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  • Un universo architettonico: Thérèse nelle Montagne Svizzere

    Nelle montagne svizzere, una storia ha avuto inizio come un eco degli scritti del romanziere svizzero Charles-Ferdinand Ramuz. Questa trama ha dato origine ad Antoine, una creatura architettonica singolare che dal 2014 accoglie molti...
    Un universo architettonico: Thérèse nelle Montagne Svizzere

    Nelle montagne svizzere, una storia ha avuto inizio come un eco degli scritti del romanziere svizzero Charles-Ferdinand Ramuz. Questa trama ha dato origine ad Antoine, una creatura architettonica singolare che dal 2014 accoglie molti abitanti nomadi e amanti della natura, offrendo loro rifugio all'interno della figura della roccia. La storia continua, diventando una breve serie con l'apparizione di un nuovo elemento, Thérèse, costruito nel 2022.

    Il romanziere Ramuz ha dato vita fittizia ai tre personaggi. Nella loro esistenza letteraria, sono stati gettati in un momento storico tragico per le montagne svizzere che è realmente accaduto nel 1714, nel villaggio di Derborence, quando una grande frana rocciosa della catena montuosa Diablerets ha ucciso 15 persone e centinaia di animali.

    Il marito, la moglie e lo zio inventati dall'autore abitavano, fin dall'inizio, lo spazio del romanzo e occupavano l'immaginazione di molti lettori. Si sono anche affermati nel corso degli anni come punti di riferimento culturali in quella regione della Svizzera: il romanzo fa parte di una cultura montana regionale e storica.

    Con il coinvolgimento del BUREAU in queste storie complesse, si aggiunge un altro livello. I corpi dei personaggi del romanzo vengono metamorfosati ancora una volta, in questo caso, dal mondo fittizio, per diventare realtà fisiche con forme non umane. Si trasformano in rocce, abbracciando corpi che racchiudono abitanti di carne e ossa nella loro architettura interna di legno.

    Thérèse emerge da questo lignaggio, continuando una storia multistrato che è iniziata con Antoine ed estende il suo raggio territoriale, con la caratteristica comune che entrambi appartengono a contesti artistici. Il contesto ospite di Thérèse è un pezzo di terra dove la comunità artistica di "Bermuda" si è insediata e ha sviluppato le sue attività artistiche e ambientali. Antoine è stato installato nel Parco delle Sculture 3D (Verbier) nelle Alpi svizzere.

    BUREAU è il progetto di Daniel Zamarbide. La pratica si nasconde sotto il suo nome generico una varietà di attività di ricerca. BUREAU fa cose come un'urgenza per reagire all'ambiente fisico, culturale e sociale circostante con una posizione critica e con un'atteggiamento immersivo. BUREAU è (nel 2017) una serie di mobili, un progetto editoriale, un team di design. Architetti.
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  • La Cantina di Guado al Tasso: Un Capolavoro Ipogeo Radicato nel Territorio di Bolgheri

    Nel cuore della suggestiva area di Bolgheri (LI), circondata dalla bellezza naturale della tenuta, sorge la rinnovata Cantina di Guado al Tasso, un vero e proprio capolavoro architettonico che si fonde...
    La Cantina di Guado al Tasso: Un Capolavoro Ipogeo Radicato nel Territorio di Bolgheri

    Nel cuore della suggestiva area di Bolgheri (LI), circondata dalla bellezza naturale della tenuta, sorge la rinnovata Cantina di Guado al Tasso, un vero e proprio capolavoro architettonico che si fonde armoniosamente con il territorio circostante. Progettato con maestria da asv3 - officina di architettura, l'edificio ipogeo è un simbolo di rispetto per la tradizione e la storia della famiglia Antinori, custode di una lunga eredità vinicola.

    Posizione Strategica e Continuità Cromatica

    Collocata in posizione baricentrica rispetto alle principali vie di accesso e adiacente a Podere Guado al Tasso, la cantina si inserisce come un elemento vitale nell'accoglienza degli ospiti. La scelta di posizionare l'edificio ipogeo con la stessa quota altimetrica della precedente barricaia interrata riflette un rispetto per la topografia locale. La continuità con il luogo non è solo architettonica ma anche cromatica, con l'uso di calcestruzzo colorato e intonaci che richiamano i toni della terra circostante.

    Edificio Ipogeo: Armonia tra Paesaggio e Sostenibilità Energetica

    L'approccio ipogeo offre numerosi vantaggi, andando oltre l'aspetto paesaggistico. La cantina, immersa nel terreno, beneficia di un notevole contenimento energetico per la produzione e l'affinamento del vino, sfruttando la naturale azione coibente del terreno e delle coperture inerbite. Questa scelta non solo rispetta l'ambiente ma contribuisce anche alla qualità del vino prodotto.

    Spazi Vinificativi: Unione tra Tradizione e Innovazione

    La Cantina di Guado al Tasso non è solo un luogo di conservazione del vino ma una vera e propria opera d'arte funzionale. Gli ambienti vinificativi sono progettati con cura, con pareti inclinate e forme irregolari che conferiscono dinamicità e tensione allo spazio. La barricaia esistente, con le sue barriques disposte a uno e due livelli, diventa uno spazio che celebra l'importanza del vino, evidenziato da pannelli verticali che sembrano drappi a custodia dei vini di grande qualità, come il Matarocchio.

    Cuore della Cantina: Accoglienza e Degustazione

    Il vero cuore della cantina è lo spazio di accoglienza e degustazione. Una sala posta sopra il piano di lavoro offre una vista privilegiata su tutti gli ambienti sottostanti, compresa la Riserva Storica, un luogo a doppia altezza dove vengono conservate le annate dei vini prodotti. L'utilizzo di materiali pregiati come il noce canaletto e il bronzo si riferisce alla storia e all'eleganza della famiglia Antinori.

    Radici Profonde nel Territorio

    La Cantina di Guado al Tasso è molto più di un luogo di produzione del vino; è un'opera d'arte che ha radici profonde nel territorio di Bolgheri. Ogni elemento architettonico, dai dettagli cromatici alle scelte sostenibili, riflette un impegno verso la valorizzazione della tradizione e della storia, trasformando la cantina in un'icona enologica immersa nella bellezza del paesaggio toscano.
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  • Nuova Diga Foranea di Genova

    Nel cuore del Mediterraneo, un'iniziativa monumentale prende forma: la realizzazione di colonne giganti sommerse, un progetto ambizioso che si propone di rivoluzionare la portualità italiana. Guidato dal Consorzio Webuild, in collaborazione con Fincantieri...
    Nuova Diga Foranea di Genova

    Nel cuore del Mediterraneo, un'iniziativa monumentale prende forma: la realizzazione di colonne giganti sommerse, un progetto ambizioso che si propone di rivoluzionare la portualità italiana. Guidato dal Consorzio Webuild, in collaborazione con Fincantieri Infrastructure Opere Marittime, Fincosit e Sidra, questo progetto rappresenta un punto di svolta nella storia dell'ingegneria marittima. Le prime 850 colonne di ghiaia, il cui completamento è previsto entro la fine di settembre, segnano il culmine del primo campo prova.

    Il Campo di Prova Iniziale:
    Le prime 850 colonne di ghiaia, parte integrante di questa imponente infrastruttura, saranno completate a settembre, segnando la chiusura dei lavori del primo campo prova. Con oltre 370.000 tonnellate di ghiaia già posate sul fondale marino, pari al peso complessivo del Duomo di Milano, questo progetto si presenta come una delle sfide più significative mai affrontate nel potenziamento delle infrastrutture portuali italiane.

    Logistica Monumentale:
    La portata logistica di questo progetto è senza precedenti. Con 220 viaggi da Genova e Piombino, trasportando in media 3.000 tonnellate di ghiaia al giorno, si è già raggiunto un livello di coordinazione e pianificazione straordinario. L'obiettivo di posare oltre 170.000 tonnellate di materiale al mese viene ulteriormente supportato dall'impiego di navi aggiuntive, inclusa una nave da 40.000 tonnellate che arriva ogni 15 giorni dalla Spagna. Questo ampliamento della produzione è cruciale per il successo del progetto.

    Innovazione Sottomarina:
    L'impiego di sommozzatori operanti in saturazione iperbarica, una modalità operativa innovativa, è un elemento distintivo di questo progetto. Webuild, pioniera in Italia, ha avviato operazioni di bonifica bellica in fondali fino a 50 metri di profondità fin da luglio. Questa metodologia avanzata garantisce non solo l'efficienza delle operazioni, ma anche la sicurezza dei lavoratori in un ambiente marino complesso.

    Il Secondo Campo Prova:
    Entro la fine di settembre, prenderà il via la realizzazione del blocco di colonne del secondo campo prova, segnando il passo successivo verso il completamento di un'opera che si configura come il più grande intervento mai eseguito per il potenziamento della portualità italiana.

    Le colonne giganti sommerse emergono come una testimonianza dell'ingegnosità umana e della determinazione nel superare sfide eccezionali. Questo progetto non solo contribuirà in modo significativo alla portualità italiana, ma lascerà un'impronta indelebile nella storia delle realizzazioni ingegneristiche marine. L'Italia, con la sua visione audace e la capacità di perseguire progetti di questa portata, dimostra ancora una volta il suo ruolo di leader nell'innovazione e nello sviluppo infrastrutturale.
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  • KPF STUDIO | Abu Dhabi International Airport
    Terminal A

    Dominating a key position in the global race for fast-expanding luxury air travel and transfer points, the new Terminal A will process 45 million travelers each year, with the ability to accommodate up to 80 million, to meet the needs of...
    KPF STUDIO | Abu Dhabi International Airport
    Terminal A

    Dominating a key position in the global race for fast-expanding luxury air travel and transfer points, the new Terminal A will process 45 million travelers each year, with the ability to accommodate up to 80 million, to meet the needs of the rapidly expanding Middle East capital.

    Conceived as a gateway to Abu Dhabi, the Terminal A Building is raised up from the road level giving the appearance of sitting on its own plateau. In this context the building is the dominant and most imposing structure on the horizon with a profile silhouetted against the sky. At night the building’s illuminated interior creates a transparent structure which is visible from the highway over 1,500 meters away.

    On approaching Terminal A, the roadway system and landscaping work together to create a sequence of events culminating in a monumental civic space inside the terminal. Internally the scale of the Departure Hall, a 50-meter-high space rendered largely column-free through the use of long span leaning arches, endows the building with an open, outdoor quality, with the supporting arches visually separated from the roof to enhance the lightweight feel. On plan, the X-shape provides the greatest programmatic efficiencies enabling the terminal to extend to 49 gatehouses, accommodating 59 aircrafts at any one time.

    Location Abu Dhabi, UAE

    Client Abu Dhabi Airports

    Size 700,000 m2 / 7,535,000 ft2

    Capacity Up to 80 Million PAX / Year

    Certification Estidama 3 Pearl

    Awards Winner – Innovative Design Project (International Airport Review Awards 2019), Innovation in Comprehensive BIM (Be Inspired Awards 2013), Future Projects Award – Commendation (MIPIM Architectural Review 2007), Future Projects Award: Central + Western Asia – Silver (MIPIM Asia 2011), International Architecture Award (Chicago Athenaeum 2017), A+Awards – Finalist (Architizer 2019)

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  • Saud Architetti

    Tender proposto da una società americana in partnership con SAUDprojects per una Villa privata della famiglia reale del QATAR. Lo Studio di architettura ha ideato un originale Concept avvalendosi degli strumenti del design e dell’Interior tenendo conto della cultura locale....
    Saud Architetti

    Tender proposto da una società americana in partnership con SAUDprojects per una Villa privata della famiglia reale del QATAR. Lo Studio di architettura ha ideato un originale Concept avvalendosi degli strumenti del design e dell’Interior tenendo conto della cultura locale. Tutti gli arredi sono firmati dalla casa madre Armani Casa e Versace Tiles by Gardenia-Orchidea. La proposta prevede la realizzazione di tutti gli interni. Un perfetto connubio di comfort sofisticato con lussuosa eleganza araba. Ogni tratto distintivo della cultura si esprime nel lusso e ciò avviene, avviene sempre nel rispetto delle tradizioni. Si osserva così una diversa distribuzione degli spazi privati e collettivi. Così nella Majilis, la stanza delle donne – letteralmente “il luogo dove ci si siede”, divani e poltrone. Lo stesso accade nell’ala dedicata ai membri maschili della famiglia. Ampi spazi attrezzati funzionali alle varie attività hanno permesso di esaltare la magnificenza delle proposte. Ogni parte è strumentale al tutto: la ricercatissima selezione di tessuti, i corpi illuminanti (vere e proprie sculture), tutto è studiato sapientemente e vi è una particolare attenzione per quanto riguarda la cura del dettaglio.

    PROGETTO: RESIDENZA PRIVATA
    COLLABORATORI: SAUDprojects
    LUOGO: Doha (QATAR)
    CRONOLOGIA: Anno 2012
    PROGRAMMA: Riqualificazione/ Restyling/ Progettazione d’Interni
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  • Jendy Joss Ad
  • The National Portrait Gallery | Nissen Richards Studio
    'Inspiring People' Transformation Project Completes

    ‘Inspiring People’, the multi-million-pound project to transform London’s National Portrait Gallery, is now complete, following a three-year redevelopment of the Grade I listed building...
    The National Portrait Gallery | Nissen Richards Studio
    'Inspiring People' Transformation Project Completes

    ‘Inspiring People’, the multi-million-pound project to transform London’s National Portrait Gallery, is now complete, following a three-year redevelopment of the Grade I listed building and redisplay of over 1000 artworks. The building was re-modelled by Jamie Fobert Architects, with Purcell acting as Heritage Consultants, whilst Nissen Richards Studio were the scheme’s Interpretation Designers, working on the redesign of the permanent galleries, including the dynamic new colour scheme and the permanent exhibition design, as well as guiding the vision for the overarching visitor experience. Nissen Richards Studio additionally created setworks for the display of the Collection, information panels and digital screens, plus a new family of showcases and plinths. Jamie Fobert Architects and Nissen Richards Studio team had a very fruitful collaboration on the new furniture which inhabits all the galleries.

    “Nissen Richards Studio was appointed to the ‘Inspiring People’ project in September 2020, at the height of the Covid pandemic’ Pippa Nissen, Director of Nissen Richards Studio, commented. ‘It was wonderful to win such a major pitch at that point in time. The architecture team had been on board for some time and it was a pleasure at every stage to work closely with Jamie Fobert and his team. The scale of the brief, whose contents had been assembled over many years by the Gallery’s curatorial team, was a huge immersion process for our studio. Getting to know the Collection in depth was absolutely key to our approach.”

    The Interior Redesign

    For Nissen Richards Studio, the interior project included working with the Gallery’s project team to realise the ambition for a complete re-hang of the Gallery’s incredible Collection. This included a newly-composed chronological approach and a comprehensive top-to-bottom re-hang in order to display works that were relevant to a wider range of audiences, including bringing out stories about people traditionally under-represented in the Collection and improving the gender balance of artists on show. Set amongst the Gallery’s best-loved paintings are also an increased number of light-sensitive works on paper, including photography, dating from 1840 to the present day.

    The Gallery’s exciting new sequence of wall colours – some painted and some, on the third floor, in fabric, using a matt pure wool finish by specialist, Suffolk-based manufacturers Gainsborough – was devised and tested in close consultation with the wider team by Nissen Richards Studio, along with new display furniture, interpretation panels, showcases and plinths.

    “The colour scheme took a long time to establish’ Pippa Nissen commented, ‘but its character really defines the project. We made a principle of using colour as a way of gently helping people find their way through the space, so that the galleries within a certain time period use the same main colour, whilst also shifting tonally through the spaces within each time grouping. At new openings through the spaces, the visitor can see both across time and through a series of different colours in a single enfilade. We took inspiration from the Thorvaldsens Museum in Copenhagen, Denmark for this principle, where saturated colours are used for their series of galleries.”

    Visitor Experience - Walk-through

    Nissen Richards Studio’s role as Interpretation Designers was to approach the spaces as a complete and integrated design package, whilst also engaging with audiences in multiple ways and considering the totality of the visitor journey. Ensuring pacing and balance within the architectural characteristics of each building section, as well as within each time period and individual gallery, often with different styles and light levels, was a highly fine-tuned design challenge.

    The new entrance sequence includes the addition of a cluster of plinths that greet visitors on arrival like a crowd of sculptures from past and present, whilst a large-scale, dynamic, digital display on the escalator wall marks the beginning of the visitor journey. Throughout the galleries, design display solutions that highlight key portraits and give them new prominence include lightboxes with large-scale photography, integrated digital screens and new vertical display showcases that hold highly light-sensitive works, ensuring an equality of emphasis for these works.

    On the second floor, the original perimeter windows that had been blocked up for many years were re-opened as part of Jamie Fobert Architects’ vision for the building, so it was important to underscore this change and make sure those rooms felt to be light and fresh spaces. Nissen Richards Studio worked closely with long-term collaborators, lighting designers Studio ZNA, to fine-tune the lighting approach to these galleries.

    The strongest colours were used for the fabric-lined galleries on the third floor, helping visitors navigate and connect these spaces. For example, there are three blues, three reds and three greens used here, as well as a crossing room in a deep red. These are bespoke colours, which feel to be of the period but also work well with the Collection, and were fully tested in situ during the development process. In one direction, visitors see all the tones of a single colour and in the other the visitor crosses through time and therefore also crosses colours.

    The Duveen Wing on the third floor is in a notably-different architectural style, dating from the 1930s and featuring marble door surrounds and detailing. The colours in the enfilade here are particularly bold to meet this context, ranging from bright blue and bright orange to deep red and bright green, ranging from bright blue and bright orange to deep red and bright green, giving this suite of rooms a very different and particularly bold feel.

    On the second floor, on the North-facing external galleries, especially following the return of natural light through the opened-up and restored windows, a Farrow & Ball paint colour was used in The Blavatnik Wing to connect the spaces - Green Smoke. In the three rooms without daylight, a bold, darker colour is used to draw the visitor in – Brinjal. A central long gallery with paintings on both sides is in a quieter tone – Dovetail, culminating in Dame Laura Knight’s key work at the end of the central axis of a gallery painted in Charleston Grey.

    There is a shift of colour within the contemporary rooms in the Ondaatje Wing that are painted in a luminous Cornforth White, with colourful, fabric-lined screens. The Weston Wing keeps to the Cornforth White generally and moves from Farrow & Ball colours to accent colour walls by Little Greene in Hicks Blue and Theatre Red, with the latter used for a room dedicated to death masks - including the masks of Williams Blake and Wordsworth, as well as Marc Quinn’s famous blood head self-portrait. The more flexible, ever-changing display of the ground floor – The National Lottery Heritage Fund Gallery - needed to have a neutral background and so is in Cornforth White once again, as is Room 33, up the historic stairs where a more contemporary hang, focused on female self-portraiture, is located.

    Information Hierarchy: Room Totems and Other Information Panels

    Each room features a 2.2m-high interpretation panel, designed by Nissen Richards Studio. These look and feel freestanding but are actually pinned to the wall at the rear. All have a cool-toned, darkened patinated brass surround, manufactured by Capisco, with some additionally featuring a patinated metal ‘foot’. The decision on which to use depended on working with the given architectural features, including datum or skirting lines, which vary in the different spaces, whilst there is no skirting at all in the more modern Ondaatje Wing. In places where the rooms are slightly narrow, some panels are hung directly onto the wall.

    ‘The interpretation panels are tall and striking because it was important for visitors to locate them easily, especially in rooms which can be entered in two, three, even four ways’ Pippa Nissen explained. ‘They are part of the overall family of furniture and always compliment the colour of the walls. The panel itself is deep blue in the blue rooms, for example; deep red in the red rooms and a shade of charcoal in the green rooms, whilst a pale stone colour was used for the lighter rooms.’

    The panels themselves were made in materials from two different suppliers, in order to obtain the exact shade required. Some are made from Richlite and some from a product called Paper Stone. Both have good eco credentials, with Paper Stone, for example, a composite of recycled paper and natural resin. The panels then have a leathered or waxy finish, added when Displayways did the text printing and then sealed them.

    A secondary level of information is displayed on section panels, float-mounted from the wall. These are in Through Material, which has an embedded colour, rather than just a top layer. As these are 12mm deep panels with exposed profiles, the colour was therefore also visible from the side.

    Finally, there are the individual painting titles. These were applied to stock paper wrapped around card with a shadow gap and then float-mounted, with raised text. Some titles are in stock colours and others were printed in specific colours to match the surrounding walls.

    Box Frames

    For the smaller paints in the Gallery’s Collection, a family of box frames was designed to give them added presence. Some boxframes are glazed, whilst others are open. Some feature patinated metal on both the interior and exterior of the frame, whilst some have only metal on the exterior, with a fabric internal frame lining. This decision is determined by the artwork’s individual conservation requirement. In some cases, the external box frame is also a little oversized to ensure the track lighting doesn’t create a shadow on the painting.

    Showcase Tables

    The concept for the showcase tables was developed by Jamie Fobert Architects and incorporates the chamfered corners of Ewan Christian’s original architecture. These were further developed by Nissen Richards Studio, together with the curators. Extensive accessibility testing took place for these, ensuring the height of the showcases for wheelchair access was correct, whilst the legibility and visibility of shapes, labels and typefaces was fully considered. The setting of the information panels at an angle to enable easy for all was particularly important. A whole set of variations of the showcase table was further developed by Nissen Richards Studio, responding to the content developed by the Gallery.

    On the third floor, for example, the material palette for the tables is a rich, dark walnut burl veneer, with a slightly mottled look. For the Duveen Wing, the tables are also dark, whilst for the second floor, the chosen wood is iroko. All the showcase tables are of uniform height, with the base of each 900mm from the floor. Each showcase has a side hood which allows viewing from both sides and creates a very minimal look overall. The patinated brass frame of the display element encloses a sloping internal section for accessibility. Chunky mounts were avoided and the display has been kept very elegant with just the use of rod or bar lighting.

    The tables are used for photography and prints and to allow the possibility of showing more sensitive works. There are over 30 tables in total, including some with an AV device for, eg, clicking through a book of Victorian street photography. These look very simple but are complex pieces of equipment with all controls and dimmers sealed below. For tables that are internally lit, the information panel is backlit for clarity, using Duratran, which sit between a sheet of Perspex and the lightbox. When externally lit from the track lighting, the information is on transparent film with a matt transfer set into patinated metal.

    Vertical Display

    There are also some freestanding wall cases and screens for vertical display. These took inspiration from Carlo Scarpa’s screens in his gallery designs, including Castelvecchio in Verona. These elements, up to 2.2m in height, sometimes contain or hold just a single artwork. They proved particularly suitable for the expanded Collection brought to the fore as part of the re-hang. They could either be hung from the wall or used to contain portraits, depending on scale and are a part of the exhibition design, but with the qualities of pieces of furniture. They also allowed for the transformation of galleries and viewpoints, including vistas along a series of spaces to a particularly important work. On the second floor, where the opened-up windows are large in scale, only very small artworks would have been possible between or below the windows, whilst these can stand in front of these along key vistas.

    Other wall-mounted showcases are included in the galleries of miniatures, death masks and daguerrotypes. The internal background for these are fabric, with some that look like shot silk but are in fact a conservation-friendly faux silk from the James Hare range.

    Plinth Design

    Plinths feature throughout the Gallery, creating connections across time. They present busts from the Collection at head height to give the impression of ‘meeting people from the past.’ The form of the plinths nod to the original marble plinths, but are in a more contemporary iteration. Nissen Richards Studio selected the marble directly with suppliers Diespeker & Co to ensure the right textures. There’s a mix of circular and square plinths overall, with some subtle design moves, including a shadow gap at the base and a routed detail at the top. Marble was used wherever possible, but, where there’s a hood (meaning inbuilt access panels were needed) or more neutral tones, a matt-sanded solid surface HI-MACS material was used instead.

    There are also clusters of plinths for added dynamism with the sculptures they host arranged to face in different directions. A large cluster, including sculptures in bronze or stone, faces and greets visitors in the new entrance area. The curators worked particularly hard here for the right mix of time periods and representation. The plinths also feature a very subtle labelling detail. These are routed out a very thin border with matt transfer layer in order to create a seamless finish. Where the marble is a simple form, these are transparent and where the marble veined, a slight wash is used.

    Pippa Nissen concluded, “This has been a once-in-a-lifetime dream project for me personally and the culmination of a lifetime’s work in theatre and architecture. It encompasses everything I love about our work at Nissen Richards Studio - paintings, sculpture, photography, colour and people!”

    Alix Gilmer, Inspiring People Project Director, said: “The Inspiring People Project has comprised the largest and most complex redevelopment in our history and I eagerly look forward to welcoming visitors back through our new doors. Thank you to Nissen Richards Studio and our brilliant collaborators for their work on this project, which has transformed the way our visitors will navigate and experience the new National Portrait Gallery.”
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  • Richard Gilder Center at the American Museum of Natural History by Studio Gang

    The Richard Gilder Center for Science, Education, and Innovation is the latest addition to New York’s historic American Museum of Natural History. At a time of urgent need for better public understanding of science...
    Richard Gilder Center at the American Museum of Natural History by Studio Gang

    The Richard Gilder Center for Science, Education, and Innovation is the latest addition to New York’s historic American Museum of Natural History. At a time of urgent need for better public understanding of science and greater access to science education, the Gilder Center is designed to amplify the intellectual impact of the Museum with experiential architecture that encourages exploration—drawing in people of all ages, backgrounds, and abilities to share the excitement of scientific discovery and learning about the natural world.

    Conceived from the inside-out, the design vastly improves functionality and visitor experience for the entire Museum campus. Establishing a new, fully accessible entrance at Columbus Avenue and a strong east-west axis, the project creates more than thirty connections among ten different buildings, replacing former dead ends with continuous loops. Providing new exhibition, education, collections, and research spaces, the Gilder Center also brings essential yet previously back-of-house functions into public view for the first time, giving visitors new insight into the full breadth of the Museum’s diverse collections and active scientific research.

    Natural form-making processes informed the architecture. Akin to a porous geologic formation shaped by the flow of wind and water, the building’s central, five-story atrium greets arriving visitors like an intriguing landscape, ready to be explored. Opening the building to natural daylight, the atrium structure also provides intriguing views into different spaces while bridging physical connections between them. Its structural walls and arches carry the building’s gravity loads. It is constructed using shotcrete, a technique primarily used for infrastructure, which sprays structural concrete directly onto rebar cages that were digitally modeled and custom-bent. Eliminating the waste of formwork, the technique achieves a seamless, visually and spatially continuous interior, whose form extends outward to greet the park and neighborhood beyond.

    From the central atrium, visitors can easily find and flow into the surrounding program spaces—traversing bridges, moving along sculpted edges, and passing through vaulted openings. These spaces include an insectarium and butterfly vivarium that house interactive exhibits with live insects and large-scale, ecological models of their habitats; the five-story Collections Core, which houses more than 3 million scientific specimens, three floors of which feature floor-to-ceiling exhibits of scientific collections and provide glimpses into working collections areas; Invisible Worlds, an immersive experience that illustrates how all life on Earth is connected; an expanded research library; and state-of-the-art classrooms, learning labs, and education areas that serve students ranging from elementary school through professional science teachers.
    The Gilder Center’s verticality is key to lowering its overall energy demands, with the atrium bringing natural light and air circulation deep into the building’s interior. A high-performance envelope with stone cladding, along with deep-set windows and shade trees, help passively cool the building in summer. Together with a highly-efficient irrigation system and hearty native and adaptive vegetation that supports wildlife, the project’s environmental strategies allow the building itself to exhibit the depth of care for the natural world that is central to the Museum’s mission.



    PROJECT TEAM

    The Gilder Center is designed by Studio Gang, the international architecture and urban design practice led by Jeanne Gang.

    The development of the Gilder Center facilities and exhibitions involved nearly every department in the Museum, from operations and exhibition to education and science.

    The core project team also includes Arup, Atelier Ten, Bergen Street Studio, BuroHappold Engineering, Davis Brody Bond (executive architect), Design & Production Museum Studio, Event Network, Hadley Exhibits, Langan Engineering, Ralph Applebaum Associates, Reed Hilderbrand, Tamschick Media+Space, AECOM Tishman, Venable LLP, and Zubatkin Owner Representation.

    Pics by Iwan Baan Photography
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  • Il nuovo museo verde di Atene

    Lo studio Tsolakis Architects, vincitore del concorso di architettura, realizzerà il nuovo museo archeologico da costruire nel Parco dell'Accademia di Platone, ad Atene. Il progetto si compone di due elementi principali da armonizzare: la città e il bosco racchiuso...
    Il nuovo museo verde di Atene

    Lo studio Tsolakis Architects, vincitore del concorso di architettura, realizzerà il nuovo museo archeologico da costruire nel Parco dell'Accademia di Platone, ad Atene. Il progetto si compone di due elementi principali da armonizzare: la città e il bosco racchiuso nel parco, contenente gli scavi archeologici.

    La proposta vincitrice del progetto mette in risalto la progettazione di uno spazio pubblico che include il museo, gli scavi archeologici, le aree ricreative e sportive. L'area verde circostante, sarà completamente riprogettata, con la realizzazione di un parco pubblico all'insegna della sostenibilità e di una corretta viabilità.

    La maggior parte della superficie del museo si sviluppa nel sottosuolo, a eccezion fatta per alcuni affioramenti in superficie e alcune fosse. La caratteristica peculiare è la relazione del complesso museale, con lo spazio circostante.

    Il progetto prevede la realizzazione di uno spazio vuoto rettangolare, al centro del museo, che lo andrà a dividere in 4 ali distinte. I tetti si alzano dal suolo, a formare superfici inclinate e calpestabili che prolungano l'area del bosco fino su ai tetti, con lo scopo di offrire condizioni confortevoli per l'illuminazione e la ventilazione naturale, per visitatori e dipendenti.

    Infatti, i 14.362 mq dell'edificio presteranno grande attenzione ai principi bioclimatici, senza lasciare alcuna impronta ecologica. Un anfiteatro all'aperto da 500 posti, sorgerà nell'area circostante a completare il progetto.

    PICS BY:Tsolakis Architects
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  • Timeless Beacon by MAD architects

    Ma Yansong was invited by Guangdong Nanhai Art Field to complete an art installation named “Timeless Beacon” in Taiping Xu, Nanhai, Guangdong province of China.

    The design renovated Taiping market, known as the largest abandoned building in Taiping Xu, a once...
    Timeless Beacon by MAD architects

    Ma Yansong was invited by Guangdong Nanhai Art Field to complete an art installation named “Timeless Beacon” in Taiping Xu, Nanhai, Guangdong province of China.

    The design renovated Taiping market, known as the largest abandoned building in Taiping Xu, a once bustling fair established in the late Ming Dynasty and and flourished for centuries until the 1980s when fishermen, businessmen, and villagers gathered there for trading.

    However, the onset of an urbanization boom changed everything, gradually pushing young people to seek opportunities outside the village. Meanwhile, the internet era began overshadowing the need for physical markets, leading to a slow abandonment of the formerly buzzing fair. On the side of Taiping’s deserted streets, concrete houses occasionally interspersed with old brick buildings emerge. There, a couple of elderly residents sit at their doorsteps and chat, painting a picture of a prosperous era that has now gone into decay.

    “I see many plants growing towards the sun from the gaps of the abandoned building. We hope to create a sense of vitality and rebirth from the ruins, so that people can feel new energy and perception from the old structure, as well as new understanding of time to this whole area.” – Ma Yansong

    The quiet village contrasts the contemporary backdrop of a fast-growing city across the river. When the function of the place is no longer important, the emotion and inspiration it carries are the value that is left by the building. MAD intends to parallel the time scales of history and future through design, forming a surreal scene that brings people back to imagination.

    A three-story building is wrapped in reflective film, a new material that blurrily mirrors the surrounding old streets through the building’s façade and inner space, respectively. At the top, a towering multimedia light device is enveloped in colorfully delicate pieces of cloth, fluttering in the wind romantically. At night, it transforms into a new “lighthouse” of the village, creating a dreamy aura along the bankside.

    Timeless beacon, the art installation will be on show until the summer of 2024.

    Pics by Tian Fangfang
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  • Beta Formazione Ad
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  • Jinyun Quarries by DnA_Design and Architecture

    The mountainous landscape of Jinyun County in Zhejiang Province, China, has been shaped by the manual mining of natural stone. For the rugged and hard-to-access region, the Beijing architect Xu Tiantian and her team were asked to develop strategies...
    Jinyun Quarries by DnA_Design and Architecture

    The mountainous landscape of Jinyun County in Zhejiang Province, China, has been shaped by the manual mining of natural stone. For the rugged and hard-to-access region, the Beijing architect Xu Tiantian and her team were asked to develop strategies for new uses for nine of the over 3000 small, abandoned quarries, which now provide a stage for cultural and social activities, and simultaneously strive for ecological improvements and create new economic perspectives for the rural population. The pits, provided with new functions, have become part of a public infrastructure that puts historical aspects extending back over a thousand years as well as the everyday culture heritage in a new context. The exhibition, which reached us from Beijing by the most sustainable means of transport possible, namely by train, communicates the breath- taking sense of space in the stone quarries of Jinyun in a large-scale installation. Spacious, translucent models, photos, plans, and films visualize the complex structure of the spaces carved into the rock.

    In 2021, the Beijing architect Xu Tiantian and her firm DnA_Design and Architecture were awarded a commission to develop new utilization concepts for the old and today abandoned stone quarries in the northern part of Jinyun County in Zhejiang Province. Located in direct proximity to Songyang, where Xu Tiantian has already very successfully realized revitalization projects for the rural area, which have received close international attention, are over 3000 disused small stone quarries that, until recently, were still mined manually. The nine stone quarries that have been worked on by Xu Tiantian and her team since then are located in a valley named Xiandu with an impressive natural landscape and bizarre volcanic rock formations that is already a tourist attraction today. To support the development of the region with the measures, the project strives for ecological improvements, while simultaneously creating social and cultural locations to be used by both the local population and visitors. The converted stone quarries that have been given a new use are part of a public infrastructure that puts historical aspects going back over a thousand years as well as the everyday cultural heritage in a new context.

    The Transformation of the Quarry Landscape of Jinyun

    The landscape of steep mountains and narrow valleys in Jinyun County today was shaped by the small-scale exploitation of local stone quarries that were in operation for decades and thus led to considerable interventions in the natural landscape. With the Xiandu Scenic Area, the region already attracts many tourists today. The temple for the legendary Yellow Emperor (Huangdi), who has already been honoured for over 3000 years as the founder of the Chinese nation, has an impact far beyond the region. According to the legend, he ascended the local Dinghu Mountain into the heavens on a dragon after achieving immortality. The temple, which was destroyed in the Ming dynasty (1368–1644), was reconstructed in 1994 and has regularly been used since then for commemoration ceremonies, and was admitted to the National List of Immaterial Cultural Heritage in 2011. Moreover, in natural and artificially created caves, there are 125 important stone calligraphies, the oldest of which comes from the Tang dynasty (617–907), which have been listed as national cultural heritage since 2001.

    Jinyun County is located in the southern centre of Zhejiang Province. Nearly 80 per cent of the region is covered by forest, thus making agricultural production on the rocky substrate difficult due to the scarcity of fertile soil. The inhabitants therefore relied on the hard profession of the stonemason, and until recently carved the material from the rock face manually. In the region, the massive stone blocks were used for the construction of houses, whose height was, however, limited by the heavy weight of the material. The stone quarries have now been abandoned for some years, are used in part for chicken farming and in part as fish ponds, or have fallen into disrepair.

    Due to the on-going transformation of society and the socioeconomic challenges, as well as the need for new perspectives to counter the exodus from rural regions, the administration is seeking new possibilities for dealing with the remainders of the archaic mining industry on the one hand, and new sources of income for the population on the other. In addition, the stone quarries today gape like wounds in the natural landscape and urgently require ecological improvements.

    The Projects

    The exhibition presents all of the nine former stone quarries that have already been completed for new utilizations as well as those in planning. The individual locations are each characterized by very individual and random forms cut into the rock, and are connected by a footpath that is routed over stairways due to the differences in elevation. The stone quarries are situated within a radius of one kilometre and contribute as a pilot project to revitalizing the landscape and the region by means of the smallest-scale interventions possible. The simple, very careful interventions by the architect contrast with the ‘over-designing’ of rural areas, in the sense of kitschy romanticizing or ‘Disneyfication’, which has become common in many places in China.

    New Uses for the Quarries

    Some of the immense—often cathedral-like—spaces in the rock face, which were created by chance when the stone was quarried and are up to thirty-eight metres high, have good acoustics and are thus suitable for performances of traditional Wu opera or as spaces for presentations. At another station, former stonemasons

    demonstrate the quarrying of stone in live presentations. There are also huge stone chambers that are used as a teahouse, or platforms from which visitors can observe the sunset through a spectacular hole in the rock face.
    The nine stone quarries are connected with one another via a valley with a small village. An information centre with a stone quarry park with water surfaces, in which visitors will be given insights into history, flora, and fauna, is being planned there. Besides new locations for social and cultural infrastructure, possibilities for economic development, for instance, a restaurant for catering to guests and an education centre for processing natural stone are also being created.

    With their interventions, the architects are transforming the relicts of a landscape shaped by a work culture of hard physical labour into a symbol of the economic and cultural transformation in the rural area, which also contributes to socioeconomic and ecological improvements. The spatial experience in the amorphous caverns, dramatic natural illumination, and acoustics offer an experience that is not possible in such a way in the normal day-to-day life of rural and urban populations. Embedded in the natural and cultural landscape of past centuries, a necessary measure is combined with a contemporary world of experience that brings together the different expectations and possibilities.



    Photocredits: Wang Ziling © DnA_Design and Architecture
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  • Olympic Village for the 2026 Milan-Cortina Olympics | SOM - Skidmore Owings & Merrill

    For the design of the Olympic Village, an architecture competition was launched to which 27 groups made up of 71 studios of nine different nationalities were invited. The design of the Olympic Village area...
    Olympic Village for the 2026 Milan-Cortina Olympics | SOM - Skidmore Owings & Merrill

    For the design of the Olympic Village, an architecture competition was launched to which 27 groups made up of 71 studios of nine different nationalities were invited. The design of the Olympic Village area was entrusted to Skidmore, Owings & Merrill - SOM: the studio that had ranked second in the competition for the masterplan. The project was praised for its dialogue with and openness towards the rest of the masterplan and the neighboring parts of the city. The Olympic Village, compared to the initial proposal of the masterplan, will be built with lower and harmoniously spread buildings, integrated with amenities to create a city district for multiple generations, with pedestrian spaces and squares that are also well connected to the new spaces under development in the areas adjacent to the railway yard.

    The Olympic Village - which will be developed by COIMA SGR, Covivio and Prada Holding - represents the first step in the great urban regeneration project of Scalo Porta Romana.

    The design of the Olympic Village proceeds in parallel with that of the Scalo Porta Romana masterplan. The tight deadlines of the industrial development program for the redevelopment of the Porta Romana railway yard follow the timetable imposed by the planning of the Winter Olympics, which foresee the delivery of the Village in July 2025.

    Positioned in the southwest quadrant of the Yard, for continuity with the existing functions in the area and to create balance across the district, the land area of 47,000 square meters will host the athletes' village of the 2026 Winter Olympics which, at the end of the competition, will be converted by COIMA SGR into student housing equipped with all the necessary services for students, in addition to amenities for the public as requested by the Milano Cortina Foundation.

    Thanks to the public/private collaboration between the proponents and the Milano-Cortina Foundation, with the Municipality of Milan and the Lombardy Region, the Olympic Village will be developed by combining the needs of use during and after the competition, creating a village with zero environmental impact according to the NZEB (Nearly Zero Energy Building) requirements. The urban regeneration project of the village, and of the railway yard, adopts an "outcome investing" approach, with the aim of being able to contribute to a positive social impact in the community.

    The project was studied right from the start in its post-Olympics configuration, allowing the physical spaces and services designed for athletes to flow into the future district, minimizing reconversion works and environmental impacts. The materials used for the Olympic Village will be chosen for their sustainability characteristics (recyclability, reuse, environmental friendliness). All buildings will be LEED® certified, the building structures will be permanent and the temporary ones will be reusable.

    More than 30% of the energy will be produced thanks to the installation of solar thermal and photovoltaic systems; rainwater will be collected and reused, with a reduction in the use of drinking water by over 50% and a CO2 reduction of 40% for heating and cooling.

    The Olympic Village’s urban structure, designed with its ultimate transformation in mind, is organized into three functional sectors.

    1. The residential area and some communal facilities will eventually become student accommodation and follow criteria of simplicity of adaptation between the Olympic phase and their ultimate use. The design reflects the small industrial and artisan complexes typical of this part of the city, articulated in different buildings. The ground floor retains a predominantly public role, providing access to day-to-day services, first for the athletes and then for the students and citizens.

    2. The central part of the facility is intended for the services and amenities of the Olympic phase (reception services, catering, transport hub, etc.), which will subsequently be converted into community amenities. The existing industrial buildings will also be preserved and integrated as part of this area, reflecting the location’s past while creating an attractive urban environment for meeting, exchanging and creating communities.

    3. The last sector is the one that both in the Olympic phase and in its final form has the most public role: the Olympic square. This space can be permanently configured immediately, with access routes to the park and will be the only area of the Olympic Village open to the public during the event to then be able to host an exhibition space. The pedestrian paths make up a structural part of the system, along with planting and outdoor public spaces.

    The Village after the Olympics

    With the goal of converting from an Olympic function to a student residence function in just four months, the Olympic Village will be transformed into a sustainable urban experimentation laboratory focused on people, community, integration and resilience; it will be a vibrant ecosystem of student housing, residences, co-working, community amenities and public spaces; it will be a place of exchange and debate in the city: it will attract young people, entrepreneurs and micro-companies, who will be able to socialize, experiment and share.

    The area will be managed through a digital platform capable of monitoring the performance of buildings and involving the community, with the provision of the digital twin.

    Greenhouses and vegetable gardens are planned for the production of food within the area, allowing the creation of the first village for students with zero-kilometer products. The athletes' homes will be reused for their new student housing destination (about 1,000 beds) and can also be used by others outside the academic period; the park and railway side buildings in the area of the Olympic square will be used for affordable housing; the Olympic Village Plaza will be the new square of the neighborhood, which will overlook the shops and establishments planned at street level; this will also be where farmers' markets and events can take place.

    The center will be developed with consideration of the surrounding fabric: the permeability between open and public spaces will allow the creation of a community that will be able to take advantage of the new areas integrated into the existing ones; the mixed-use nature and ancillary services will bring the neighborhood to life; recreational and cultural programs – as well as collaborations with local associations and companies – will enable the activation of communities and the creation of a new centrality for Milan, also in public-private partnership.

    The area of the Porta Romana railway yard is part of the railway stations program agreement signed by Ferrovie dello Stato, the Municipality of Milan and the Lombardy Region, and in relation to the Olympic Village to be built for the Milano-Cortina Foundation and the International Olympic Committee, in implementation of a national law specifically prepared to speed up urban planning procedures. COIMA SGR, Covivio and Prada Holding were awarded, through participation in the tender launched by the FS Italiane Group in January 2020, the Porta Romana railway yard (an area that covers an area of approximately 190,000 square meters, in addition to the residual portion of 26,000 square meters of railways) for 180 million euros.

    Photocredits: SOM, Pixelflakes
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  • The Glass lift in the town of Arendal in Southern Norway is not only a visible architectural landmark with the very best views of the town. It is also becoming one of Norway’s greatest public attractions. During the first year after the opening, the twin lifts did more than 250.000 trips. Based...
    The Glass lift in the town of Arendal in Southern Norway is not only a visible architectural landmark with the very best views of the town. It is also becoming one of Norway’s greatest public attractions. During the first year after the opening, the twin lifts did more than 250.000 trips. Based on a careful assessment of four persons per trip, more than one million people used the lifts during the first year, or 1/5 of Norway’s population! By comparison, the town of Arendal has only 45.000 inhabitants…

    The challenge was how to connect the upper hill to the Market Place below. The twin glass lifts cut through the rocks, ‘bridge’ the two parts of the town. The lifts facilitate the transition from car-based transportation to transportation by bicycle, foot and wheelchair, improving access to the hill for everyone. Once you reach the top, one arm is a bridge link to the hill and the built-up area beyond. whilst the other arm points towards the town center below, descending into a viewing platform only stopped by a wide sheet of glass with panoramic views over the townscape.

    The lifts are reached from an existing tunnel connecting the Market Place and the Railway Station. A shaft was blasted through the rocks to form the lift shaft. When the lifts emerge above ground, the shaft continues as an open steel structure supporting the bridge. The shaft, the bridge and the lifts are illuminated so that the structure always appears attractive. The steel structure hides the integrated lighting, thus avoiding light pollution.

    The lifts improve mobility, connecting two parts of the town, strengthening the quality of public space and urban life. This is an example of how to solve an urban infra structural challenge in a new way, without cars and roads.
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