![]() © Adam Mørk
![]() © Erik Adamsson The new terminal for Stockholm's permanent ferry connections to Finland and the Baltics will be a landmark for the new urban development Norra Djursgårdsstaden - both architecturally and environmentally. ![]() © Adam Mørk The firsthand experience of the terminal reveals a confident realization and immediacy detailing that demonstrates an innovative new type of typology in the area. ![]() © Adam Mørk Mixing urban park and infrastructure ![]() © Adam Mørk Therefore, the terminal is raised to be at level with the urban zone, so it is easy for both pedestrians and traffic to access. At the same time the roof of the terminal building is designed as a varied green landscape with stairs, ramps, niches, and cosy corners, inviting both Stockholmers and passengers for a stroll or relaxing moments, while enjoying the view of the ferries, the archipelago, and the city skyline. ![]() Site Plan In that way radically blurring the way in which the line between architecture, harbour and the rooftop landscape is experienced, linking the terminal to its maritime context in a direct manner, both in scale, tectonics and though its materiality - but also back to the city through its accessible public park on top. ![]() © Adam Mørk Clarity and consistency ![]() © Adam Mørk Focus on light ![]() © Adam Mørk ![]() Section ![]() © Adam Mørk Made to be self-sufficient in energy ![]() © Adam Mørk An estimated four million people annually will pass through Värtaterminalen, travelling to and from Finland and the Baltics. ![]() © Adam Mørk Product Description.The firsthand experience of the terminal reveals a confident realization and immediacy detailing that demonstrates an innovative new type of typology the area, capable of intermixing fluid spaces for traffic and passengers, further enhanced through a setting of large seamless surfaces, interwoven from outside in and outwards. Applicating a special atmospheric sensuality and attention to material, detail - perhaps more parallel to the architecture of its vessels it serves than the traditional architecture in the area, surrounding the site of the terminal. ![]() © Adam Mørk Radically blurring the way in which the line between architecture, harbour and the rooftop landscape is experienced, linking the terminal to its maritime context in a direct manner, both in scale, tectonics and though its materiality - but also back to the city through its accessible public park on top. ![]() © Adam Mørk A deliberate clarity and consistency of architectural solutions, most clear through the terminals exposed zig-zag trusses, vast use of floor-high seamless panoramic glass sections and seem less floors and cladding used for its facades and ceilings. And for the urban park it's vast green buildup on top it's roofscape.
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![]() the block is lifted up, forming a large opening that brings both water into the courtyard and daylight and views to the inner apartments. The post bjarke ingels group + barcode architects to build floating 'sluishuis' in amsterdam appeared first on designboom | architecture & design magazine. ![]() the re-imagined interior of the automobile service center attempts to recapture the allure and magic that was once associated with cars. The post neri & hu converts ex-missile factory in beijing into garage, café and offices appeared first on designboom | architecture & design magazine. ![]() Raymond Hood Skyscraper Bridge. Image Courtesy of Metropolis Books This article was originally published by Metropolis Magazine as "An Incredible Journey into the New York City that Never Was." Imagine the waters surrounding the Statue of Liberty were filled up with land. That you could walk right up to Lady Liberty herself, following a path from Manhattan's Battery Park. Believe it or not, in 1911, this could have been. In Never Built New York, authors Greg Goldin and Sam Lubell (foreword by Daniel Libeskind) describe with irony, and sometimes nostalgia, the most significant architectural and planning projects of the last century, projects that would have drastically changed the city-but never did. ![]() Cover of Never Built New York featuring Zaha Hadid's project for 425 Park Avenue. Image Courtesy of Metropolis Books The book organizes over one hundred projects in a geographic way, starting with citywide plans to projects located in Downtown, Midtown and Uptown Manhattan, Bronx and Queens, Brooklyn and Staten Island. Some are well known, such as the long-lasting battle for the design of the United Nations headquarters or the tragic collapse of an ambitious master plan for Ground Zero. Others are unexpected and surprising-see Moshe Safdie's Habitat New York residential project or radical as Koolhaas' tower for 23 East 22nd Street. A few are pure flights of fancy. Most really could have been built; for reasons often financial and political in nature, however, they never saw the light of day. âThe book taps into a part of all humanity-the what if. What if I had done that. What if I had married her? What if I had moved there? Everybody thinks about that," says Lubell. ![]() T. Kennard Thomson, "City of New Manhattan." The plan consisted in extending Manhattan for four miles into the Upper Bay. This 1,400 acres addition would have stretched the city from Battery Park all the way to the Statue of Liberty and beyond. Image Courtesy of Metropolis Books Just as compelling as the extraordinary collections of drawings is the vivid language the authors use to tell the projects' stories. Goldin and Lubell, whose editorial tone ranges from sarcastic to critical, introduce the reader to the people behind these visionary projects, giving us glimpses of their dreams and obsessions. ![]() Raymond Hood Skyscraper Bridge. Image Courtesy of Metropolis Books Raymond Hood, the architect behind the Daily News Building and the American Radiator Building, is one such protagonist. The authors recount how, in 1925, Hood designed a 10-thousand-foot-long bridge that was also a skyscraper. The design included two residential towers 50 to 60 stories tall, which functioned as pillars to anchor the suspended bridge.  The megastructure would have accommodated space for 50,000 people, shops, theaters, and esplanades. Elevators would grant residents access to the waterfront for boating, swimming, or other aquatic activities. Hood defended the scheme as a feasible solution to traffic congestion: âSerious minds have claimed that the project is not only structurally sound but possessed of unusual advantages, financially.â ![]() Office of Metroplitan Architecture, 23 East 22nd Street. Image Courtesy of Metropolis Books Traffic congestion was also a source of vexation for Robert Moses, whose 1941 Mid-Manhattan Expressway project was part of a major scheme to build five crosstown expressways. At a height of ten floors above the street, the expressway would have run through a densely built mid-town, literally breaking into existing buildings. Moses envisioned commercial and parking spaces on top of the viaduct, and buildings hanging from the highway âlike barnacles on some great seagoing bark,â in the authors' words. ![]() Rufus Henry Gilbert Elevated Railway. Image Courtesy of Metropolis Books Another protagonist, Rufus Henry Gilbert, felt the city needed more mass transit. In 1870 he envisioned a train propelled by compressed air that would run inside âatmospheric tubes.â These pneumatic tubes would be suspended on top of a slender gothic arch, supported by fluted Corinthian columns. Gilbert battled with all his force to see his project come true, but was defeated by lack of fundings and power maneuverings. According to Lubell and Goldin, he died âimpoverished and broken.â   The non-built New York informs the one existing today. In some cases, it underlines the city's lack of audacity; how else would one characterize the ditching of Mies van der Rohe's sleek modernist tower cluster, south of Water Street, for one of the bulkiest office towers in the cityâOne New York Plaza? In others, it shows an urban nightmare narrowly avoided- what if, for example, Moses's crazed Midtown-Expressway and 5th Avenue extension through Washington Square Park had been given the go-ahead?    ![]() Ludwig Mies Van Der Rohe Battery Park Apartments. Image Courtesy of Metropolis Books Never Built New York is ultimately a guide to the city that goes beyond what's immediately visible. It helps compare the New York that âisâ with the one it could have been, and what it might one day be. As Goldin and Lubell put it: âthis trek through the distant and recent past is also a journey ahead. Never Built New York is about the power of ideas to shape the future. Indulge and imagine.â
![]() the structure stands without the need for foundations, circumventing the strict planning approval required for permanent buildings. The post PAO's prefabricated plugin tower reconsiders residential living in china appeared first on designboom | architecture & design magazine. Calmac® announced that its ice-based energy storage technology was implemented into the microgrid project at the Naval Post Graduate School's Integrated Multi-Physics Renewable Energy Laboratory (IMPREL) in Monterey, California. ![]() © Michel Denancé
![]() © Michel Denancé Our project is composed of large-scale planes installed within the city. The architectural design takes its imprint from the universe of graphic design and from the objects and supports that have always invested this art form and continue to do so today: the poster â the sheet of paper â the page â the screen â the billboard. ![]() © Michel Denancé These large planes are made of stone and compose the walls and roofs. They are rendered abstract by their thinness with 12cm thick panels: stone siding with an aluminium honeycomb core. This rigid material gives the stone its finesse. ![]() Section ![]() Section These juxtaposed or superimposed planes are close to or distanced from one another. Between them relarge areas of glass, vast surfaces that can be closed off with curtains. In this way, one can see the interior of the space from the exterior. ![]() © Michel Denancé Stone and glass compose simple or complex wholes to respond to the different roles of the street façades: ![]() © Michel Denancé Minimalist graphic design as an epidermis of the architecture ![]() Axonometric Two screens of regular, orthogonal dots graphically structure the stone sheets of the Centre. From above, a screen of metal dots on the monumental scale of the building comes down to the height of a person, connecting with a screen of smaller, screen-printed dots. ![]() © Michel Denancé In its upper part, the screen can function as a picture rail or cyma to receive signs and images in any format. The free wall spaces offer their screened surfaces to the invitees of special events, proposing that artists such as typographers, poster artists, graphic designers and illustrators make use of these surfaces. ![]() Floor Plan Level 00 The screened surfaces of the stone offer multiple uses, lending support to events, signs and drawn, still or projected images. These âvisualâ usages are guarantees for the capacity of the architecture to incarnate and transmit the essence and topicality of the place, its legitimacy and boldness. ![]() © Michel Denancé They thus make it possible to renew and bring up to date all writings and movements, from heritage works to contemporary graphic design. ![]() © Michel Denancé Product Description. ![]() Floor Plan Level 01 ![]() © Michel Denancé ![]() a simple and elegant interior of white tiled surfaces with brass accents has been used to highlight the fresh savory goods for sale. The post rolling pins hang from ceiling inside beijing bakery by B.L.U.E architecture studio appeared first on designboom | architecture & design magazine. ![]() with futuristic design and rolling concrete terrace, NUDES hope to prioritize the outside over the in. The post the villa dodia by NUDES 'sails' through the indian countryside appeared first on designboom | architecture & design magazine. ![]() © Kyung Roh
![]() © Kyung Roh From the architect. The nest of Yellow Owl : Mum. ![]() Concept The District 1 in which numerous buildings come together and define spaces is created as a culture & arts complex for publishing/music industry whereas the District 2 is planned by solving various problems found in the District 1 and arranged to accommodate even more companies. And there, inspired by the atmosphere of this culture & amp; arts complex, many companies have built their own buildings displaying all sorts of unique characters. ![]() © Kyung Roh Located in District 2 block 9, Mum is an English education company having a logo where an owl with big black eyes appears on a yellow background. The logo has a story of the adventure, challenge and passion of a yellow owl Mu; which sets out to search for the 13th planet of the solar system. the last uncharted planet M.Impressed by the logo, the architect, in the early stage of design, suggested a nest-shape building as he wanted to introduce a space where the owl can rest comfortably. However, in the end, the building is finalized in the form of a stump looking naturally settled down on the ground. ![]() © Kyung Roh ![]() Section ![]() © Kyung Roh Entirely covered with black brick, the building has a twisted rectangular shape, and its entrance defined by the incised surface of the distorted structure makes it difficult to distinguish between the front and the back. In contrast to the torn entrance, 2mÃ2m large windows are installed as openings in order to enhance the sense of openness on the lower floors. To block out the excessive light flowing into the upper floors, the architect designed lintels to be closed gradually rather than installing smaller windows on those floors. And by using the twisted form and repetitive wall pattern, the architect gave a sense of rhythm to the black building which can look plain. ![]() Sketch Study ![]() © Kyung Roh ![]() Detail As the Paju Book City area except for its reserved building construction sites is well arranged systematically, and considering that the area's cold climate condition, the building is designed as introverted rather than as extroverted. In the atrium of the building, a vertical circulation which runs throughout the whole building and a terraced vertical garden meet at right angles. The building's exterior is formed in a rectangular shape whereas its interior is composed with a T-shape atrium and ã·-shape office area. This specific solution enables the light from the outside to come deep inside through the atrium and so bright up the whole area. The atrium garden allows people to enjoy a brief rest without going outside, and the vertical circulation encourages communication among them and so ends up making the building more lively. ![]() © Kyung Roh |
AuthorHis current project is a modern, yacht-inspired 15,000 square foot home to be built on Lido Beach, Sarasota. It will be a marvel of curvaceous, geometric precision. Mr. Stanbury is the founder of J. Stanbury Design Inc. in Lakewood Ranch, Florida. Archives
November 2017
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