secretary, Vera Lúcia Cabreira.
In recognition of the heroic scale of his accomplishments, Brazil’s president, Luiz Inácio Lula da Silva, recently proposed legislation that would confer special landmark status on all of his buildings.
But the greatest threat to Mr. Niemeyer’s remarkable legacy may not be the developer’s bulldozer or insensitive city planners, but Mr. Niemeyer himself.
It is not simply that his latest buildings have a careless, tossed-off quality. It’s that some of his most revered buildings — from the Brasília Cathedral to the grand Monumental Axis of the city itself — have been marred by the architect’s own hand. And this poses an uncomfortable dilemma: At what point do we — that is, the public that idolizes him, his government and private clients — have an obligation to intervene? Or is posing the question an act of spectacularly bad taste?
To those who pay close attention, the decline in the quality of Niemeyer’s work — whether resulting from a creative lull or complacency brought on by fame or old age — has been evident since he completed his Museum of Contemporary Art in Niteroi in 1996. Resting lightly on a single column at the edge of a cliff, its white saucer-shaped form looks best against the glamorous backdrop of Guanabara Bay.
What’s missing, however, is the lightness of touch that could draw you deeper into the work. The concrete surfaces are crude and unfinished; the structure lacks the careful refinement that gave his early buildings a textured significance and signaled that the architect cared deeply about the people who would inhabit them.
It’s as if the museum were designed by a lesser talent who could mimic the graceful lines in Mr. Niemeyer’s sketches but lacked the skill and patience to see the design through.
But if the art museum is an inferior work that mostly suffers in comparison with his early masterpieces, his midcentury projects in central Brasília are another matter: a trove of Modernist landmarks conceived on the grandest scale.
No photograph can prepare a visitor to the 1958 National Congress building for the delicacy with which it is set into the landscape. Surrounded by immaculate lawns, its form sunken slightly into the ground, it exerts a gravitational pull as you approach. A long, narrow ramp leads to a roof, where the public can stroll around the base of the bowl-like form of the chamber of deputies. That expression of the bond between a government and the people is as moving today as it was when the building was inaugurated half a century ago.
Even more refined is the nearby Itamaraty Palace, built to house the Ministry of Foreign Relations. Its soaring slender arches, rising from vast reflecting pools, are like a soothing oasis in a vast flat landscape. Inside, a circular staircase is conceived as a series of cantilevered concrete slabs. As you climb, you can practically feel gravity releasing its hold on your body, a physical sensation that reinforces the building’s visual lightness.
Such structures are arranged along the plazas with the precision of pieces on a chessboard. The spaces among them convey both an airiness and a subtle tension among their varied forms, charging the whole with energy.
Completed in an era when millions of Americans were fleeing cities for the homogenous suburbs of the Eisenhower era, and Europe was still limping through its recovery from World War II, Brasília seemed to assert that erotic desire and human tenderness had a place in modern society. Better still, the stunning speed of its construction suggested that this sensual utopia was only as far away as the next cocktail.
The force of that vision reverberated across the United States and Europe. Lincoln Center in Manhattan, Empire State Plaza in Albany, the Los Angeles Music Center — all owe a debt to Niemeyer. And today a young generation versed in computer enhancement has found inspiration in his fluid concrete curves.
But if Brasília’s high-flown status as a showplace of Modernist architecture is well known, Mr. Niemeyer’s more recent work there has barely been discussed.
by
What to do with our aging architectural heroes? What if their genius deteriorates and they begin tinkering with their own masterpieces? A powerful case in point is the Brazilian architect Oscar Niemeyer, who celebrated his 100th birthday this month. In the 1940s, ’50s and ’60s he established himself as one of Modernism’s greatest luminaries, infusing stark abstract forms with a beguiling tropical hedonism that reshaped Brazil’s identity in the popular imagination and mesmerized architects around the globe.
In Brasília, a city that rose out of a savanna in the span of four years, he created at least a half dozen architectural masterpieces — a mind-boggling accomplishment by today’s standards. Today Mr. Niemeyer is held up as one of Brazil’s greatest national treasures, and he seems as spry as ever. He is at work on a cultural center in Aviles, Spain, and another in Niteroi, just south of Rio de Janeiro. He recently unveiled a new line of furniture at the Art Basel Miami fair. And last year he married his longtime secretary, Vera Lúcia Cabreira.
In recognition of the heroic scale of his accomplishments, Brazil’s president, Luiz Inácio Lula da Silva, recently proposed legislation that would confer special landmark status on all of his buildings.
But the greatest threat to Mr. Niemeyer’s remarkable legacy may not be the developer’s bulldozer or insensitive city planners, but Mr. Niemeyer himself.
It is not simply that his latest buildings have a careless, tossed-off quality. It’s that some of his most revered buildings — from the Brasília Cathedral to the grand Monumental Axis of the city itself — have been marred by the architect’s own hand. And this poses an uncomfortable dilemma: At what point do we — that is, the public that idolizes him, his government and private clients — have an obligation to intervene? Or is posing the question an act of spectacularly bad taste?
To those who pay close attention, the decline in the quality of Niemeyer’s work — whether resulting from a creative lull or complacency brought on by fame or old age — has been evident since he completed his Museum of Contemporary Art in Niteroi in 1996. Resting lightly on a single column at the edge of a cliff, its white saucer-shaped form looks best against the glamorous backdrop of Guanabara Bay.
What’s missing, however, is the lightness of touch that could draw you deeper into the work. The concrete surfaces are crude and unfinished; the structure lacks the careful refinement that gave his early buildings a textured significance and signaled that the architect cared deeply about the people who would inhabit them.
It’s as if the museum were designed by a lesser talent who could mimic the graceful lines in Mr. Niemeyer’s sketches but lacked the skill and patience to see the design through.
But if the art museum is an inferior work that mostly suffers in comparison with his early masterpieces, his midcentury projects in central Brasília are another matter: a trove of Modernist landmarks conceived on the grandest scale.
No photograph can prepare a visitor to the 1958 National Congress building for the delicacy with which it is set into the landscape. Surrounded by immaculate lawns, its form sunken slightly into the ground, it exerts a gravitational pull as you approach. A long, narrow ramp leads to a roof, where the public can stroll around the base of the bowl-like form of the chamber of deputies. That expression of the bond between a government and the people is as moving today as it was when the building was inaugurated half a century ago.
Even more refined is the nearby Itamaraty Palace, built to house the Ministry of Foreign Relations. Its soaring slender arches, rising from vast reflecting pools, are like a soothing oasis in a vast flat landscape. Inside, a circular staircase is conceived as a series of cantilevered concrete slabs. As you climb, you can practically feel gravity releasing its hold on your body, a physical sensation that reinforces the building’s visual lightness.
Such structures are arranged along the plazas with the precision of pieces on a chessboard. The spaces among them convey both an airiness and a subtle tension among their varied forms, charging the whole with energy.
Completed in an era when millions of Americans were fleeing cities for the homogenous suburbs of the Eisenhower era, and Europe was still limping through its recovery from World War II, Brasília seemed to assert that erotic desire and human tenderness had a place in modern society. Better still, the stunning speed of its construction suggested that this sensual utopia was only as far away as the next cocktail.
The force of that vision reverberated across the United States and Europe. Lincoln Center in Manhattan, Empire State Plaza in Albany, the Los Angeles Music Center — all owe a debt to Niemeyer. And today a young generation versed in computer enhancement has found inspiration in his fluid concrete curves.
But if Brasília’s high-flown status as a showplace of Modernist architecture is well known, Mr. Niemeyer’s more recent work there has barely been discussed.
by
Fuente: THE NEW YORK TIMES
martes, 8 de enero de 2008
Postergacion del Workshop
Queremos comunicarles que lamentablemente a pesar de los muchos pre-inscritos en el III Workshop de Arquitectura Experimental, no hemos llegado al número mínimo de inscritos formalmente para poder dar inicio a las clases. Debido a ello hemos decidido postergar el inicio de clases hasta tener el número de participantes necesario para un adecuado desarrollo del Workshop y poder ofrecerles un curso de calidad.
Esperamos poder lanzarlo nuevamente pronto......................
Inscripciones hasta este viernes 11 de Enero...
Queremos comunicarles que lamentablemente a pesar de los muchos pre-inscritos en el III Workshop de Arquitectura Experimental, no hemos llegado al número mínimo de inscritos formalmente para poder dar inicio a las clases. Debido a ello hemos decidido postergar el inicio de clases hasta tener el número de participantes necesario para un adecuado desarrollo del Workshop y poder ofrecerles un curso de calidad.
Esperamos poder lanzarlo nuevamente pronto......................
Inscripciones hasta este viernes 11 de Enero...
Nueva fecha para las últimas inscripciones al Taller...
Como respuesta a la coyuntura existente entre los estudiantes que han manifestado un franco interés en participar en este nuevo Workshop de Arquitectura Experimental 2008, hemos ampliado hasta este viernes 11 de enero la fecha límite para inscribirse.
LUGAR:
Calle Colina 110- Barranco Lima Peru
TELÉFONOS:
(511)2529812 - (511)96909101 - (511)97325173 - (511)9925-0957
Nos Vemos..
Workshop de Arquitectura Experimental Verano 2008
21 de Enero al 11 de Febrero
21 de Enero al 11 de Febrero
(A)prendiendo de Gamarra
y sus complejidades dinámicas
y sus complejidades dinámicas
Introducción:
Vectorial - Instituto de Arquitectura & Territorio pretende cuestionar mediante la discusión teórica y la especulación proyectual, ciertas realidades latentes que configuran nuestro entorno inmediato. Gamarra, una zona del distrito de La Victoria, considerada el sector comercial de mayor trascendencia y éxito a nivel nacional, ha sido tomada como sujeto de estudio para reflexionar sobre sus complejas dinámicas socio-espaciales moldeadoras del entorno urbano y catalizadora de estos nuevos usos. Mediante el análisis, la reflexión y la especulación proyectual, se pretenderá abordar bajo distintas aproximaciones, una realidad concreta y compleja, resultado de dinámicas espontáneas fruto de las necesidades y velocidades del mercado, como respuesta auténtica y organizada, bajo nuevos patrones de comportamiento y de ocupación, bajo nuevas definiciones de lo concreto…
Este Workshop de Arquitectura Experimental 2008 abordará el problema desde dos enfoques distintos que pretenden esbozar la multiplicidad de posibilidades existentes en una aproximación proyectual-conceptual a una determinada realidad. El manejo y la depuración de esta compleja madeja de variables que configuran Gamarra como hito urbano, serán abordados por estos dos Módulos que conformarán este Taller.
Módulo 1: Espacio Cyborg – Interfase Urbano
Arquitectos Pablo Díaz & Diego Rodríguez
Este Workshop de Arquitectura Experimental 2008 abordará el problema desde dos enfoques distintos que pretenden esbozar la multiplicidad de posibilidades existentes en una aproximación proyectual-conceptual a una determinada realidad. El manejo y la depuración de esta compleja madeja de variables que configuran Gamarra como hito urbano, serán abordados por estos dos Módulos que conformarán este Taller.
Módulo 1: Espacio Cyborg – Interfase Urbano
Arquitectos Pablo Díaz & Diego Rodríguez
Módulo 2: La Topografía del Desorden o el Espacio Bastardo
Arquitectos Alfredo Aramayo & Wilfredo Moscoso
Arquitectos Alfredo Aramayo & Wilfredo Moscoso
Inversión para el Workshop de Arquitectura Experimental 2008
$ 100 dólares que incluye:
· Dossier (Selección de Textos de Teoría de Arq, Cine, etc. con temas relacionados a los módulos del Workshop)
· CD con información del lugar de trabajo, planos, fotografías, etc.
· Certificado de Participación.
$ 100 dólares que incluye:
· Dossier (Selección de Textos de Teoría de Arq, Cine, etc. con temas relacionados a los módulos del Workshop)
· CD con información del lugar de trabajo, planos, fotografías, etc.
· Certificado de Participación.
Los inscritos serán convocados para una reunión posterior en donde se les dará el material y se explicarán los lineamientos generales de la metodología pedagógica a aplicarse durante el desarrollo de este Taller...
los organizadores
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