Playground 🛝’s Post

The sixth day . . Architects: Gehry Partners, LLP . . In continuation of the studies of the previous post, today I continued to study the details of the Louis Wilton Art Museum, each part of the museum has its own details and each of the materials has its own special and unique dimensions, each wooden beams under the glass sail to They are specially made according to the specifications of the architect, they are insulated with a special metal and have a special resin to prevent insects and termites, and they are made separately to connect the metals to the wood. The parts are named separately and the maps have been prepared in French, and they considered one of the challenges of the project to be the transportation of the beams because the site did not have the possibility of storage and also there was no place to park the car. The wooden beams took 12 months. #architecture #paris #detailing #museumdesign #buildingdesign

Architecture category ——————————— Stonehenge and Avebury the island possesses the finest prehistoric monuments in Europe. Stonehenge is the more familiar and sensational, often described and painted, as in Turner's and Constable's watercolours. The subtlety and complexity of this extraordinary monument preclude detailed description here. It was being built and reshaped during three distinct periods over several hundred years, longer than was the case with most medieval cathedrals, though during its successive transformations the main axis always remained aligned to midsummer sunrise. The last stage in its shaping seems to have been about 1900 to 1500 BC, when *a pitch of architectural refinement was achieved unparalleled in the prehistoric West'. These huge stones have almost imperceptible swelling like Greek columns, the architrave curves inward to make a circle, the laterals are morticed and tenoned to fit the uprights and shaped to the perspective from the ground. An inner circle was formed of bluestones brought all the way - 200 miles - from Wales. All around are the cemeteries of these people, some three hundred barrows; a long avenue of stones went down to a stream. All this is not only a standing witness to what primitive manpower could shift - that is obvious enough - but a marvel of sophisticated planning and design. #1transcribedtext #1transcribedtextbydinescu #HeritageOfBritainALRowse

“Why was I not made of stone like thee?” asks Quasimodo* in The Hunchback of Notre Dame (1939). We can relate to his lament: our restoration practice requires—and fosters—architectural empathy, a sensitivity for the inherent quality of materials and the value of historic fabric. Of the many adaptations of Victor Hugo’s classic novel (Notre Dame de Paris), the 1939 film is still one of the most compelling. While the pathos of its story tends to dominate, the film is bolstered by great acting and the powerful presence of an uncredited character: the cathedral itself. In that sense, the novel and the film are really about the cultural dimensions embodied in Gothic architecture—still relevant today. In keeping with the philosophy of “first, do no harm” (inspired by the Hippocratic Oath), our restoration designs strive to preserve as much original material as possible. And when replacement is required, we advocate for replacement in kind—in some cases, even reversing previous repairs. For example, we have specified new terra cotta elements where the originals had previously been replaced with GFRC. Architectural empathy also includes embracing any building type and style. We’ve worked on New York buildings from the 18th through 21st centuries, from Colonial-era landmarks to Brutalist buildings and beyond. Structures of any era are worthy of preservation, whether their envelopes are gargoyle-covered or made of unadorned concrete. But if we were made of stone, we’d be much less flexible. *Portrayed in classic style by Charles Laughton #notredame #classicmovies #cathedral #restoration

TABERNACULUM. Reuse Italy proposal for the Thermae of Curing, Calabria (IT). The project represents the reinterpretation of past architecture in a modern key, enhancing its historical importance and taking advantage of the spaces they offer us, becoming the mansion of nowadays public activity. We propose a modern interpretation of the arch system, incorporating it into what used to be the frigidarium, recreating aunique space designed forevents, exhibitions, conventions: "platea". The "deambulo" became the promenade that encircles the ruins and allows their enhancement, leading the visitor to an elevated view of the Roman baths of Curinga. The ruins are protected in and outside by a system of metalic grid fences, that allows the vision but not the contact. Whe choose wood as a main material for the new structure since it enhance the brick composition of walls and find a perfect integration with the surrounding landscape. Collaborator: Ismail Lita #architecture #reuse #ruins #roman #thermae #competition #museum #monument

“Why was I not made of stone like thee?” asks Quasimodo* in The Hunchback of Notre Dame (1939). We can relate to his lament: our restoration practice requires—and fosters—architectural empathy, a sensitivity for the inherent quality of materials and the value of historic fabric. Of the many adaptations of Victor Hugo’s classic novel (Notre Dame de Paris), the 1939 film is still one of the most compelling. While the pathos of its story tends to dominate, the film is bolstered by great acting and the powerful presence of an uncredited character: the cathedral itself. In that sense, the novel and the film are really about the cultural dimensions embodied in Gothic architecture—still relevant today. In keeping with the philosophy of “first, do no harm” (inspired by the Hippocratic Oath), our restoration designs strive to preserve as much original material as possible. And when replacement is required, we advocate for replacement in kind—in some cases, even reversing previous repairs. For example, we have specified new terra cotta elements where the originals had previously been replaced with GFRC. Architectural empathy also includes embracing any building type and style. We’ve worked on New York buildings from the 18th through 21st centuries, from Colonial-era landmarks to Brutalist buildings and beyond. Structures of any era are worthy of preservation, whether their envelopes are gargoyle-covered or made of unadorned concrete. But if we were made of stone, we’d be much less flexible. *Portrayed in classic style by Charles Laughton #notredame #classicmovies #cathedral #restoration

Since antiquity, lead carbonate has been an invaluable pigment, used in easel paintings and buildings alike. In the late 20th century, all this changed due to international and national regulations. In my new article for Studies in Conservation, I've investigated this change. The article gives an overview of regulations with a focus on four European case studies (UK, France, Austria and Germany). It looks at both paintings and buildings, conservation and creative practice, and the consequence of bans for those different disciplines. If you're interested in reading, please do get in touch. https://lnkd.in/eUS_ruRt #conservation #easelpaintings #oilpainting #architecture #heritage #research #regulation

Daring but discreet, is how we can define the Cork House. A traditional project that was inspired by the preexistence primitive home, the Cork House has evolved into a contemporary building due to the demands of the terrain, legal requirements, the programme, and the desire to stand out using widespread materials that are typically employed in contexts other than house construction (for example: plate, cork, and iron). By distinguishing itself from the others, but at the same time being integrated in the urban context that surrounds it, this project is a masterpiece of architectural excellence. ℹ TECHNICAL INFORMATION: Project: Cork House - Vila do Conde | Portugal System: HYLINE 40 Architects: AIP Arquitetos - Andreia Oliveira and Pedro Parreira Photography: João Soares

Futurecity is known for our #cultural and #placemaking strategic work, but we also have a thriving #PublicArt department responsible for large scale multi-disciplinary projects from around the world. Our larger works are in collaboration with #Architects, #LandscapeArchitects and #Engineers and can take years to come to fruition. Futurecity were appointed in 2015 to deliver a #CulturalStrategy for Mount Anvil’s #KeybridgeHouse residential development in Nine Elms 598 homes in partnership with A2Dominion Group. One of our recommendations was for an ambitious public art commission (which through selection process was) won by artist #TomPrice in collaboration with landscape architects Planit ie. Tom Price’s large scale landscape intervention celebrates the #HiddenRiver #Effra which historically ran under the site. It is in my opinion a great public artwork, which should be better known and a brave and imaginative commission by the developer Mount Anvil. It is well worth paying a visit. Great interview with Tom here https://lnkd.in/ef8fmD53 Extract. ”My inspiration was the story of the River Effra, the ‘Hidden River”…culverted in the 1800s, and continues to run beneath the site of Keybridge today…..creating a sculpture that could look as though it had been formed in some way by a moving body of water - as if the river had been busy carving out a secret passage through subterranean London….cutting through and revealing hidden layers of London history. One significant chapter of #Vauxhall history is the #LambethPotteries, which thrived on an industrial scale from the sixteenth until the nineteenth century. I imagined remnants of this era may exist in the form of geological strata - solid layers of ceramic in the bedrock of London Borough of Lambeth https://planit-ie.com/

'The movement of glaciers through time has displaced boulders across the landscape, as shifting erratics that constantly change our perception of space. These elements serve as points of reference in the collective memory and define the limits of territory. Yet their fate is to travel and, through their movement, create new geographies. These moving giants provide us with clues to a forgotten past—a history surpassing our own as human beings.‘ – Vogt Landscape The 'Rolling Stones' is part of the installation of the exhibition 'Spatial Solidarities' at Das Gelbe Haus Flims, which explores the fluidity and movement of seemingly static elements such as large rocks and mountains that are in fact constantly changing. The 'Rolling Stones' were developed by Vogt Landscape for the Studio Other Spaces project 'Future Assembly' (2021) for the 2021 Venice Architecture Biennale. ‘Räumliche Solidaritäten’ by SOS is on display until 27 October 2024 at Das Gelbe Haus Flims, Switzerland. Images: Vogt Landscape

Postmodern Betrayal: The Loss of Sanctuary and Truth There’s a window on the stark elevation of the Clore Gallery by Stirling, hiding a serene circular enclave for quiet seating after immersing in Turner’s works. This space and the foyer were my lunchtime retreats when I worked at Millbank Tower for Skidmore Owings & Merrill in the noughties. I’d escape there, absorbing texts on alchemy from the Scottish publisher Banton, bought from Watkins in Cecil Court, seeking solace from the corporate grind. It was on the 24th floor, during a mundane meeting about door handles, that 9/11 exploded on our screens. We were evacuated, descending endless stairs in chaos. Now, that Clore Gallery sanctuary is obliterated, perhaps by Palumbo’s influence from across the river. Similarly, the phone kiosks in Poultry’s basement, reminiscent of Soane’s knowledge, have vanished. Postmodernism has turned vicious, betraying those who embraced it. It’s no philosophical debate on space and time; it’s a deceiver, flaunting its falsehoods. If style dictates truth, then Postmodernism is a brazen liar, shameless and unapologetic. Shame on you. #Postmodernism #Architecture #CloreGallery #MillbankTower #SkidmoreOwingsMerrill #ArtSanctuary #TurnerWorks #CorporateEscape #911Memory #UrbanDecay #ArchitecturalLoss #CulturalReflection #ArchitecturalBetrayal #ModernismDebate