“Se parte de la idea de utilizar el edificio de archivos para elevar sobre él una planta de construcción ligera, en la que se situarán las oficinas, añadiendo en uno de sus extremos el vestíbulo de entrada y el Espacio Polivalente, en medio la interesante situación y disposición del bar.

© Pablo Díaz-Fierros . Published on February 05, 2013.

IDEAS PRINCIPALES

Respetar al máximo el arbolado y el entorno.
Facilidad de construcción económica, sencillez y funcionalidad. Aprovechamiento al máximo de lo existente.
Oficinas protegidas de poniente. Buena iluminación. Interiores alegres y agradables de vivir, con luces matizadas.
Aprovechar la bondad del clima. La disposición del bar permite incorporar la amplia terraza al disfrute de los colegiados. Exposición al aire libre, etc.

© Pablo Díaz-Fierros . Published on February 05, 2013.

Los distintos niveles del Espacio Polivalente permite una visión completa de la sala al entrar, aunque se encuentre llena de gente. Facilita la visión en proyecciones y conferencias y produce distintas situaciones en las exposiciones.
En lo estético se ha buscado la naturalidad con sencillez, que ha de reflejar el agrado de vivir, en un paisaje bello y un clima suave. Los muros de mampostería enlazarán con los de contención existentes, en un bello juego de niveles y tendrá como contrapunto la ligereza de la galería entoldada, con visión panorámica protegida del sol de poniente por un sistema de toldos de elemental manejo. Con el tiempo, los muros se irán cubriendo de vegetación y la arquitectura se fundirá con el paisaje y el entorno. La situación y disposición del bar ofrece grandes posibilidades. A su alrededor se proyecta una pérgola curva que se cubrirá de un entoldado de glicinias y hasta tanto que estas crezcan, podrían hacer su función toldos de lona.”

© Pablo Díaz-Fierros . Published on February 05, 2013.

© Pablo Díaz-Fierros . Published on February 05, 2013.

© Pablo Díaz-Fierros . Published on February 05, 2013.

© Pablo Díaz-Fierros . Published on February 05, 2013.

© Pablo Díaz-Fierros . Published on February 05, 2013.

© Pablo Díaz-Fierros . Published on February 05, 2013.

© Pablo Díaz-Fierros . Published on February 05, 2013.

© Pablo Díaz-Fierros . Published on February 05, 2013.

© Pablo Díaz-Fierros . Published on February 05, 2013.

© Estudio Cano Lasso Arquitectos . Published on February 05, 2013.

© Estudio Cano Lasso Arquitectos . Published on February 05, 2013.

© Estudio Cano Lasso Arquitectos . Published on February 05, 2013.

© Estudio Cano Lasso Arquitectos . Published on February 05, 2013.

El proyecto se realiza en un contexto rural, en un terreno de una superficie poco mayor de una hectarea, libre de las vinculantes normativas del area urbana.

© Hisao Suzuki . Published on November 16, 2012.

La casa nace como respuesta al clima y al ambiente de galicia, en un ejercicio de fusion del lenguaje del movimineto moderno con la tradicion popular de la region; la racionalidad constructiva, la busqueda de la simplicidad y un adecuado empleo de los materiales llegan a un armonico punto de encuentro.

© Hisao Suzuki . Published on November 16, 2012.

Los materiales, todos rigurosamente tradicionales – piedra, madera y hierro oxidado – estan utilizados con pleno respeto por sus propias caracteristicas; por ejemplo, el material petreo de revestimiento no es independiente del sistema constructivo: como en los muros antiguos la piedra trabaja a compresion y los muros crecen por “peso”.

© Hisao Suzuki . Published on November 16, 2012.

La casa se desarrolla en una sola planta, articulandose en torno a un pequeño patio, nucleo de luz en el interior de la vivienda. el organicismo de la planta establece una estrecha relacion entre el exterior y el interior de la construccion con pequeños pasadizos y patios envueltos en vegetacion y siempre enmarcados en largos muros de lajas de pizarra dorada, pergolas de madera y hierro oxidado. Los muros se proyectan hacia el exterior dando lugar a los distintos espacios habitables. los dormitorios se van escalonando hacia levante. El resto de la casa se orienta al sur. una galeria acristalada, elemento tipico de la tradicion constructiva de galicia funciona de filtro entre el rigido clima local y la zona de estar.

© Hisao Suzuki . Published on November 16, 2012.

La volumetria es sencilla y la cubierta realizada con planchas de fibrocemento de acanaladura pequeña es de una sola vertiente de suave pendiente. La recogida de aguas se realiza mediante un canalon corrido a lo largo del alero de la fachada sur, pieza que ayuda a resaltar la horizontalidad de la composicion.

© Hisao Suzuki . Published on November 16, 2012.

Las premisas para que la vivienda se integre en su bello entorno natural estan marcadas, ahora solo hace falta esperar a que el tiempo juegue su papel.

© Hisao Suzuki . Published on November 16, 2012.

© Estudio Cano Lasso Arquitectos . Published on November 16, 2012.

© Estudio Cano Lasso Arquitectos . Published on November 16, 2012.

A tree hotel in the far north of Sweden, near the small village of Harads, close to the polar circle.

A shelter up in the trees; a lightweight aluminium structure hung around a tree trunk, a 4×4x4 meters box clad in mirrored glass. The exterior reflects the surroundings and the sky, creating a camouflaged refuge. The interior is all made of plywood and the windows give a 360 degree view of the surroundings.

© Åke E:son Lindman . Published on November 09, 2012.

The construction also alludes to how man relates to nature, how we use high tech materials and equipments when exploring remote places in harsh climates (Gore-tex, Kevlar, composite materials, light weight tents etc).

© Åke E:son Lindman . Published on November 09, 2012.

The functions included provides for a living for two people; a double bed, a small bath room, a living room and a roof terrace. Access to the cabin is by a rope bridge connected to the next tree.

© Åke E:son Lindman . Published on November 09, 2012.

To prevent birds colliding with the reflective glass, a transparent ultraviolet colour is laminated into the glass panes which are visible for birds only.

© Åke E:son Lindman . Published on November 09, 2012.

© Åke E:son Lindman . Published on November 09, 2012.

© Åke E:son Lindman . Published on November 09, 2012.

© Åke E:son Lindman . Published on November 09, 2012.

© Åke E:son Lindman . Published on November 09, 2012.

© Tham & Videgård Arkitekter . Published on November 09, 2012.

© Tham & Videgård Arkitekter . Published on November 09, 2012.

© Tham & Videgård Arkitekter . Published on November 09, 2012.

© Tham & Videgård Arkitekter . Published on November 09, 2012.

© Tham & Videgård Arkitekter . Published on November 09, 2012.

The initial approach was to single out and magnify the experience of walking from the roadside down to the seaside at this very special place. Therefore a main concern was to slow down this movement and make the path itself a means of refocusing the experiential mode: a measured, restrained approach that creates awareness.

© Reiulf Ramstad Architects . Published on September 10, 2012.

The monolithic structure in concrete is developed with a clear geometric strategy based on a study of organic circular organisms. The project contains a series of various functions such as parking, bike shed, public toilets, benches, open kitchen and fireplace.

© Reiulf Ramstad Architects . Published on September 10, 2012.

Furthermore a functional concern has been on universal accessibility. Instead of opting for a dual solution with staircase and ramp, we came up with the notion of making the ramp the common entryway and develop it into the integral character of the project. Because of the inclination of the site, and in order to create the reductive motion, the ramp had to be very long. The winding river of the path prolongs the approach and in so doing opens up new perspectives and experiences for the visitor.

© Reiulf Ramstad Architects . Published on September 10, 2012.

Located in the extreme north of Norway, in a landscape almost lunar in its barren and inhospitable beauty, the facility should ideally be completely self-sustainable in terms of power input and waste output. The general notion was to create a human detail in the vastness of the landscape that is as timeless as the landscape itself and that brings attention to the relationship between the duration of experiences and the hugeness of the spatial circumstance.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 11, 2012.

© Reiulf Ramstad Architects . Published on September 11, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

© Reiulf Ramstad Architects . Published on September 10, 2012.

In 1961, on the eastern tip of Iberia Peninsula, Cap de Creus cape, one the windiest and most northern exposed corner of our geography, Club Med constructed a privative holiday village with 430 buildings to receive around 900 visitors 3 months a year. The urbanization project it is considered as one of the most notorious examples of modern movement settlement on the Mediterranean coast. With the advent of democracy and the rise of ecological consciousness, Cap de Creus was declared Natural Park in 1998. The cape, including Club Med surroundings, was classed with the highest figure of land protection because its outstanding geological and botanical values. In summer 2003 Club Med ceased activity.

© Pau Ardèvol . Published on July 30, 2012.

In the period, 2008-10, Club Med has been ‘deconstructed’, its ecological dynamics revived and a network of paths and viewpoints as been ‘remade’ for its rediscovery, becoming Mediterranean coast biggest restoration project ever. The work distills and enhances the consubstantial values of the site, the diversity of geological formations, the harshness and nakedness of the rock outcrops, the specialization of native vegetation, the wind and the sea magnificence. Five actions are contemplated in the restoration project:

© Pau Ardèvol . Published on July 30, 2012.

1. Removal of Invasive Exotic Flora (IEF), Carpobrotus edulis
and other 10 species on a surface of 90 ha. IEF once planted in the Club scattered around displacing specialized maritime rocky native communities of EU protected flora.

© Pau Ardèvol . Published on July 30, 2012.

2. Selective deconstruction of 430 buildings, equivalent of 1.2 ha of edification and 6ha of urbanization.

© Pau Ardèvol . Published on July 30, 2012.

3. Management & recycling of 100% of construction waste, 45.000 m3, reusing ‘in situ’ local stone for landfills, and transporting ceramic materials outside for civil works.

© Martí Franch. Published on July 30, 2012.

4. Ecosystem dynamics revival, remaking the site’s topography and drainage systems, to reestablish the original sediment flows and exchanges between land and sea.

© Esteve Bosch. Published on July 30, 2012.

5. Discovery & social valorization. Including 3 main interventions:

Hierarchical path system recycling existing paths and promoting circular routes.

Main path (2km) structuring the site’s discovery, it reuses the existing main road and reduces its section from 7-4 m to 3.5 m while homogenizes paving treatment with asphalt. At the beach, 250m are newly redone to recover the beach full dimension, once quartered by the former road system.

Secondary paths, out of concrete, leading to the main viewpoints

Tertiary paths, ‘without firm, out of low disperse railings, which leads to the secondary network of viewpoint and sensitive areas.

Network of viewpoints to enhance best panoramas.

Animal-rock identification. Traditionally fishermen’s and kids had identified rock formations with animal names for its orientation, Dalí did too. The project, proposing a game of perception constructs a sort of ‘lecterns’ outlining the ‘animal-rocks’ silhouette

© Martí Franch. Published on July 30, 2012.

Credits:

Construction companies:

Tragsa (deconstruction)

Control Demeter and Massachs Excavacions S.L.U. (deconstruction, waste management, Restoration and re-urbanization)

Jardinería Sant Narcís (invasive exotic flora extraction)

Serralleria Ferran Collel (viewpoints, totems, terciary path, animal rock identification)

© Martí Franch. Published on July 30, 2012.

© EMF landscape architects . Published on July 30, 2012.

Initial state

© Martí Franch. Published on July 30, 2012.

Initial state

© Martí Franch. Published on July 30, 2012.

Final state

© Martí Franch. Published on July 30, 2012.

Final state

© Martí Franch. Published on July 30, 2012.

Platja desde Aguila

© Martí Franch. Published on July 30, 2012.

Platja desde Pamperris

© Martí Franch. Published on July 30, 2012.

The Tower Studio is dramatically situated on a stretch of rocky coastline in Shoal Bay, Fogo Island, Newfoundland. The studio’s sculptural silhouette leans both for- ward and backward as it twists upward. For the average visitor to the island, this windowless black tower, more often than not, provokes a quizzical response and the enviable question, “What’s that?” For the locals, they know that this structure is a project of the Fogo Island Arts Corporation – an art studio opened in June 2011. The Tower Studio’s official opening was one of the most festive and included: a roaring bonfire, flares dra- matically shot from its rooftop terrace and the recorded sounds of local whales as a background score.

© Bent René Synnevåg . Published on April 27, 2012.

Perched on a rocky stretch of shoreline, there are no roads to the Tower Studio,
it can only be reached by hiking along the shore from the adjacent community or walking on a narrow wooden boardwalk consisting of weathered planks that hover just slightly above a bog that features an abundance of cloudberries, known lo- cally as bakeapples.

© Saunders Architecture . Published on April 27, 2012.

From a distance the wooden boardwalk reads like a tether strap, linking the stranded Tower Studio to the lifeline of a busy stretch of road. The boardwalk, a mere twelve inches wide, is a vital component to the story of the Tower Studio, it provided an even track for wheel barrows to bring building supplies to the con- struction site without disturbing the delicate eco-system of the Newfoundland bog and the lichens that grow on outcroppings of rock.
The boardwalk is a testimony to the holistic thinking that is part of the Shorefast Foundation mindset that connects the dots of economic, cultural and ecological sustainability at both the macro and the micro level. Now that its purpose has past, the boardwalk will soon disappear in order to minimize the impact on the surrounding landscape of the Tower Studio’s construction.

© Bent René Synnevåg . Published on April 27, 2012.

As one approaches the studio, its south-facing entry area is angled back thirty degrees. Overhead a triangulated section of wall leans forward to shelter the double glass doors below. Both the soffit and the angled entryway, clad in hori- zontal boards of spruce are stained white in sharp contrast to remainder of the building’s windowless exterior of vertical plank siding painted slate black.

© Saunders Architecture . Published on April 27, 2012.

The Tower Studio is comprised of three levels with an overall height of thirty-two feet. Its entry area is equipped with a kitchenette, a compost toilet and wood- burning fireplace. Its second level is a studio, day lit by a generous skylight that faces northward. A mezzanine overhead, juts into the double height volume of the studio. Aside from the geometric complexity of the space, the second feature that adds to a sense of disorientation is the elimination of architectural detail and the fact that all vertical, horizontal and inclined surfaces, clad in smooth plywood, are painted a brilliant white. The only relief from the stark interior is a sliver of the exterior visible through the studio’s sole skylight. A slightly angled wall oppo- site and parallel to the skylight provides the perfect viewing surface upon which a body can recline and enjoy the view. One can imagine the magical effect of resting against this surface during a moonlit evening with the audible roar of the North Atlantic and force of the wind against the exposed surface of the tower. From the studio level, a narrow ladder (also painted white) leads past the mezza- nine level to the underside of a roof hatch. As one passes through the horizontal opening and stands on the roof- top deck, the view of the ocean and the rocky wind-swept terrain is spectacular. From the roster of studios recently completed, it is generally agreed that the building of the Tower Studio by the local crew of carpenters was one of the most challenging. Although the basic premise of the Tower’s geometry is a simple one – the plan rotates one hundred and eighty de- grees to the roof plan – the construction of the facetted form proved to be a little more complex. In order to figure out the framing diagram, a series of wooden models were constructed. Ultimately a large-scale model was fabricated to mini- mize any on-site confusion.

© Saunders Architecture . Published on April 27, 2012.

The story of the Tower Studio is not complete without referencing two structures that support it. The first one is a ‘standalone’ array of solar panels situated about fifty feet to the west of the studio’s main entrance. Because all the studios are located on isolated sites without access to the utilities of electricity, water and sewer, they are equipped with photovoltaic panels, compost toilets and water cisterns.

© Bent René Synnevåg . Published on April 27, 2012.

The other structure necessary for the Tower Studio’s success is its ‘fraternal
twin’ – a restored traditional house in the nearby village where the artist lives while he/she is not working in the studio. All the Fogo Island studios follow the same model in which the studio is paired with a Saltbox – a traditional Newfound- land house, where the artist abides when not fixated on his/her most recent art project. The restoration of the traditional Saltbox house and the new construc- tion of the architecturally provocative studios has created an interesting dynamic that brings the local vernacular architecture face-to-face with the multi-faceted expressions of contemporary culture.

© Bent René Synnevåg . Published on April 27, 2012.

As the architect, Todd Saunders, has explained, the fact that the renovated houses were part of a vernacular way of building increased the level of architec- tural experimentation allotted to the studios. In contrast to the renovated houses, located in the middle of the villages, the studios are situated about a fifteen-min- ute walk on the villages’ periphery. The artists experience both the warm hospi- tality of their neighbours, as well as, the cool refuge of their studios. Because the studios are outside the local villages, their architectural character is both seem- ingly familiar and uncannily ‘strange’. In some sense the studios ‘fit in’, but more importantly they stand out.
At times, the stark abstract forms of the studios painted black and/or white seem to disappear into the foggy weather, typical on Fogo Island. Disappearance may be an interesting addition to the lexicon of Saunders’s architectural production that focuses on playful geometries that generate dynamic forms that are strange- ly familiar. This series of architectural projects on Fogo Island does encompass the vernacular within the production of the new. More importantly, it forms a contemporary sensibility that is vital to reframe, re-situate and rejuvenate any traditional culture, in order for it to meet the opportunities and challenges of the twenty-first century – head on.

© Saunders Architecture . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Saunders Architecture . Published on April 27, 2012.

© Saunders Architecture . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Saunders Architecture . Published on April 27, 2012.

© Saunders Architecture . Published on April 27, 2012.

© Saunders Architecture . Published on April 27, 2012.

© Saunders Architecture . Published on April 27, 2012.

The Squish Studio is located just outside the small town of Tilting on the eastern end of Fogo Island. First settled in the mid-18th century, Tilting is known for its strong Irish culture and its recent designation by Parks Canada as a National Cul- tural Landscape District of Canada.

© Bent René Synnevåg . Published on April 27, 2012.

The Squish Studio’s white angular form, sited on a rocky strip of coastline, that could rival Italy’s western coast, offers sharp contrast to the traditional vernacular architecture of the nearby picturesque community of Tilting. As its architect, Todd Saunders, has commented on the studio’s siting, “…it is out of sight, but close.” The approach to the front entry of the studio is dramatic, as the most southern end of the studio rises twenty feet above the ground, in sharp contrast to its most northern tip that measures only half that dimension. The compact, trapezi- um-shaped plan of the studio is augmented by the extension of the east and west exterior walls to create a sheltered, triangulated south entry deck and a north terrace that overlooks the ocean. From a distant view, the streamlined form of the Squish Studio becomes apparent with its high back and low (squished) front designed, in part, to deflect the winds from the stormy North Atlantic.

© Bent René Synnevåg . Published on April 27, 2012.

As we approach the entry of the studio we are greeted by Silke Otto-Knapp, a London-based artist and the first occupant of the Squish Studio. As Silke brings us through the studio, the spatial compression of the tall and narrow entry area gives way to the horizontal expanse of the main room. The downward angled roof leads the eye to the full height oblong glass window focused on a splendid view of Round Head. The vertical white planks that line the interior walls are interrupted by a playful series of narrow windows integrated with an expanse of built-in cabi- netry.

© Saunders Architecture . Published on April 27, 2012.

Silke’s quick figurative studies on paper are posted on the walls, as well as, several large scale canvasses. She is delighted to work in such an architecturally inspired space, especially when it is stormy and she can experience the imme- diacy of the sea and, on some days, observe the dramatic shift of the island’s weather.

© Saunders Architecture . Published on April 27, 2012.

The Squish Studio, like most of its other counterparts, is equipped with a compost toilet, a small kitchenette and wood-burning stove. Power is supplied by stand- alone solar panels, mounted on an adjacent hilltop. Both the interior and exterior of the studio, including the roof, is clad with spruce planks that are painted white. At night, the studio, illuminated by the soft glow of its solar-powered lighting, appears as a lantern or a lighthouse placed strategically on a rocky cliff to over- look the North Atlantic. In its isolation, one can also imagine a sole occupant, vulnerable but protected from the elements – inspired to work late into the night, occasionally distracted by the crash of the waves, or perhaps, fully immersed in the work at hand, the first glimpse of the sunrise through the Squish Studio’s slot windows that face the north-eastern horizon.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Bent René Synnevåg . Published on April 27, 2012.

© Saunders Architecture . Published on April 27, 2012.

© Saunders Architecture . Published on April 27, 2012.

© Saunders Architecture . Published on April 27, 2012.

El proyecto se realiza en un contexto rural, en un terreno de una superficie poco mayor de una hectarea, libre de las vinculantes normativas del area urbana.

© Hisao Suzuki . Published on November 16, 2012.

La casa nace como respuesta al clima y al ambiente de galicia, en un ejercicio de fusion del lenguaje del movimineto moderno con la tradicion popular de la region; la racionalidad constructiva, la busqueda de la simplicidad y un adecuado empleo de los materiales llegan a un armonico punto de encuentro.

© Hisao Suzuki . Published on November 16, 2012.

Los materiales, todos rigurosamente tradicionales – piedra, madera y hierro oxidado – estan utilizados con pleno respeto por sus propias caracteristicas; por ejemplo, el material petreo de revestimiento no es independiente del sistema constructivo: como en los muros antiguos la piedra trabaja a compresion y los muros crecen por “peso”.

© Hisao Suzuki . Published on November 16, 2012.

La casa se desarrolla en una sola planta, articulandose en torno a un pequeño patio, nucleo de luz en el interior de la vivienda. el organicismo de la planta establece una estrecha relacion entre el exterior y el interior de la construccion con pequeños pasadizos y patios envueltos en vegetacion y siempre enmarcados en largos muros de lajas de pizarra dorada, pergolas de madera y hierro oxidado. Los muros se proyectan hacia el exterior dando lugar a los distintos espacios habitables. los dormitorios se van escalonando hacia levante. El resto de la casa se orienta al sur. una galeria acristalada, elemento tipico de la tradicion constructiva de galicia funciona de filtro entre el rigido clima local y la zona de estar.

© Hisao Suzuki . Published on November 16, 2012.

La volumetria es sencilla y la cubierta realizada con planchas de fibrocemento de acanaladura pequeña es de una sola vertiente de suave pendiente. La recogida de aguas se realiza mediante un canalon corrido a lo largo del alero de la fachada sur, pieza que ayuda a resaltar la horizontalidad de la composicion.

© Hisao Suzuki . Published on November 16, 2012.

Las premisas para que la vivienda se integre en su bello entorno natural estan marcadas, ahora solo hace falta esperar a que el tiempo juegue su papel.

© Hisao Suzuki . Published on November 16, 2012.

© Estudio Cano Lasso Arquitectos . Published on November 16, 2012.

© Estudio Cano Lasso Arquitectos . Published on November 16, 2012.