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Architectures (Baukunst en allemand) est une série de documentaires pour la télévision proposée par Richard Copans et Stan Neumann1, diffusée sur Arte depuis 1996.Cette série de films de 26 minutes est consacrée aux réalisations les plus marquantes de l'architecture, de l'Antiquité jusqu'aux dernières créations des grands architectes d'aujourd'hui. On y retrouve le principe de l'émission Palettes qui a d'ailleurs servi de référence au début d'Architectures.
Content:Le Bauhaus de DessauL'École de SizaLe Familistère de GuiseNemausus 1Le Centre Georges-PompidouLa Caisse d'épargne de Vienne
https://www.youtube.com/watch?v=EGKIkvV0pqs
The Staatliches Bauhaus, commonly known as the Bauhaus (German for 'building house'), was a German art school operational from 1919 to 1933 that combined crafts and the fine arts. The school became famous for its approach to design, which attempted to unify individual artistic vision with the principles of mass production and emphasis on function.The Bauhaus was founded by architect Walter Gropius in Weimar. It was grounded in the idea of creating a Gesamtkunstwerk ("comprehensive artwork") in which all the arts would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, modernist architecture, and architectural education. The Bauhaus movement had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. Staff at the Bauhaus included prominent artists such as Paul Klee, Wassily Kandinsky, and László Moholy-Nagy at various points.The school existed in three German cities—Weimar, from 1919 to 1925; Dessau, from 1925 to 1932; and Berlin, from 1932 to 1933—under three different architect-directors: Walter Gropius from 1919 to 1928; Hannes Meyer from 1928 to 1930; and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime, having been painted as a centre of communist intellectualism. Internationally, former key figures of Bauhaus were successfully in the United States and became known as the avant-garde for the International Style.The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For example, the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school and would not allow any supporters of Hannes Meyer to attend it.
https://www.youtube.com/watch?v=zJVEhe1VcoU
The Faculty of Architecture of the University of Porto (Portuguese: Faculdade de Arquitectura da Universidade do Porto), or FAUP, is an architecture faculty located in Porto, Portugal, and one of the fourteen constituent faculties of the University of Porto.Although the Architecture course has its roots in the School of Fine Arts of the University of Porto, FAUP has been independent for over 20 years, and has given rise to the modernist movement known as the School of Porto, which has achieved nationwide and worldwide prominence.Two alumni of the school, Álvaro Siza and Eduardo Souto de Moura, have been distinguished with the Pritzker Architecture Prize.
https://www.youtube.com/watch?v=0zRhdPmEhrM
O Familistério de Godin foi uma tentativa de aplicação das teorias socialistas utópicas, em Guise, no norte da França, inspirada nos falanstérios propostos por Charles Fourier na sua obra "A harmonia universal e o falanstério".Com a intenção de concretizar suas ideias sócio-políticas, Jean-Baptiste Godin decidiu comprar, em 1859, 18 hectares de um terreno onde mandou construir um complexo arquitectónico de habitações para operários. À medida que o projeto se foi consolidando, passou-se a chamar de Palácio Social a toda a construção.Gerido de uma perspectiva empresarial, ainda que segundo um espírito comunitário (de acordo com as teorias sociais de Saint-Simon e Owen, além do já referido Fourier), o familistério durou até 1968.Em 1846 o industrial Godin instalou-se em Guise para fundar uma empresa de utensílios de aquecimento e de cozinha, os famosos "poëles Godin" (fogões Godin), dos quais foi o inventor; fabricados em ferro fundido, difundiam muito melhor o calor que os antigos modelos em folha metálica, e permitiram que Godin, de origens modestas, fizesse rapidamente fortuna e se impusesse num mercado em plena expansão. Mas ele, como simples operário, conservou a memória das terríveis condições de vida e laborais dos assalariados da indústria, que pôde também constatar numa viagem que fez pela França entre 1835 e 1837. Godin vai então usar a sua fortuna para melhorar a vida dos seus empregados, e propor as suas soluções para o problema da miséria dos operários.Discípulo de Charles Fourier, entrou em contacto com a "escola societária" e, em 1854, investiu um terço da sua fortuna numa tentativa de implantação de uma colônia falanstéria no Texas dirigida por Victor Considérant. O fracasso da experiência convence-o a pôr ele mesmo em prática as suas ideias, progressivamente e com pragmatismo, para evitar um novo falhanço.
https://www.youtube.com/watch?v=nSH0I3tbbhg
Le terrain était une friche industrielle d'anciens entrepôts de matériels électriques. Les entrepôts ont été détruits, ne reste de cette époque que la cour bordée de platanes1.Les deux immeubles sont deux « barres ». Ils présentent côté rue une forme arrondie telle une proue. Le bâtiment le plus court se termine par un plan incliné, le plus long par une façade verticale posée sur deux voiles de béton qui rappellent un gouvernail. Sur toute la longueur, on trouve côté nord, des coursives qui desservent les appartements, côté sud, des terrasses. L'immeuble est posé sur des piliers libérant l'espace pour les parkings1.L'ensemble compte 114 appartements entre 90 et 160 m², de l'appartement sur un seul étage au duplex et même triplex. Le souhait de Jean Nouvel, l'architecte, est de donner plus d'espace aux logements sociaux s'opposant à la tendance à la baisse des surfaces durant les années 1960 et 1970. Pour arriver à cette fin, les dessertes sont rejetées à l'extérieur du bloc formé par le bâtiment. Les escaliers métalliques sont dans la cour. Seule la cage d'ascenseur coupe l'immeuble en deux blocs.Pour réduire les coûts, la construction répète le même motif de bas en haut. Tous les cinq mètres, un voile de béton sépare les appartements. La même largeur est choisie pour séparer les piliers au niveau du parking et pour les panneaux constituant le toit. Les matériaux de construction sont sans finition et rappellent un bâtiment industriel2. Les portes des terrasses en aluminium sont semblables à celles utilisées dans les casernes de pompiers. Les murs sont couverts de plaques d'aluminium. Les garde-corps des coursives et terrasses sont inclinés et rappellent ceux utilisés sur les chantiers.L’ensemble de ces mesures entraîne une économie permettant d’offrir des logements plus spacieux pour le même coût de construction qu’une « barre » classique. De ce point de vue, Nemausus 1 est une preuve qu’il est possible de bâtir du logement social autrement.À l'intérieur les murs sont nus, ils laissent apparaître les défauts de construction et même les marques laissés par les ouvriers1. C'est un choix esthétique que Jean Nouvel a tenté d'imposer. Malgré tout, des locataires ont aménagé leur intérieur (pose de cloison, de papier-peint, rideaux ou peintures).L'utopie de Nemausus 1 a ses limites. En donnant plus d'espace aux locataires, le loyer est de 30 à 50 % plus élevé que pour une HLM classique : celui-ci reste calculé en fonction de la surface, même si les appartements ont le même coût de construction que des logements plus petits.
https://www.youtube.com/watch?v=VM7Q0WbjWuo
Also known as the Pompidou Centre in English, is a complex building in the Beaubourg area of the 4th arrondissement of Paris, near Les Halles, rue Montorgueil, and the Marais. It was designed in the style of high-tech architecture by the architectural team of Richard Rogers, Su Rogers, Renzo Piano, along with Gianfranco Franchini.It houses the Bibliothèque publique d'information (Public Information Library), a vast public library; the Musée National d'Art Moderne, which is the largest museum for modern art in Europe; and IRCAM, a centre for music and acoustic research. Because of its location, the centre is known locally as Beaubourg. It is named after Georges Pompidou, the President of France from 1969 to 1974 who commissioned the building, and was officially opened on 31 January 1977 by President Valéry Giscard d'Estaing.The centre had 1.5 million visitors in 2021, up by 65 percent from 2020, but a considerable drop from 2019 due to closings caused by the COVID pandemic. It has had over 180 million visitors since 1977 and more than 5,209,678 visitors in 2013, including 3,746,899 for the museum.The sculpture Horizontal by Alexander Calder, a free-standing mobile that is 7.6 m (25 ft) tall, was placed in front of the Centre Pompidou in 2012.
https://www.youtube.com/watch?v=RiNcQesN_Y4
The Austrian Postal Savings Bank building is a famous building in Vienna, designed and built by the architect Otto Wagner. The building is regarded as an important work of Vienna Secession, branch of Art Nouveau.It was constructed between 1904 and 1906 using then completely new reinforced concrete, and was opened on 17 December 1906. Extension was added between 1910 and 1912.The building houses the headquarters of the Österreichische Postsparkasse (P.S.K.) bank, formerly the k.k. Postsparcassen-Amt (Imperial-Royal Postal Savings Office). It is located at Georg-Coch-Platz 2, in the first district Innere Stadt, next to the Ringstraße boulevard.
Content:Le Bâtiment JohnsonLa Galleria Umberto ISatolas-TGVLes Thermes de pierreL'École des Beaux-Arts de Paris
https://www.youtube.com/watch?v=JSjiTI5Nl6k
Johnson Wax Headquarters is the world headquarters and administration building of S. C. Johnson & Son in Racine, Wisconsin. Designed by American architect Frank Lloyd Wright for the company's president, Herbert F. "Hib" Johnson, the building was constructed from 1936 to 1939. Its distinctive "lily pad" columns and other innovations revived Wright's career at a point when he was losing influence. Also known as the Johnson Wax Administration Building, it and the nearby 14-story Johnson Wax Research Tower (built 1944–1950) were designated as a National Historic Landmark in 1976 as Administration Building and Research Tower, S.C. Johnson and Son.The Johnson Wax Headquarters were in an industrial zone, and Wright decided to create a sealed environment lit from above, as he had done with the Larkin Administration Building. The building features Wright's interpretation of the streamlined Art Moderne style popular in the 1930s. In a break with his earlier Prairie School structures, the building features many curvilinear forms and required over 200 different curved "Cherokee red" bricks to create the sweeping curves of the interior and exterior. The mortar between the bricks is raked in traditional Wright style to accentuate the horizontality of the building. The warm, reddish hue of the bricks was used in the polished concrete floor slab as well; the white stone trim and white dendriform (tree-like) columns create a subtle yet striking contrast. All of the furniture, manufactured by Steelcase, was designed for the building by Wright and it echoed many of the building's design features.The entrance is within the structure, penetrating the building on one side with a covered carport on the other. The carport is supported by short versions of the steel-reinforced dendriform concrete columns that appear in the Great Workroom.[3] The low carport ceiling creates a compression of space that is released when entering the main building, where the dendriform columns rise over two stories tall; the interior space thus appears larger than it is. Compression and release of space were concepts that Wright used in many of his designs, including the playroom in his Oak Park Home and Studio, the Unity Temple in Oak Park, Illinois, the Solomon R. Guggenheim Museum in New York City, and many others.Throughout the Great Workroom, which has no internal walls, the thin, white dendriform columns rise to circular "lily pad" tops that form the ceiling, with the spaces between the circles consisting of skylights made of Pyrex glass tubing. At the corners, where the walls usually meet the ceiling, the glass tubes continue up and over and connect to the skylights, creating a clerestory effect and admitting a soft light. The Great Workroom is the largest expanse of space in the building, and was intended for the secretaries of the Johnson Wax company, with a mezzanine for administrators.
https://www.youtube.com/watch?v=zLmmkn2IuZU
Galleria Umberto I is a public shopping gallery in Naples, southern Italy. It is located directly across from the San Carlo opera house. It was built between 1887 and 1890, and was the cornerstone in the decades-long rebuilding of Naples—called the risanamento (lit. "making healthy again")—that lasted until World War I. It was designed in the Stile Umbertino by Emanuele Rocco, who employed modern architectural elements reminiscent of the Galleria Vittorio Emanuele II in Milan. The Galleria was named after Umberto I, King of Italy at the time of construction. It was meant to combine businesses, shops, cafés and social life—public space—with private space in the apartments on the third floor.[1][2]The Galleria is a high and spacious cross-shaped structure, surmounted by a glass dome braced by 16 metal ribs. Of the four iron and glass-vaulted wings, one fronts on via Toledo (via Roma), still the main downtown thoroughfare, and another opens onto the San Carlo Theatre. It has returned to being an active center of Neapolitan civic life after years of decay. The building is part of the UNESCO listing of the Historic Centre of Naples as a World Heritage Site.The Galleria Umberto is the setting for The Gallery (1947) by the American writer John Horne Burns (1916–1953) based on his experiences as an American soldier in Naples shortly after the liberation of the city.
https://www.youtube.com/watch?v=5t0Wcwz6zRU
Lyon-Saint-Exupéry TGV station (formerly Gare de Satolas TGV) is a railway station near Lyon, France, directly attached to Lyon–Saint-Exupéry Airport. The station was built as an addition to the airport to serve TGV trains on the LGV Rhône-Alpes, part of the main line running from Paris Gare de Lyon to Marseille Saint-Charles. It is situated about 20 km east of Lyon city centre.Saint-Exupéry station was designed by Santiago Calatrava, cost 750 million Francs and opened on 3 July 1994, at the same time as the high-speed line to Saint-Marcel-lès-Valence. The building is mostly a combination of concrete and steel. The station has six tracks laid in a cutting. The two central tracks are isolated to permit trains to traverse the station at full speed (300 km/h) and have no platforms. The two external sets of tracks have 500 m long platforms. A small piece of land to the west is put aside for future expansion. Above the tracks, a 300 m long passenger concourse gives easy access to the platforms and is equipped with several travelators.The railway station is linked to Lyon-Saint Exupéry Airport by a footbridge equipped with a travelator. This airport is historically the first to be served by a high-speed station. This proximity to the airport has not helped the station and it sees little use as passengers mainly use Lyon-Perrache and Lyon Part-Dieu.
https://www.youtube.com/watch?v=sZ-38ELakL4
7132 Thermal Baths (formerly Therme Vals) is a hotel/spa complex in Vals, built over the only thermal springs in the Graubünden canton in Switzerland. Completed in 1996, the spa was designed by Peter Zumthor (Pritzker 2009).In the 1960s a German property developer, Karl Kurt Vorlop, built a hotel complex with over 1,000 beds to take advantage of the naturally occurring thermal springs and the source, which provides the water for Valser mineral water, sold in Switzerland. After the developer went bankrupt, the village of Vals bought the five hotels in development in 1983 and commissioned a hydrotherapy centre at the middle of the five hotels on the source of the thermal springs. The spa facility was built between 1993 and 1996, designed by Peter Zumthor.In 2012, the hotel and spa, previously owned by the Vals community, was sold to the investor Remo Stoffel for CHF 7.8 million.Stoffel renamed the thermal site 7132 Therme & Hotel. Stoffel turned the spa into a luxury resort and made its access exclusive to the clients of his next-door hotel. In 2015, the architect Thom Mayne proposed a skyscrapping tower project right next to the Baths. The project sparked controversy in the field of architecture.In 2017, Peter Zumthor complained that Stoffel was killing the social project of the Therme initially designed for the local community.
https://www.youtube.com/watch?v=RmttyG-bt6s
The Beaux-Arts de Paris is a French grande école whose primary mission is to provide high-level arts education and training. This is classical and historical School of Fine Arts in France. The art school, which is part of the Paris Sciences et Lettres University, is located on two sites: Saint-Germain-des-Prés in Paris, and Saint-Ouen.The Parisian institution is made up of a complex of buildings located at 14 rue Bonaparte, between the quai Malaquais and the rue Bonaparte. This is in the heart of Saint-Germain-des-Prés, just across the Seine from the Louvre museum. The school was founded in 1648 by Charles Le Brun as the famed French academy Académie royale de peinture et de sculpture. In 1793, at the height of the French Revolution, the institutes were suppressed. However, in 1817, following the Bourbon Restoration, it was revived under a changed name after merging with the Académie d'architecture. Held under the King's tutelage until 1863, an imperial decree on November 13, 1863 named the school's director, who serves for a five-year term. Long supervised by the Ministry of Public Instruction, the École des Beaux-Arts is now a public establishment under the Ministry of Culture.The Beaux-Arts de Paris is the original of a series of Écoles des beaux-arts in French regional centers. Since its founding in 1648, the Académie royale de peinture et de sculpture has had a school, France's elite institution of instruction in the arts. Its program was structured around a series of anonymous competitions that culminated in the grand prix de l'Académie Royale, more familiar as the Grand Prix de Rome, for its winner was awarded a bourse and a place at the French Academy in Rome. During his stay in Rome, a pensionnaire was expected to send regular envois of his developing work back to Paris. Contestants for the Prix were assigned a theme from the literature of classical antiquity; their individual identities were kept secret to avoid any scandal of favoritism.Rinaldo and Armida, François Boucher's morceau de réception, gained his admission to the Académie royale in 1734.With his final admission into the Académie, the new member had to present his fellow academicians a morceau de réception, a painting or sculpture that demonstrated his learning, intelligence, and proficiency in his art. Jacques-Louis David's Andromache Mourning Hector was his reception offering in 1783; today it is in the collections of the Louvre Museum.In 1793, during the French Revolution, the Académie Royale and the grand prix de l'Académie Royale were abolished, but only a few years later, in 1797, the Prix de Rome was re-established. Each year throughout the nineteenth century, the winner of the Prix de Rome was granted five years of study at the Villa Medici, after which the painter or sculptor could fully expect to embark on a successful official career.The program resulted in the accumulation of some great collections at the Académie, one of the finest collections of French drawings, many of them sent as envoies from Rome, as well as the paintings and sculptures, usually the winners, of the competitions, or salons. Lesser competitions, known as the petits concours, took themes like history composition (which resulted in many sketches illustrating instructive moments from antiquity), expressions of the emotions, and full and half-figure painting.In its role as a teaching institution, the École assembled a large collection of Italian and French etchings and engravings, dating from the 16th through the 18th century. Such prints published the composition of paintings to a wide audience. The print collection was first made available to students outside the Académie in 1864.Today, studies include: painting, installation, graphic arts, photography, sculpture, digital media and video. Beaux-Arts de Paris provides the highest level of training in contemporary art production. Throughout history, many world-renowned artists have either taught or studied at this institution. The faculty is made up of recognized international artists. Theoretical courses permitting diverse approaches to the history of the arts complement studio work, which is supported by technical training and access to technical bases. The media center provides students with rich documentation on art, and organizes conferences, seminars, and debates throughout the year. The School buildings have architectural interest and house prestigious historical collections and an extensive fine arts library. The school publishes a dozen texts per year on different collections, and holds exhibitions ranging from the school's excellent collection of old-master drawings to the most up to date contemporary works, in the Quai Malaquais space and the Chapel throughout the year.
Content:Le Musée juif de BerlinL'Opéra GarnierLe Couvent de la TouretteLa Casa MilàL'Auditorium Building de ChicagoLe Centre municipal de Säynätsalo
https://www.youtube.com/watch?v=EmKexdwGNQY
The Jewish Museum Berlin (Jüdisches Museum Berlin) was opened in 2001 and is the largest Jewish museum in Europe. On 3,500 square metres (38,000 square feet) of floor space, the museum presents the history of Jews in Germany from the Middle Ages to the present day, with new focuses and new scenography. It consists of three buildings, two of which are new additions specifically built for the museum by architect Daniel Libeskind. German-Jewish history is documented in the collections, the library and the archive, and is reflected in the museum's program of events.From its opening in 2001 to December 2017, the museum had over eleven million visitors and is one of the most visited museums in Germany.Opposite the building ensemble, the W. Michael Blumenthal Academy of the Jewish Museum Berlin was built – also after a design by Libeskind – in 2011/2012 in the former flower market hall. The archives, library, museum education department, a lecture hall and the Diaspora Garden can all be found in the academy.The first Jewish Museum in Berlin was founded on 24 January 1933, under the leadership of Karl Schwartz, six days before the Nazis officially gained power. The museum was built next to the Neue Synagoge on Oranienburger Straße and, in addition to curating Jewish history, also featured collections of modern Jewish art. Schwartz intended the museum as a means to revitalise Jewish creativity, and to demonstrate that Jewish history was living history. The museum's art collection was also seen as a contribution to German art history and one of the last exhibitions to be held was a retrospective of the German impressionist, Ernst Oppler in 1937.To reflect this focus on living history, the entrance hall of the museum both contained busts of prominent German Jews, such as Moses Mendelssohn and Abraham Geiger, and also a number of works by contemporary Jewish artists such as Arnold Zadikow and Lesser Ury.On 10 November 1938, during the 'November Pogroms', known as Kristallnacht, the museum was shut down by the Gestapo, and the museum's inventory was confiscated. In 1976 a "Society for a Jewish Museum" formed and, three years later, the Berlin Museum, which chronicled the city's history, established a Jewish Department, but already, discussions about constructing a new museum dedicated to Jewish history in Berlin were being held.In 1988, the Berlin government announced an anonymous competition for the new museum's design, with a jury chaired by Josef Paul Kleihues. A year later, Daniel Libeskind's design was chosen from among 189 submissions by the committee for what was then planned as a "Jewish Department" for the Berlin Museum. While other entrants proposed cool, neutral spaces, Libeskind offered a radical, zigzag design, which earned the nickname "Blitz" ("Lightning").In 1991, Berlin's government temporarily canceled the project to finance its bid for the 2000 Summer Olympics. Six months later the decision was reversed and construction on the $65 million extension to the Berlin Museum began in November 1992. The empty museum was completed in 1999 and attracted over 350,000 people before it was filled and opened on 9 September 2001.
https://www.youtube.com/watch?v=g5vmuYwkx5I
The Palais Garnier also known as Opéra Garnier is a 1,979-seat opera house at the Place de l'Opéra in the 9th arrondissement of Paris, France. It was built for the Paris Opera from 1861 to 1875 at the behest of Emperor Napoleon III. Initially referred to as le nouvel Opéra de Paris (the new Paris Opera), it soon became known as the Palais Garnier, "in acknowledgment of its extraordinary opulence" and the architect Charles Garnier's plans and designs, which are representative of the Napoleon III style. It was the primary theatre of the Paris Opera and its associated Paris Opera Ballet until 1989, when a new opera house, the Opéra Bastille, opened at the Place de la Bastille. The company now uses the Palais Garnier mainly for ballet. The theatre has been a monument historique of France since 1923.The Palais Garnier has been called "probably the most famous opera house in the world, a symbol of Paris like Notre Dame Cathedral, the Louvre, or the Sacré Coeur Basilica".[8] This is at least partly due to its use as the setting for Gaston Leroux's 1910 novel The Phantom of the Opera and, especially, the novel's subsequent adaptations in films and the popular 1986 musical. Another contributing factor is that among the buildings constructed in Paris during the Second Empire, besides being the most expensive, it has been described as the only one that is "unquestionably a masterpiece of the first rank". This opinion is far from unanimous however: the 20th-century French architect Le Corbusier once described it as "a lying art" and contended that the "Garnier movement is a décor of the grave".The Palais Garnier also houses the Bibliothèque-Musée de l'Opéra de Paris (Paris Opera Library-Museum), which is managed by the Bibliothèque Nationale de France and is included in unaccompanied tours of the Palais Garnier.
https://www.youtube.com/watch?v=ISnj6wifIcc
Sainte Marie de La Tourette is a Dominican Order priory, located on a hillside near Lyon, France, designed by the architect Le Corbusier, the architect’s final building. The design of the building began in May 1953 and completed in 1961. The committee that decided the creation of the building considered that the primary duty of the monastery should be the spiritual awakening of the people and in particular the inhabitants of nearby areas. As a result, the monastery was constructed in Eveux-sur-Arbresle, which is just 25 km from Lyon and is accessible by train or car.In July 2016, the building and sixteen other works by Le Corbusier were inscribed as UNESCO World Heritage Sites because of their outstanding testimony to the development of modern architecture.
https://www.youtube.com/watch?v=VfFcdZS0CdA
Popularly known as La Pedrera in reference to its unconventional rough-hewn appearance, is a Modernista building in Barcelona, Catalonia, Spain. It was the last private residence designed by architect Antoni Gaudí and was built between 1906 and 1912.The building was commissioned in 1906 by Pere Milà and his wife Roser Segimon. At the time, it was controversial because of its undulating stone facade, twisting wrought iron balconies and designed by Josep Maria Jujol. Several structural innovations include a self-supporting stone façade, and a free-plan floor, underground garage and the spectacular terrace on the roof.In 1984, it was declared a World Heritage Site by UNESCO. Since 2013 it has been the headquarters of the Fundació Catalunya La Pedrera, which manages visits to the building, exhibitions and other cultural and educational activities at Casa Milà.
https://www.youtube.com/watch?v=sRE2yvr2qMw
The Auditorium Building in Chicago is one of the best-known designs of Louis Sullivan and Dankmar Adler. Completed in 1889, the building is located at the northwest corner of South Michigan Avenue and Ida B. Wells Drive. The building was designed to be a multi-use complex, including offices, a theater, and a hotel. As a young apprentice, Frank Lloyd Wright worked on some of the interior design.The Auditorium Theatre is part of the Auditorium Building and is located at 50 East Ida B. Wells Drive. The theater was the first home of the Chicago Civic Opera and the Chicago Symphony Orchestra. It currently hosts the season performances of the Joffrey Ballet.The building was added to the National Register of Historic Places on April 17, 1970. It was declared a National Historic Landmark in 1975,and was designated a Chicago Landmark on September 15, 1976. In addition, it is a historic district contributing property for the Chicago Landmark Historic Michigan Boulevard District. Since 1947, the Auditorium Building has been part of Roosevelt University.
https://www.youtube.com/watch?v=1d6-HR3mGjM
The Säynätsalo Town Hall is a multifunction building complex, consisting of two main buildings organised around a centralised courtyard; a U-shaped council chamber and town hall with administrative offices and a community library with and flats. The Town Hall was designed by Finnish architect Alvar Aalto for the municipality of Säynätsalo (merged with the municipality of Jyväskylä in 1993) in Central Finland. Aalto received the commission after a design contest in 1949, and the building was completed in December 1951.The town hall is considered one of the most important buildings Aalto designed in his career.
Content:La Saline d'Arc-et-SenansLa Maison de VerreLe Musée Guggenheim de BilbaoLa Maison de Jean ProuvéLa Médiathèque de SendaiL'Abbatiale Sainte-Foy de Conques
The Saline Royale (Royal Saltworks) is a historical building at Arc-et-Senans in the department of Doubs, Eastern France. It is next to the Forest of Chaux and 29.2 kilometres (18.1 miles) to the southwest of Besançon. The architect was Claude-Nicolas Ledoux (1736–1806), a prominent Parisian architect of the time. The work is an important example of an early Enlightenment project in which the architect based his design on a philosophy that favored arranging buildings according to a rational geometry and a hierarchical relation between the parts of the project.The Institut Claude-Nicolas Ledoux has taken on the task of conservator and is managing the site as a monument. In 1982, UNESCO added the "Salines Royales" to its list of World Heritage Sites, along with the older saltworks at nearby Salins-les-Bains, for their outstanding architecture and testimony to the history of open-pan salt making. The Royal Saltworks is the first architectural complex of this scale to be used for commercial purposes.Today, the site is mostly open to the public. It includes, in the building the coopers used, displays by the Ledoux Museum of other futuristic projects that were never built. Also, the salt production buildings house temporary exhibitions.The train line from Besançon to Bourg-en-Bresse passes just next to the salt works. The station for Arc-et-Senans is only a few dozen meters from the site.
https://www.youtube.com/watch?v=v6Fa47_xmUg
The Maison de Verre (French for House of Glass) was built from 1928 to 1932 in Paris, France. Constructed in the early modern style of architecture, the house's design emphasized three primary traits: honesty of materials, variable transparency of forms, and juxtaposition of "industrial" materials and fixtures with a more traditional style of home décor. The primary materials used were steel, glass, and glass block. Some of the notable "industrial" elements included rubberized floor tiles, bare steel beams, perforated metal sheet, heavy industrial light fixtures, and mechanical fixtures.The design was a collaboration among Pierre Chareau (a furniture and interiors designer), Bernard Bijvoet (a Dutch architect working in Paris since 1927) and Louis Dalbet (craftsman metalworker). Much of the intricate moving scenery of the house was designed on site as the project developed. The historian Henry-Russel Hitchcock as well as the designer Eileen Gray have declared that the architect was in fact 'that clever Dutch engineer (Bijvoet)'(Gray). The external form is defined by translucent glass block walls, with select areas of clear glazing for transparency. Internally, spatial division is variable by the use of sliding, folding or rotating screens in glass, sheet or perforated metal, or in combination. Other mechanical components included an overhead trolley from the kitchen to dining room, a retracting stair from the private sitting room to Mme Dalsace's bedroom and complex bathroom cupboards and fittings.The program of the home was somewhat unusual in that it included a ground-floor medical suite for Dr. Jean Dalsace. This variable circulation pattern was provided for by a rotating screen that hid the private stairs from patients during the day but framed the stairs at night.The house is notable for its splendid architecture, but it may be more well known for another reason. It was built on the site of a much older building that the patron had purchased and intended to demolish. Much to his or her chagrin, however, the elderly tenant on the top floor of the building absolutely refused to sell, and so the patron was obliged to completely demolish the bottom three floors of the building and construct the Maison de Verre underneath, all without disturbing the original top floor.Dr. Dalsace was a member of the French Communist Party who played a significant role in both anti-fascist and cultural affairs. In the mid-1930s, the Maison de Verre's double-height "salle de séjour" was transformed into a salon regularly frequented by Marxist intellectuals like Walter Benjamin as well as by Surrealist poets and artists such as Louis Aragon, Paul Éluard, Pablo Picasso, Max Ernst, Jacques Lipchitz, Jean Cocteau, Yves Tanguy, Joan Miró and Max Jacob. According to the American art historian Maria Gough, the Maison de Verre had a powerful influence on Walter Benjamin, especially on his constructivist - rather than expressionist - reading of Paul Scheerbart's utopian project for a future "culture of glass", for a "new glass environment [which] will completely transform mankind," as the latter expressed it in his 1914 treatise Glass Architecture. See in particular Benjamin's 1933 essay Erfahrung und Armut ("Experience and Poverty").American architectural historian Robert Rubin bought the house from Dalsace family in 2006 to restore it and use it for his family residence.He allows a limited number of tours to the house.
https://www.youtube.com/watch?v=WmlXpNbPMMU
The Guggenheim Museum Bilbao is a museum of modern and contemporary art designed by Canadian-American architect Frank Gehry, and located in Bilbao, Basque Country, Spain. The museum was inaugurated on 18 October 1997 by King Juan Carlos I of Spain, with an exhibition of 250 contemporary works of art. Built alongside the Nervion River, which runs through the city of Bilbao to the Cantabrian Sea, it is one of several museums belonging to the Solomon R. Guggenheim Foundation and features permanent and visiting exhibits of works by Spanish and international artists. It is one of the largest museums in Spain.One of the most admired works of contemporary architecture, the building has been hailed as a "signal moment in the architectural culture", because it represents "one of those rare moments when critics, academics, and the general public were all completely united about something", according to architectural critic Paul Goldberger. The museum was the building most frequently named as one of the most important works completed since 1980 in the 2010 World Architecture Survey among architecture experts.
https://www.youtube.com/watch?v=botRltb69Zw
La maison de Jean Prouvé est une maison avant-gardiste de Style international / Architecture contemporaine / Mouvement moderne, de Nancy en Lorraine dans le Grand Est. Construite en 1954 par l’architecte designer Jean Prouvé (1901-1984), à titre de domicile familial personnel expérimental, elle est acquise par la ville de Nancy en 1990, administrée par le Musée des beaux-arts de Nancy depuis 2013, et ouverte à la visite à titre de musée de juin à septembre1,2. La maison et le bureau de ses ateliers de 1947 de Maxéville reconstitué dans le contrebas, sont classés aux monuments historiques par un arrêté du 2 novembre 1987.
https://www.youtube.com/watch?v=p6clF3Pid7Q
Sendai Mediatheque is a library in Sendai, Miyagi Prefecture, Japan. It was designed by Toyo Ito in 1995 and completed in 2001.The Sendai Mediatheque is a mixed-program public facility which combines library and art gallery functions located in the city of Sendai, Japan. Toyo Ito's winning entry for an open competition commissioned by the city of Sendai in 1995, the innovative building opened to the public in January 2001. The Mediatheque's seven levels of facilities offer a range of services including a conventional book-lending library, an extensive collection of film and audio recordings with stations for both viewing and editing, a theater, to a cafe and bookstore, all housed in a nearly cubic glass enclosure. The seven platforms are supported by what Ito calls "characterizing" architectural elements: a forest of 13 non-uniform tubes which appear to rise fluidly through the building. Architecturally, the building is considered an important milestone in Ito's career."In terms of architectural genre the Sendai Mediatheque was a pioneering example of attempts to use new notions of 'media' as an architectural concept."This project's importance is derived from its poetic imagery, avant-garde program and technical innovation.
https://www.youtube.com/watch?v=MCjbTQaMogQ
The Abbey Church of Sainte-Foy in Conques, France, was a popular stop for pilgrims traveling the Way of St. James to Santiago de Compostela, in what is now Spain. The main draw for medieval pilgrims at Conques were the remains of Sainte-Foy, a young woman martyred during the fourth century. The relics of Sainte-Foy arrived in Conques through theft in 866. After unsuccessful attempts to acquire the relics of Saint Vincent of Saragossa and then the relics of St. Vincent Pompejac in Agen, the abbey authorities set their sights on the relics of Sainte-Foy at the ancient St. Faith's Church, Sélestat. The Conques abbey opened a priory next to the shrine in Sélestat. A monk from Conques posed as a loyal monk in Agen for nearly a decade in order to get close enough to the relics to steal them. The abbey church is a listed monument since 1840.The original monastery building at Conques was an eighth-century oratory built by monks fleeing the Saracens in Spain.The original chapel was destroyed in the eleventh century in order to facilitate the creation of a much larger church as the arrival of the relics of Sainte-Foy caused the pilgrimage route to shift from Agen to Conques. The second phase of construction, which was completed by the end of the 11th century, included the building of the five radiating chapels, the ambulatory with a lower roof, the choir without the gallery and the nave without the galleries.[4] The third phase of construction, which was completed early in the twelfth-century, was inspired by the churches of Toulouse and Santiago de Compostela. Like most pilgrimage churches Conques is a basilica plan that has been modified into a cruciform plan. Galleries were added over the aisle and the roof was raised over the transept and choir to allow people to circulate at the gallery level. The western aisle was also added to allow for increased pilgrim traffic. The exterior length of the church is 59 meters. The interior length is 56 meters. the width of each transept is 4 meters. The height of the crossing tower is 26.40 meters tall.The arches of the main aisle are simple rounded arches. These arches are echoed in the arches of the gallery which are half of the main arches' height with central supporting piers. Narrower versions of these arches are also found in the apse. The aisle around the apse is separated from the sanctuary by pillars and by the chapels which open up off of the transept. There are three radiating chapels off of the apse and two chapels off of the transept. The side aisles are roofed with a barrel vault that was originally covered with stucco. The nave at Conques is roofed with a continuous barrel vault which is 60 cm thick. The nave is divided into bays by piers which rise through the gallery and over the barrel vault. The piers of the naves are huge stone blocks laid horizontally and covered with either four half-columns or four pilasters. The interior of the church is 20.70 meters tall with the sense of verticality being intensified by the repeating pattern of half-columns and pilasters approaching the high altar. The barrel vault's outward thrust is met by the half barrels of the galleries which run the length of the nave and transept.The crossing dome is a delicate octagon set in square. Ribs radiate out from the center. Figures in the squinches are angels with realistic expressions and animated eyes.There are 212 columns in Conques with decorated capitals. The capitals are decorated with a variety of motifs including palm leaves, symbols, biblical monsters and scenes from the life of Sainte-Foy. On the fifth capital of the north side of the nave are two intricate and expressive birds. On the corresponding capital on the south side of the nave are flat and lifeless human figures. The figures appear to have a slight hunch, as if they are reacting to the weight of the arches above them. The capitals functioned as didactic picture books for both monks and pilgrims.Traces of color are still visible on a number of the columns.Light filters into Conques through the large windows under the groin vaults of the aisle and through the low windows under the half barrels of the galleries. The windows in the clerestory and the light from the ambulatory and radiating chapels focus directly onto the high altar. The nave receives direct light from the crossing tower.The original windows have long since vanished and after WWII the spaces were filled with colourful figurative glass designs. Over time these came to been seen to be at odds with the original spirit of the architecture. In 1986, the artist Pierre Soulages accepted an invitation by the Culture Ministry and the Arts Delegation and Heritage Direction for St.-Foy Abbey-church to design and create 104 windows (95 full windows and 9 oculi) for the building. Soulages designed abstract, rows of gently bending lines that shift in direction from panel to panel. He created the windows from reconstituted crushed white glass in order to keep the purity and the power of the bay architecture. Pierre Soulages' stained-glass windows are nowadays an integral element of Conques architecture, history and its collective memory "in accordance with the function of this architecture and the emotion felt in this space, agreeing with its purpose of contemplation, meditation and prayer" https://www.tourisme-conques.fr/en/en-conques/stained-glass-windows-of-soulagesThe ambulatory allowed pilgrims to glimpse into the sanctuary space through a metal grill. The metal grill was created out of donated shackles from former prisoners who attributed their freedom to Sainte-Foy. The chains also have a number of symbolic meanings including reminding pilgrims of the ability of Sainte-Foy to free prisoners and the ability of monks to free the penitent from the chains of sin. The stories associated with the ability of Sainte-Foy to free the faithful follows a specific pattern. Often a faithful pilgrim is captured and chained about the neck, they pray to Sainte-Foy and are miraculously freed. The captor is sometimes tortured and then dismissed. The liberated pilgrims would then immediately travel to Conques and dedicate their former chains to Sainte-Foy relaying their tale to all who would listen. As stories spread pilgrimage traffic increased.There is little exterior ornamentation on Conques except necessary buttresses and cornices. The exception to this is the Last Judgment tympanum located above the western entrance. As pilgrimages became safer and more popular the focus on penance began to wane. Images of doom were used to remind pilgrims of the purpose of their pilgrimage. The tympanum appears to be later than the artwork in the nave. This is to be expected as construction on churches was usually begun in the east and completed in the west. The tympanum depicts Christ in Majesty presiding over the judgment of the souls of the deceased. The cross behind Christ indicates he is both Judge and Savior. Archangel Michael and a demon weigh the souls of the deceased on a scale. The righteous go to Christ's right while the dammed go to Christ's left where they are eaten by a Leviathan and excreted into Hell. The tortures of Hell are vividly depicted including poachers being roasted by the very rabbit they poached from the monastery. The tympanum also provides an example of cloister wit. A bishop who governed the area of Conques but was not well liked by the monks of Conques is depicted as being caught in one of the nets of Hell. The virtuous are depicted less colorfully. The Virgin Mary, St. Peter and the pilgrim St. James stand on Christ's left. Above their heads are scrolls depicting the names of the Virtues. Two gable shaped lintels act as the entrance into Heaven. In Heaven Abraham is shown holding close the souls of the righteous.A pudgy abbot leads a king, possibly Charlemagne, into heaven. Sainte-Foy is shown on the lower left kneeling in prayer and being touched by the outstretched hand of God. Particularly interesting are carvings of the "curieux" (the curious ones), forerunners of the World War II-era cartoon image known as Kilroy, who peek over the edges of the tympanum. The tympanum was inspired by illuminated manuscripts and would have been fully colored, small traces of the color survive today.
https://www.youtube.com/watch?v=ypkffaEujbU
Content:L'Alhambra de GrenadeLa Maison SugimotoLe Palais des réceptions et des congrès de RomeLes Gymnases olympiques de YoyogiLa Villa BarbaroLe Phaeno
The Alhambra is a palace and fortress complex located in Granada, Andalusia, Spain. It is one of the most famous monuments of Islamic architecture and one of the best-preserved palaces of the historic Islamic world, in addition to containing notable examples of Spanish Renaissance architecture.The complex was begun in 1238 by Muhammad I Ibn al-Ahmar, the first Nasrid emir and founder of the Emirate of Granada, the last Muslim state of Al-Andalus. It was built on the Sabika hill, an outcrop of the Sierra Nevada which had been the site of earlier fortresses and of the 11th-century palace of Samuel ibn Naghrillah. Later Nasrid rulers continuously modified the site. The most significant construction campaigns, which gave the royal palaces much of their definitive character, took place in the 14th century during the reigns of Yusuf I and Muhammad V. After the conclusion of the Christian Reconquista in 1492, the site became the Royal Court of Ferdinand and Isabella, and the palaces were partially altered. In 1526, Charles V commissioned a new Renaissance-style palace in direct juxtaposition with the Nasrid palaces, but it was left uncompleted in the early 17th century. After being allowed to fall into disrepair for centuries, with its buildings occupied by squatters, the Alhambra was rediscovered following the defeat of Napoleon I, whose troops destroyed parts of the site. The rediscoverers were first British intellectuals and then other American and northern European Romantic travelers. The most influential of them was Washington Irving, whose Tales of the Alhambra (1832) brought international attention to the site. The Alhambra was one of the first Islamic monuments to become the object of modern scientific study and has been the subject of numerous restorations since the 19th century. It is now one of Spain's major tourist attractions and a UNESCO World Heritage Site.During the Nasrid era, the Alhambra was a self-contained city separate from the rest of Granada below. It contained most of the amenities of a Muslim city such as a Friday mosque, hammams (public baths), roads, houses, artisan workshops, a tannery, and a sophisticated water supply system. As a royal city and citadel, it contained at least six major palaces, most of them located along the northern edge where they commanded views over the Albaicín quarter. The most famous and best-preserved are the Mexuar, the Comares Palace, the Palace of the Lions, and the Partal Palace, which form the main attraction to visitors today. The other palaces are known from historical sources and from modern excavations. At the Alhambra's western tip is the Alcazaba fortress. Multiple smaller towers and fortified gates are also located along the Alhambra's walls. Outside the Alhambra walls and located nearby to the east is the Generalife, a former Nasrid country estate and summer palace accompanied by historic orchards and modern landscaped gardens.The architecture of the Nasrid palaces reflects the tradition of Moorish architecture developed over previous centuries. It is characterized by the use of the courtyard as a central space and basic unit around which other halls and rooms were organized. Courtyards typically had water features at their center, such as a reflective pool or a fountain. Decoration was focused on the inside of the building and was executed primarily with tile mosaics on lower walls and carved stucco on the upper walls. Geometric patterns, vegetal motifs, and Arabic inscriptions were the main types of decorative motifs. Additionally, "stalactite"-like sculpting, known as muqarnas, was used for three-dimensional features like vaulted ceilings.
https://www.youtube.com/watch?v=SWC0tHqcwwk
C’est une maison de ville traditionnelle en bois construite en 1743 au centre de Kyoto. Détruite par un incendie en 1864, elle est reconstruite à l’identique 4 ans plus tard. Des codes invisibles hiérarchisent l’usage des espaces. Il n’y a ni murs ni fenêtres, « c’est un accolement de vides ». Cet espace fluide et flexible est une des sources d’inspiration de l’architecture contemporaine.
https://www.youtube.com/watch?v=5cEyWKcJjjA
EUR is a residential and business district in Rome, Italy, part of the Municipio IX.The area was originally chosen in the 1930s as the site for the 1942 World's Fair which Benito Mussolini planned to open to celebrate twenty years of Fascism, the letters EUR standing for Esposizione Universale Roma ("Universal Exposition Rome"). The project was originally called E42 after the year in which the exhibition was to be held. EUR was also designed to direct the expansion of the city towards the south-west and the sea, and to be a new city centre for Rome.The planned exhibition never took place due to World War II.Most of the area is the property of EUR S.p.A., a company jointly owned by the Ministry of Economy and the Municipality of Rome.The initial project was presented in 1938 under the direction of Marcello Piacentini. The design was inspired, according to the fascist ideology, by Roman Imperial town planning, with modern elements which came from Italian rationalism, the result being a sort of simplified neoclassicism. The project develops over orthogonal axes and large and stately buildings, built mainly of limestone, tuff and marble, traditional materials associated with Roman Empire architecture. The most representative building at EUR, and the symbol of this architectural style, is the Palazzo della Civiltà Italiana (1938–1943), an iconic project which has since become known as the "Colosseo Quadrato" (Square Colosseum). The building was designed by Giovanni Guerrini, Ernesto Lapadula and Mario Romano, also inspired by metaphysical art.In 1938 Luigi Moretti (with Fariello, Muratori and Quaroni) won the competition for the design of the Imperial Square (now Piazza Guglielmo Marconi). The large building fronting the square was never finished, but after the war the structures already constructed were used for the "Skyscraper Italy (Grattacielo Italia)" by Luigi Mattioni.
https://www.youtube.com/watch?v=PTHN3v10Hbk
It's an indoor arena located at Yoyogi Park in Shibuya, Tokyo, Japan, which is famous for its suspension roof design.It was designed by Kenzo Tange and built between 1961 and 1964 to house swimming and diving events in the 1964 Summer Olympics. A separate annex was used for the basketball competition at those same games. It will also host handball competitions at the 2020 Summer Olympics.The design inspired Frei Otto's arena designs for the Olympic Stadium in Munich.The arena holds 13,291 people (9,079 stand seats, 4,124 arena seats and 88 "royal box" seats) and is now primarily used for ice hockey, futsal and basketball.[
https://www.youtube.com/watch?v=Ebn4YsLSB7w
Villa Barbaro, also known as the Villa di Maser, is a large villa at Maser in the Veneto region of northern Italy. It was designed and built by the Italian Renaissance architect Andrea Palladio, with frescos by Paolo Veronese and sculptures by Alessandro Vittoria, for Daniele Barbaro, Patriarch of Aquileia and ambassador to Queen Elizabeth I of England and his brother Marcantonio, an ambassador to King Charles IX of France. The villa was added to the list of World Heritage Sites by UNESCO in 1996.Palladio planned the villa on low lines extending into a large park. The ground floor plan is complex: rectangular with perpendicular rooms on a long axis, the central block projects and contains the principal reception room. The central block, which is designed to resemble the portico of a Roman temple, is decorated by four Ionic columns, a motif which takes its inspiration from the Temple of Fortuna Virilis in Rome. The central block is surmounted by a large pediment with heraldic symbols of the Barbaro family in relief.[6] Below the pediment is a Latin inscription on the entablature dedicating the villa to the brothers' father; the inscription translates, "Daniel Barbaro, Patriarch of Aquileia, and Marcantonio his brother, sons of Francesco Barbaro".The central block is flanked by two symmetrical wings. The wings have two floors but are fronted by an open arcade. Usually Palladio designed the wings to provide functional accommodation for agricultural use. The Villa Barbaro is unusual in having private living quarters on the upper level of the barchesse. The Maser estate was a fairly small one and would not have needed as much storage space as was built at Villa Emo, for example.The wings are terminated by pavilions which feature large sundials set beneath their pediments. The pavilions were intended to house dovecotes on the uppermost floor, while the rooms below were for wine-making, stables and domestic use. In many of Palladio's villas similar pavilions were little more than mundane farm buildings behind a concealing facade. A typical feature of Palladio's villa architecture, they were to be much copied and changed in the Palladian architecture inspired by Palladio's original designs.
https://www.youtube.com/watch?v=6q6lyVgiFME
Phæno arose from urban planning by the City of Wolfsburg. In 1998 City officials were developing a plot of vacant, public land immediately adjacent to Wolfsburg's railway station and just south of VW's huge, then-unfinished attraction Autostadt. An art museum was planned for the site, but Dr. Wolfgang Guthardt, then the City's Director for Culture, Sports and Education, knew that such an institution would compete with Wolfsburg's successful Kunst Museum (Art Museum) and needed other options.[citation needed] Guthardt visited Technorama, a science center in Switzerland and became convinced that a science center in Wolfsburg would complement both Autostadt and the Kunst Museum.Preliminary planning began in November 1998, and one year later Joe Ansel, an American consultant and designer, was approached to handle the exhibitions and other operational aspects of the project. An architectural design competition was held in January 2000 and the prominent architect Zaha Hadid won, in conjunction with structural engineers, Adams Kara Taylor. About five years later, Phæno opened to the public on November 24, 2005 with over 250 interactive exhibits from Ansel Associates, Inc. all enclosed in an astounding concrete structure designed by Zaha Hadid, her German associate, Mayer Bährle architects and Adams Kara Taylor. The architectural design has been described as a "hypnotic work of architecture - the kind of building that utterly transforms our vision of the future." The design won a 2006 RIBA European Awardas well as the 2006 Institution of Structural Engineers Award for Arts, Leisure and Entertainment Structures.The building stands on concrete stilts, allowing visitors to the Autostadt to pass through without interfering with the workings of the building. Phæno is connected to the Autostadt by a metal bridge accessed by escalators and stairs either side. The underside of Phæno and the "stilts" are illuminated.The Phæno was included on a list of the 7 wonders of the Modern World (objects built since 2000) by The Financialist.
https://www.youtube.com/watch?v=PB_KrFOIDmA
Content:La Mosquée royale d'IspahanLa Pyramide du roi Djoser à SaqqarahLa Philharmonie de LuxembourgLa Chocolaterie MenierL'Hôtel Royal SASLa Gare Saint-Pancras
It's one of the masterpieces of Iranian architecture that was built during the Safavid Empire, standing on the eastern side of Naqsh-i Jahan Square, Esfahan, Iran. Construction of the mosque started in 1603 and was finished in 1619. It was built by the chief architect Mohammadreza Isfahani, during the reign of Shah Abbas I of Persia. On the advice of Arthur Upham Pope, Reza Shah Pahlavi had the mosque rebuilt and repaired in the 1920s.The entrance gateway, like those of the Grand Bazaar and the Masjed-e Shah, was a recessed half-moon. Also, as in the Masjed-e Shah, the lower façade of the mosque and the gateway are constructed of marble, while the haft-rangi tiles decorate the upper parts of the structure. The creation of the calligraphy and tiles, which exceed, in both beauty and quality, anything previously created in the Islamic world, was overseen by Master calligrapher Ali Reza Abbasi.The monument's architect was Mohammad-Reza Isfahani, who solved the problem of the difference between the direction of qibla and gateway of the building by devising an L-shaped connecting vestibule between the entrance and the enclosure. Reza Abbasi's inscription on the entry gateway gives the date of the start of construction. The north-south orientation of the Maydan does not agree with south-west direction of qibla; it is set at 45 degrees to it.This feature, called pashnah in Persian architecture,has caused the dome to stand not exactly behind the entrance iwan.Its single-shell dome is 13 metres (43 ft) in diameter. The exterior side is richly covered with tiles.Compared with the Shah Mosque, the design of the Sheikh Lotf Allah Mosque is quite simple: there is no courtyard, and there are no interior iwans. The building itself consists of a flattened dome resting on a square dome chamber. However, in contrast to the simple structure of this mosque, the decoration of both interior and exterior is exceedingly complex, and in its construction the finest materials were used and the most talented craftsmen employed. Robert Byron wrote about this sight: I know of no finer example of the Persian Islamic genius than the interior of the dome:The interior of the dome which is inset with a network of lemon-shaped compartments, which increase in size as they descend from a formalised peacock at the pattern inlaid on plain stucco. The interior side of the dome. The decoration seems to lead the eye upwards toward its center, as the rings of ornamental bands filled with arabesque patterns become smaller and smaller. The dome is inset with a network of lemon-shaped compartments, which decrease in size as they ascend towards the formalised peacock at the apex... The mihrab in the west wall is enamelled with tiny flowers on a deep blue meadow. Each part of the design, each plane, each repetition, each separate branch or blossom has its own sombre beauty. But the beauty of the whole comes as you move. Again, the highlights are broken by the play of glazed and unglazed surfaces; so that with every step they rearrange themselves in countless shining patterns... I have never encountered splendour of this kind before.The "peacock" at the centre of the interior side of the dome is one of the unique characteristics of the mosque. If you stand at the entrance gate of the inner hall and look at the center of the dome, a peacock, whose tail is the sunrays coming in from the hole in the ceiling, can be seen.At the interior side of the dome, the aethetic purpose of the long, low, gloomy passage leading to the dome chamber becomes evident, for it is with a sense of heightened anticipation that one enters the sanctuary. Lowness gives way to soaring height and gloom is dispelled by the steady illumination of nearly a score of windows.Barbara Brend described as follows: "the turquoise cable moudling of an arch is seen below the dome, in which concentric rings of thirty-two lozenges diminish in size as they approach a centre which gives an impression of luminosity. The design, which suggests both movement and stillness, is a powerful though not an explicit vehicle of religious symbolism, speaking of the harmony of the universe. ... The support system of dome is illustrated by eight great arches of turquoise tilework in cable form which rise from a low dado to the full height of the wall, four in the position of squinches and four against the side walls; between them are kite-shaped squinches-pendentives. Within the dome, ranks of units of tilework of ogee-mandorla form are set in a lattice of plain brick and diminish in size until they meet a central sunbrust patterned with a tracery of arabesque".The structure of the dome of Lotfollah mosque and that of Blue mosque of Tabriz is believed to be derived from that of Shah Vali mosque of Taft, Yazd. The tiling design of this mosque, as well as that of Shah Mosque and other Persian mosques of even before Safavid period, seems to be not completely symmetrical – particularly, in colours of patterns. They have been described as intentional, "symmetrical" asymmetries.Architects of the complex were Sheikh Baha’i (chief architect) and Ustad Mohammad Reza Isfahani. The building was completed in 1618 (1028 AH).
https://www.youtube.com/watch?v=RWNfmvf8njE
The pyramid of Djoser (or Djeser and Zoser), sometimes called the Step Pyramid of Djoser, is an archaeological site in the Saqqara necropolis, Egypt, northwest of the ruins of Memphis. The 6-tier, 4-sided structure is the earliest colossal stone building in Egypt. It was built in the 27th century BC during the Third Dynasty for the burial of Pharaoh Djoser. The pyramid is the central feature of a vast mortuary complex in an enormous courtyard surrounded by ceremonial structures and decoration. Its architect was Imhotep, chancellor of the pharaoh and high priest of the god Ra.The pyramid went through several revisions and redevelopments of the original plan. The pyramid originally stood 62.5 m (205 ft) tall, with a base of 109 m × 121 m (358 ft × 397 ft) and was clad in polished white limestone.[5] The step pyramid (or proto-pyramid) was considered to be the earliest large-scale cut stone construction made by man as of 1997,[6] although the nearby enclosure wall "Gisr el-Mudir" is suggested by some Egyptologists to predate the complex, and the South American pyramids at Caral are contemporary.Djoser's mortuary complex comprises the great trench, enclosure wall, colonnaded entrance, 'T' temple, Sed festival complex, north and south pavilions, south tomb and court, western mounds, mortuary temple, and the crowning feature of it all, the step pyramid with its substructure. The complex was a landmark achievement for Egyptian architecture. It was the advent of the pyramidal form of the royal tomb and the first instance of the mass use of limestone in construction, replacing mudbrick which had been the staple building material prior. This shift to limestone – a hard, dense material compared to mudbrick – presented novel challenges to the architects, though they kept to earlier tradition, copying architectonic elements and carving them into the stone. For example, the Egyptians hand-carved 1,680 9 m (30 ft; 17 cu)-tall niches out of the limestone enclosure wall.In earlier projects, this element was built with wooden planks, ropes, and poles hung with reed mats.[15] In a modern context, the same element would be built by laying out the blocks to form the recesses.
https://www.youtube.com/watch?v=I1yoVRUnqIw
The Philharmonie Luxembourg, also known officially as the Grande-Duchesse Joséphine-Charlotte Concert Hall (French: Salle de concerts grande-duchesse Joséphine-Charlotte), is a concert hall located in the European district in the Luxembourg City quarter of Kirchberg. Opened in 2005, it now plays host to 400 performances each year.Architect Christian de Portzamparc's initial idea was to mark the entrance into the world of music through a natural filter. This idea took the form of 823 facade columns made of white steel, arranged in three or four rows. The interior row of columns containing technical facilities, the second supporting the windows, and the third being of a static nature. Between the filter of columns and the central nucleus, a vast peristyle constitutes the foyer, enveloping the Grand Auditorium. Ramps, stairs and footways lead into the concert hall, surrounding it and linking it to the boxes. The Salle de Musique de Chambre, the ticket office and access to the underground car park are not within the main building, but are next to it outside within two aluminium-covered shells which lean against the filter of columns.The acoustic design of the three halls is the work of Chinese-born acoustician Albert Yaying Xu with AVEL Acoustique.
https://www.youtube.com/watch?v=-pYWwbLQM7E
The Menier Chocolate company (French: Chocolat Menier) is a French chocolate manufacturing business founded in 1816 as a pharmaceutical manufacturer in Paris, at a time when chocolate was used as a medicinal product and was only one part of the overall business.Founded by Antoine Brutus Menier, the company remained managed by his family until 1971, when it was acquired by Rowntree Mackintosh Confectionery. In 1988, Menier became part of Swiss conglomerate Nestlé when it acquired Rowntree Mackintosh. In 1996, Menier moved production to Swiss city Broc, where has remained since then. The former building at Noisel Factory was turned into Nestlé France headquarters.The iron and brick chocolate factory at Noisiel really was one of the iconic buildings of the Industrial Revolution. Architect Jules Saulnier was given the task of constructing new buildings and improving the existing premises, to modernise and improve the chocolate-making process. In fact many historians cite the building as the first true skeleton structure. The old watermill building had a visible iron structure and distinctive industrial-looking ceramic tiles patterns, so we can safely say that both the design and the materials were impressive. The three dates carved above the entrance correspond to a] the year the old mill was built - 1157, b] the year the Menier factory was moved to Noisiel - 1825 and c] the year the Saulnier Mill replaced the old one - 1874.In 1881 a railroad line was built to the Noisiel factory, thus reducing costs for incoming and outgoing freight, and allowing for wider and faster distribution.A new Menier factory building was positioned between the channel and the Marne River bank. This new, reinforced concrete structure was built in the 1906-1908 era and was known as la Cathédrale. The intention was to create a public showcase for the chocolate manufacturing process in the double height internal spaces. The project engineer was Armand Considere.The Menier chocolate factory is now headquarters of Nestlé France. In 1992, the factory was designated by the French government as an official historical monument and is today is used as a museum. The next honour will occur when the site is declared a UNESCO World Heritage Site.
https://www.youtube.com/watch?v=Yu1NSQykazo
The hotel was designed by Danish architect and designer Arne Jacobsen for the airline Scandinavian Airlines System (SAS). It was opened on July 1, 1960 by King Frederick IX and Queen Ingrid as the Royal Hotel. It was also known as the SAS Royal Hotel. The hotel was renamed the Radisson SAS Royal Hotel in 1994, when SAS signed a joint marketing agreement with Radisson Hotels. When SAS and Radisson ceased the marketing agreement in February 2009, the hotel remained with Radisson and was renamed the Radisson Blu Royal Hotel. On March 6, 2018 it was renamed Radisson Collection Hotel, Royal Copenhagen.At its completion the hotel was the largest in Denmark. At 69.60 meters in height, it was the first skyscraper in Copenhagen, and until 1969, the tallest high-rise building in Denmark. In 2009, it was the country's seventh-highest tower.The entire hotel – from the exterior façade through to the stainless-steel cutlery used in the restaurant and the Swan and Egg chairs gracing the lobby – was designed by the Danish architect Arne Jacobsen. Since most of his work has been replaced by corporate standard fabrics and furniture, the hotel has been referred to as Jacobsens' Lost Gesamtkunstwerk. Only a single room has been kept in the original design. It has all of the original, green furniture and the wood panels on the wall. This room, with the number 606[6], is no longer available for booking but guests can request a tour.Shades of green dominate the entire design. Jacobsen, who was also working as a landscape architect 1955-1960, pursued a "modern garden" theme. He implemented this theme using green textiles and furniture combined with "organic shapes" and rigid geometric forms.Jacobsen has created several furniture, lighting and textile designs. Some models were later adopted into mass production and have become design classics, which are exhibited in museums worldwide. Others, however, remained unique pieces.
https://www.youtube.com/watch?v=U8NGXLyU4Hk
St Pancras railway station, also known as London St Pancras or St Pancras International and officially since 2007 as London St Pancras International, is a central London railway terminus on Euston Road in the London Borough of Camden. It is the terminus for Eurostar services from Belgium, France and the Netherlands to London. It provides East Midlands Railway services to Leicester, Corby, Derby, Sheffield and Nottingham on the Midland Main Line, Southeastern high-speed trains to Kent via Ebbsfleet International and Ashford International, and Thameslink cross-London services to Bedford, Cambridge, Peterborough, Brighton, Horsham and Gatwick Airport. It stands between the British Library, the Regent's Canal and London King's Cross railway station, with which it shares a London Underground station, King's Cross St Pancras.The station was constructed by the Midland Railway (MR), which had an extensive rail network across the Midlands and the North of England, but no dedicated line into London. After rail traffic problems following the 1862 International Exhibition, the MR decided to build a connection from Bedford to London with its own terminus. The station was designed by William Henry Barlow and constructed with a single-span iron roof. Following the station's opening on 1 October 1868, the MR constructed the Midland Grand Hotel on the station's façade, which has been widely praised for its architecture and is now a Grade I listed building along with the rest of the station.In the late 1960s, plans were made to demolish St Pancras entirely and divert services for King's Cross and Euston, leading to fierce opposition. The complex underwent an £800 million refurbishment to become the terminal for the Channel Tunnel Rail Link/High-Speed 1/HS1 as part of an urban regeneration plan across East London, which was opened by Queen Elizabeth II in November 2007. A security-sealed terminal area was constructed for Eurostar services to mainland Europe via High Speed 1 and the Channel Tunnel, with platforms for domestic trains to the north and south-east of England. The restored station has 15 platforms, a shopping centre, and a coach facility. London St Pancras International is owned by HS1 Ltd and managed by Network Rail (High Speed), a subsidiary of Network Rail.The passenger station was designed by William Henry Barlow and constructed on a site that had previously been a slum called Agar Town.The approaching line to the station crossed the Regent's Canal at a height allowing the line reasonable gradients; this resulted in the level of the line at St Pancras being 20 ft (6.1 m) above the ground level. Initial plans were for a two or three span roof with the void between station and ground level filled with spoil from tunnelling to join the Midland Main Line to the St. Pancras branch. Instead, due to the value of the land in such a location the lower area was used for freight, in particular beer from Burton. As a result, the undercroft was built with columns and girders, maximising space, set out to the same plans as those used for beer warehouses, and with a basic unit of length that of a beer barrel.The contract for the construction of the station substructure and connecting lines was given to Messrs. Waring, with Barlow's assistant Campion as supervisor. The lower floor for beer warehousing contained interior columns 15 ft (4.57 m) wide, and 48 ft (14.63 m) deep carrying girders supporting the main station and track. The connection to the Widened Lines (St. Pancras branch) ran below the station's bottom level, in an east-to-west direction.To avoid the foundations of the roof interfering with the space beneath, and to simplify the design, and minimise cost, it was decided to construct a single span roof, with cross ties for the arch at the station level. The arch was sprung directly from the station level, with no piers. Additional advice on the design of the roof was given to Barlow by Rowland Mason Ordish.[26] The arches' ribs had a web depth of 6 ft (1.8 m), mostly open ironwork. The span width, from wall to wall was 245 ft 6 in (74.83 m), with a rib every 29 ft 4 in (8.94 m) The arch was a slightly pointed design, with a reduced radius of curvature at the springing points. The Butterley Company was contracted to construct the arches. The total cost of the 24 rib roof and glazing was over £53,000, of which over half was for the main ribs. The cost of the gable end was a further £8,500.The single-span overall roof was the largest such structure in the world at the time of its completion. The materials used were wrought iron framework of lattice design, with glass covering the middle half and timber (inside)/slate (outside) covering the outer quarters. The two end screens were glazed in a vertical rectangular grid pattern with decorative timber cladding around the edge and wrought iron finials around the outer edge. It was 689 feet (210.01 m) long, 240 feet (73.15 m) wide, and 100 feet (30.48 m) high at the apex above the tracks.
https://www.youtube.com/watch?v=aF33syCngl0
Content:Le Pavillon allemand de BarceloneEwhaLa Bibliothèque Sainte-GenevièveL''Église Notre-Dame du RaincyLe Cimetière d'IgualadaLe Château de Maisons
Designed by Ludwig Mies van der Rohe and Lilly Reich, was the German Pavilion for the 1929 International Exposition in Barcelona, Spain. This building was used for the official opening of the German section of the exhibition. It is an important building in the history of modern architecture, known for its simple form and its spectacular use of extravagant materials, such as marble, red onyx and travertine. The same features of minimalism and spectacular can be applied to the furniture specifically designed for the building, including the Barcelona chair. It has inspired many important modernist buildings.Mies's response to the proposal by von Schnitzler was radical. After rejecting the original site for aesthetic reasons, Mies agreed to a quiet site at the narrow side of a wide, diagonal axis, where the pavilion would still offer viewpoints and a route leading to one of the exhibition's main attractions, the Poble Espanyol.The pavilion was to be bare, with no exhibits, leaving only the structure accompanying a single sculpture and specially-designed furniture (the Barcelona Chair). This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. "The design was predicated on an absolute distinction between structure and enclosure—a regular grid of cruciform steel columns interspersed by freely spaced planes".However, the structure was more of a hybrid style, some of these planes also acted as supports. The floor plan is very simple. The entire building rests on a plinth of travertine. A southern U-shaped enclosure, also of travertine, helps form a service annex and a large water basin. The floor slabs of the pavilion project out and over the pool—once again connecting inside and out. Another U-shaped wall on the opposite side of the site also forms a smaller water basin. This is where the statue by Georg Kolbe sits. The roof plates, relatively small, are supported by the chrome-clad, cruciform columns. This gives the impression of a hovering roof. Robin Evans said that the reflective columns appear to be struggling to hold the "floating" roof plane down, not to be bearing its weight.Mies wanted this building to become "an ideal zone of tranquillity" for the weary visitor, who should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a real exhibition space, the building itself was to become the exhibit. The pavilion was designed to "block" any passage through the site, rather, one would have to go through the building. Visitors would enter by going up a few stairs, and due to the slightly sloped site, would leave at ground level in the direction of the Poble Espanyol. The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. The walls not only created space, but also directed visitor's movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that became narrower or wider.Another unique feature of this building is the exotic materials Mies chooses to use. Plates of high-grade stone materials like veneers of Tinos verde antico marble and golden onyx as well as tinted glass of grey, green, white, as well as translucent glass, perform exclusively as spatial dividers.Because this was planned as an exhibition pavilion, it was intended to exist only temporarily. The building was torn down in early 1930, not even a year after it was completed.
https://www.youtube.com/watch?v=cTAikqe0wPI
It's a private women's university in Seoul founded in 1886 by Mary F. Scranton under Emperor Gojong. It was the first university founded in South Korea. Currently, Ewha is one of the world's largest female educational institutes and one of the most prestigious universities in South Korea. It is the only university in Korea that has an exchange program with Harvard University.The complexity of the immediate site through its relationship to the greater campus and the city of Shinchon to the south demands a “larger than site” response, an urban response, a global landscaped solution which weaves together the tissue of the EWHA campus with that of the city. This gesture, the “campus valley”, in combination with the “sports strip”, creates a new topography which impacts the surrounding landscape in a number of ways.The Sports Strip, like the Valley, is many things at once. It is a new gateway to the Ewha campus, a place for daily sports activities, a grounds for the special yearly festivals and celebrations, and an area which truly brings together the university and the city. It is most importantly a place for all, animated all year long.ike a horizontal billboard, the sports strip presents the life of the university to the inhabitants of Shinchon, and vice-versa. Once through the sports strip, pedestrian movement and flow through the site is celebrated. A new “Champs Elysées” invites the public into the site carrying students and visitors alike through the campus center northwards, bringing together the different levels of the site.The pastoral nature of the campus is perhaps its most remarkable quality. It should be permitted to grow outwards, or inwards in this case, covering the campus center with trees, flowers, and grass. The park is re-drawn. An idyllic garden is the result, creating a special place for gathering, conducting informal classes, and simply relaxing. The notion of weaving together the campus is again evident, blurring the distinction between old and new, building and landscape, present and past.
https://www.youtube.com/watch?v=XAO7F4YZGn0
It's a public and university library located at 10, place du Panthéon, across the square from the Panthéon, in the 5th arrondissement of Paris. It is based on the collection of the Abbey of St Genevieve, which was founded in the 6th century by Clovis I, the King of the Franks. The collection of the library was saved from destruction during the French Revolution. A new reading room for the library, with an innovative iron frame supporting the roof, was built between 1838 and 1851 by architect Henri Labrouste. The library contains around 2 million documents, and currently is the principal inter-university library for the different branches of University of Paris, and is also open to the public.After the expulsion of the library from its old site, the government decided to build a new building for the collection. It was the first library in Paris to be constructed specifically as a library. The site chosen was close to the old library. It had originally been occupied by the medieval Collége Montaigu, where Erasmus and Ignatius of Loyola, John Calvin and François Rabelais had been students. After the Revolution that building had been transformed into a hospital and then a military prison, and was largely in ruins. It was to be demolished to make way for the new library.The architect chosen for the project was Henri Labrouste. Born in 1801, he had studied at the Ecole des Beaux-Arts where he won the Prix de Rome in 1824, and spent six years studying Italian classical and Renaissance architecture. He had received few architectural commissions, but in 1838 he received the title of Inspector of Historic Monuments, and in this capacity he began to plan the new building. Since the Lycée wanted the space as soon as possible, all the books had been moved in 1842 to a temporary library in the only surviving building of Montaigu College. His project was confirmed by the Chamber of Deputies in 1843, and a budget voted. The building was completed in December 1850. and opened to the public on 4 February 1851.The new library showed the influence of the prevailing academic beaux-arts style and the influence of Florence and Rome, but in other ways it was strikingly original. The base and facade resembled Roman buildings, with simple arched windows and discreet bands of sculpture. The facade, exactly the length of the reading room, and the large windows, expressed the function of the building. The primary decorative element of the facade is a list of names of famous scholars.Unlike earlier buildings, the major decorative element of the building was not on the facade, but in the architecture of the reading room. the slender iron columns and the lace-like cast iron arches under the roof were not concealed; combined with the large windows they gave an immediate impression of space and lightness. It was a major step in the creation of modern architecture.The large (278 by 69 feet) two-storied structure filling a wide, shallow site is deceptively simple in plan: the lower floor is occupied by stacks to the left, rare-book storage and office space to the right, with a central vestibule and stairway leading to the reading room which fills the entire upper story. The vestibule was designed to symbolize the beginning of a journey in search of knowledge, the visitors arrives through a space decorated with murals of gardens and forest and passes busts of famous French scholars and scientists. The monumental staircase from the ground floor to the reading room is placed so it doesn't take any space from the reading room. Labrouste also designed building so that a majority of the books (sixty thousand) were in the reading room, easily accessible, with a minority (forty thousand) in the reserves. The iron structure of this reading room—a spine of sixteen slender, cast-iron Ionic columns dividing the space into twin aisles and supporting openwork iron arches that carry barrel vaults of plaster reinforced by iron mesh— is revered by Modernists for its introduction of high technology into a monumental building.Labrouste went on to design the Salle Labrouste, the main reading room in the old Bibliothèque Nationale de France in the Rue de Richelieu, Paris, built between 1862 and 1868. Later in the century, the American architect Charles Follen McKim used the Sainte-Geneviève Library building as the model his design of the main building of the Boston Public Library.[20] It also influenced the design of university libraries in the United States, including Low Memorial Library at Columbia University in New York and the Doe Library of the University of California at Berkeley by John Galen Howard, also a former student of the Ecole des Beaux-Arts in Paris.
https://www.youtube.com/watch?v=t7Jz4reRHrw
The Église Notre-Dame du Raincy (Church of Notre Dame du Raincy) is a Roman Catholic church in the commune of Le Raincy near Paris. It was built in 1922-23 by the French architects Auguste Perret and Gustave Perret. The edifice is considered a monument of modernism in architecture, using reinforced concrete in a manner that expresses the possibilities of the new material.At the beginning of the 20th century, Le Raincy was a small parish church for suburbs whose population was rapidly growing.In 1918, the parish priest of Le Raincy, Felix Nègre, proposed to build a church to commemorate the French victory in the Battle of the Marne in 1914. Through connections among parishioners, Nègre came into contact with the Perrets. The design used concrete for economy. Rather than attempting to simulate masonry, the new material was used on its own terms, with standardized elements, slender supports, and thin membranes pierced by windows.The completed church received widespread favorable attention, influencing architectural thought at a time of rebuilding and economic recovery.
https://www.youtube.com/watch?v=zdVxlLrg68w
Going up the hillside one reaches the excavation which houses the cemetery. A cemetery in a pit, laid out as a quarry in the open. The wound on the ground preserves the feeling of a neglected quarry, whose slopes crumble with the passage of time under the Mediterranean sun. The concentric excavation of stands allows to rest the concrete niches against the terrain, and walk, as if through ruins, around its sunny terraces. The concentric itinerary of the cemetery of Igualada is condensed in a soft descent to a central courtyard open to the sky, a sloped plan with a continuous paving upon which large planks that seem to float down current emerge and head toward the haven of the central courtyard. This river of souls produces an extraordinarily poetic image, especially when it staunches like a pond. It reminisces the rivers that flow in the desert and are silently devoured by the sand. Upon the slope, the niches adopt an oblique position; sometimes as retaining walls, sometimes as the strained banks of the river of souls. And the pantheons take the shape of the desert hypogea, an unusual image beside the hydraulic gabions. One of them keeps the remains of the architect.The whole project of the cemetery moves – without following neither the vertical nor the horizontal axis – as in the paintings of the Final Judgment, where the grave tombs and the still gravestones crack and toss on the day of wrath: mors stupebit et natura. Before the amazement of Death and of Nature, before the amazement of our eyes and our memory, the courtyard and the galleries of niches are laid out upon the wound open on the terrain, among the frightened pine trees. But here, only the wind sweeps through the open and dislocated slabs of the terrain. In the cemetery of Igualada, the intense feeling which inhabits the place of death forms an alliance with the need for form, with the expressive construction by Miralles and Pinós, in such a way that their usually carefree metaphors gain solemnity in this case. The remembrance of pain, perhaps the most intense of human experiences, is found in the studied dislocation of the ossuaries, whose presence abandons conventional anonymity and displays a surprising movement. It is not a movement of exaltation as that common to the Baroque, which suggests the resurrection towards the sky, nor of the pathetic gestures of the nineteenth century pantheons, but rather of the studied movement of the author’s permanent irony, of a postmodernity of uncertainties concerning shape and meaning, and of the complicated but apparently simple and inevitable aesthetic of his work.
https://www.youtube.com/watch?v=bk82OJvY0ww
Designed by François Mansart from 1630 to 1651, is a prime example of French baroque architecture and a reference point in the history of French architecture. The château is located in Maisons-Laffitte, a northwestern suburb of Paris, in the department of Yvelines, Île-de-France.The Château de Maisons was built between the Seine and the forest of Saint-Germain-en-Laye, with its garden front oriented to the southeast. Originally it comprised the garden, a small park of 33 hectares (82 acres) and a large outer park of 300 hectares (740 acres). The visitor arrived by one of two avenues that crossed in a T intersection before the gate to the cour d'honneur. The principal central axis led to the forest, the cross axis through the village to the southwest and to the river, thence on to Paris. Three gateways stood at the far ends of the avenues.On either side of the avant-cour, Mansart constructed the stables, masterworks of architecture whose monumental character gave a preview of those that would be built at Versailles and Chantilly. Of these works, there remains only a grotto, which had served also to water the horses.The château stood on a rectangular platform outlined in the French manner with a dry moat. The cour d'honneur was defined by terraces. The central block extends symmetrically into short wings, composed of several sections, each with its own roofline, with raked roofs and tall chimney stacks, in several ranges, with a broken façade reminiscent of the planning in work of Pierre Lescot and Philibert Delorme in the preceding century. The single pile construction, typical of its epoch, carries three storeys, a basement supporting a ground floor, and piano nobile with three attic floors above.
https://www.youtube.com/watch?v=7tgMz0Qzs2Q
Content:Le Centre national de la danseLa Citadelle de LilleVitraHausLa Cathédrale de CologneLa Citadelle du loisirLe Rolex Learning Center
It's an institution sponsored by the French Ministry of Culture. It studies dance in all its aspects, and is located in Pantin, in northeastern Paris. The building is known for being a classic example of Brutalist architecture, and in 2004 was awarded the Prix de l'Équerre d'Argent.The building was completed in 1972 by the architect Jacques Kalisz for use as the administrative centre of the city of Pantin. It is considered an example of Brutalist architecture.Antoinette Robain and Claire Gueysse were selected as architects to resume the work of Jacques Kalisz, and transform it into the Centre National de la Danse (inaugurated in and winning the Prix de l'Équerre d'Argent in 2004). They focused on the treatment of materials and colors inside the building to create a horizontal consistency, while respecting its outward appearance.
https://www.youtube.com/watch?v=LHDxLHN7kO4
It's a pentagonal citadel of the city wall of Lille, in France. It was built between 1667 and 1670. It hosts the Corps de réaction rapide France.Dubbed "Queen of the citadels" (Reine des citadelles) by Vauban, it is one of the most notable citadels designed by Vauban. It is remarkable for its size, the quality of the architecture, and the state of preservation today. Its various components have been classified as historic monuments in 1914, 1921 and 1934 respectively.This "Queen of Citadels" is the matrix of most citadels designed by Vauban. Established on the border of Flanders, it was part of a double-line of fortified towns between Gravelines, Dunkirk and Maubeuge-Rocroi. It delineated the famous "Pré Carré" ("square field") conceived by Vauban comprising 28 fortified cities. From Lille, Vauban supervised the construction of the many citadels and canals of the North, which controlled the border between France and Belgium.Lille was taken from Spain by French troops in August 1667, and Louis XIV immediately ordered the construction of a fortress. Louis Nicolas de Clerville and Vauban proposed plans. Vauban's were those chosen by the King. Work was started in 1668 under the direction of Lille's master mason, Simon Vollant. In 1671, the citadel became operational while Vauban continued to shape the city by constructing, a few steps away, a new neighborhood around the Rue Royale. The design of the citadel follows a simple but very effective idea: not one of its walls can be approached by the enemy without them being under fire from a nearby wall.
https://www.youtube.com/watch?v=vHbx2Xzdopw
La VitraHaus est une architecture située dans le Campus Vitra à Weil-am-Rhein, en Allemagne. Conçue entre 2006 et 2009 par les architectes Herzog & de Meuron, elle voit le jour en 2010. Elle accueille la galerie d’exposition de la collection Home de Vitra, et au rez-de-chaussée la boutique de la marque, le Eames Lounge Chair Atelier et le VitraHaus café.Les architectes Herzog & de Meuron ont ainsi choisi de reprendre la forme archétypale de la maison à pignon, la plus adaptée selon eux pour mettre en valeur le mobilier. Après les avoir rallongées, ils ont empilé et intriqué plusieurs de ces maisons sur 5 étages, pour ensuite doter leur façade d'immenses baies vitrées.Ils ont utilisé pas moins de douze maisons pour ériger cette construction semblable à un amas de maisons singulier. Avec 57 mètres de longueur, 54 mètres de largeur et 21,30 mètres de hauteur, la VitraHaus dépasse tous les autres bâtiments du Campus Vitra, offrant ainsi une vue imprenable non seulement sur la collection Home de Vitra, mais aussi sur le reste du site et la région.Le concept donne lieu à des pièces familiales et claires. Les grands classiques de Vitra sont présentés à travers des mises en scènes créatives aux côtés des tout derniers concepts de designers emblématiques tel que Charles & Ray Eames, George Nelson, Jasper Morrison, Sori Yanagi et Hella Jongerius. Au rez-de-chaussée de la VitraHaus, la boutique propose des objets design, des accessoires ménagers et des ouvrages spécialisés. Le choix de livres englobe les catalogues des expositions du Vitra Design Museum ainsi qu'un large éventail d'ouvrages spécialisés dans le design et l'architecture.
https://www.youtube.com/watch?v=2HGPhUXmFvQ
It's a Catholic cathedral in Cologne, North Rhine-Westphalia. It is the seat of the Archbishop of Cologne and of the administration of the Archdiocese of Cologne. It is a renowned monument of German Catholicism and Gothic architecture and was declared a World Heritage Site in 1996. It is Germany's most visited landmark, attracting an average of 20,000 people a day. At 157 m (515 ft), the cathedral is the tallest twin-spired church in the world, the second tallest church in Europe after Ulm Minster, and the third tallest church of any kind in the world.It is the largest Gothic church in Northern Europe and has the second-tallest spires. The towers for its two huge spires give the cathedral the largest façade of any church in the world. The choir has the largest height-to-width ratio, 3.6:1, of any medieval church.Construction of Cologne Cathedral began in 1248 but was halted in the years around 1560, unfinished. Attempts to complete the construction began around 1814 but the project was not properly funded until the 1840s. The edifice was completed to its original Medieval plan in 1880.Cologne's medieval builders had planned a grand structure to house the reliquary of the Three Kings and fit for its role as a place of worship for the Holy Roman Emperor. Despite having been left incomplete during the medieval period, Cologne Cathedral eventually became unified as "a masterpiece of exceptional intrinsic value" and "a powerful testimony to the strength and persistence of Christian belief in medieval and modern Europe". Only the telecommunications tower is higher than the cathedral.In 1996, the cathedral was added to the UNESCO World Heritage List of culturally important sites.The ground plan design of Cologne Cathedral was based closely on that of Amiens Cathedral, as is the style and the width to height proportion of the central nave. The plan is in the shape of a Latin Cross, as is usual with Gothic cathedrals. It has two aisles on either side, which help support one of the very highest Gothic vaults in the world, being nearly as tall as that of the Beauvais Cathedral, much of which collapsed. Externally the outward thrust of the vault is taken by flying buttresses in the French manner. The eastern end has a single ambulatory, the second aisle resolving into a chevet of seven radiating chapels.Internally, the medieval choir is more varied and less mechanical in its details than the 19th-century building. It presents a French style arrangement of very tall arcade, a delicate narrow triforium gallery lit by windows and with detailed tracery merging with that of the windows above. The clerestory windows are tall and retain some old figurative glass in the lower sections. The whole is united by the tall shafts that sweep unbroken from the floor to their capitals at the spring of the vault. The vault is of plain quadripartite arrangement.The choir retains a great many of its original fittings, including the carved stalls, despite French Revolutionary troops having desecrated the building. A large stone statue of St Christopher looks down towards the place where the earlier entrance to the cathedral was, before its completion in the late 19th century.The nave has many 19th century stained glass windows. A set of five on the south side, called the Bayernfenster, were a gift from Ludwig I of Bavaria, and strongly represent the painterly German style of the time.Externally, particularly from a distance, the building is dominated by its huge spires, which are entirely Germanic in character, being openwork like those of Ulm, Vienna, Strasbourg and Regensburg Cathedrals.
https://www.youtube.com/watch?v=tYdkvx3FlwA
Dans le quartier de Palmeiras à Sao Paulo, une ancienne usine aligne ses ateliers du début du XXe siècle avec d’étranges blocs de béton qui se dressent face à la ville et à ses tours. Un centre social et culturel destiné aux employés du commerce. Son architecte Lina Bo Bardi préfère parler d’une "citadelle du loisir", tout un symbole, à la fois reconversion d’un lieu de travail et affirmation d’une alternative devant la Métropole. Une œuvre majeure de l’"Architettura Povera".
https://www.youtube.com/watch?v=LT-0cHW1tq0
The Rolex Learning Center ("EPFL Learning Center") is the campus hub and library for the École polytechnique fédérale de Lausanne (EPFL), in Lausanne, Switzerland. Designed by the winners of 2010 Pritzker Prize, Japanese-duo SANAA, it opened on 22 February 2010. Kazuyo Sejima and Ryue Nishizawa, partners of the Tokyo-based design firm SANAA, were selected as the lead architects in EPFL's international competition in December 2004. The team was selected among famous architects, including Pritzker Prize Laureates such as Zaha Hadid, Rem Koolhaas, Diller Scofidio + Renfro, Jean Nouvel, Herzog & de Meuron, Ábalos & Herreros and Xaveer De Geyter.What makes a great building? The ancients seemed to think it had something to do with proportion and symmetry. That belief pretty much persisted through to the last century, when some of the most memorable buildings were the ones that broke completely with those Classical tenets. Fast forward to a new decade of a new century, and the completion of SANAA’s otherworldly Rolex Learning Center. These days, any number of things can make a building great. Some point to the use of groundbreaking technologies and materials to create jaw-dropping forms. Others will argue for a building’s green attributes. And if you agree with a certain oft-quoted Modern master, it’s all in the details.Back to Rolex. On the heels of the Pritzker Prize, awarded to SANAA partners Kazuyo Sejima and Ryue Nishizawa last month, it seems almost blasphemous to imply that the enigmatic firm’s latest building is anything but great. And much of what has already been written about the low, undulating structure heralds it as a masterpiece—despite some very obvious flaws. Is it structurally and spatially innovative? Most definitely. Is it sustainably built? Arguably. Is it impeccably finished? Not by a long shot. Envisioned as a hub for the prestigious École Polytechnique Fédérale de Lausanne’s (EPFL) small campus of mostly nondescript buildings in Lausanne, Switzerland, the new Learning Center houses a library, student work spaces, offices, a restaurant, and a café spread out over 215,000 square feet on one open, rolling level. A basement level contains parking and additional stacks.It’s hard to resist likening the structure to a thick-cut slice of Swiss cheese, its rectangular form punctuated by a dozen or so variously-sized holes, or patios, as the architects call them. The patios bring daylight to all areas of the building, and the larger ones serve as entrances where their sloping forms touch the ground. To access them, visitors walk past the impenetrable glass facades and slip beneath one of the building’s peaks. It’s an unorthodox, but strangely evocative procession that also exposes the glossy underside of the rippled floor slab’s concrete. The concrete—in some areas almost 3 feet thick—was poured over a precise formwork of sloping geometries created from 1,400 individual molds. The complex curvatures are supported by 11 highly reinforced arches, with spans as great as 280 feet. Prestressing in the slab over the basement provides added support, though the curving form around the largest patio in the building’s southeast corner required a structural wall and column.A steel-and-wood roof billows in response to the concrete waves for a consistent 11-foot ceiling height (except in the taller multipurpose hall). Between floor and ceiling—the former blanketed by a mousy gray carpet, the latter a stark white sound-absorbing surface—is a remarkable space that’s a hybrid of built and natural environment that takes its cues from the nearby Alps, visible from inside. The building, a flowing landscape, is unencumbered by walls, allowing views across its interior and through the patios; overhead is a continuous plane. Herein lies the building’s greatest strength. The experience of meandering through the space is magical, and one that challenges traditional notions of movement through man-made constructions as strictly vertical or horizontal. But this singular experience is also the source, somewhat counterintuitively, of the building’s main drawbacks. The single-story, sloping structure is not the exemplar of accessible design one might expect it to be. To use hiking terms—which the promenade through this building brings to mind—some of the hills might be classified as moderate to expert. So while it may be free of doors and walls, the building is chock full of ramps and elevators, both inclined and vertical.The lack of partitions gives way to alternate methods of separating functions, some better than others (the cage surrounding the bookshop comes to mind as a less than desirable alternative). Tables in both the library and restaurant are raised on terraces and encircled by the same bulky railings that line the ramps. Circular “cubicles” enclose offices, creating awkward residual spaces between closely positioned cubicles, and between the covered tops of the cubicles and the ceiling. The sloping terrain itself is supposed to act as a divider, but since this is not abundantly clear, some areas are roped off. One large area behind the auditorium is just too steep to serve any purpose at all. Apparently, the efficient floor plan is so last century. A series of student work spaces, referred to as “bubbles,” use glass to create privacy. Unfortunately, it’s not the precisely curved glass of SANAA’s Glass Pavilion at the Toledo Museum of Art in Ohio [record, January 2007, page 78] or the swirling acrylic of its Derek Lam Shop in New York City [record, September 2009, page 78]. Cost constraints dictated that the bubbles be fitted with less expensive, less transparent, straight panels—a surprise, given the list of donors who funded the $100 million project, led by the Learning Center’s illustrious namesake.Cost-cutting measures are evident throughout the building, most noticeably in all the off-the-shelf components that draw attention in a structure that is anything but. Skylights, for instance, were necessary to keep the building naturally ventilated and help it achieve Switzerland’s strict Minergie label for energy efficiency—despite all the concrete. Yet the standard bubble type used here, glaringly visible from the ground, flagrantly disrupts the flowing overhead plane both inside and out.
https://www.youtube.com/watch?v=wpNJPhpQ3-c
Content:La Maison du Parti Communiste FrançaisLa Maison UnalL'Usine Van Nelle de RotterdamLe Vaisseau de VerreItimad Ud DaulaL'École d'art de Glasgow
The headquarters of the French Communist Party are located at 2 Place du Colonel Fabien in the 19th arrondissement of Paris. The lead architect was Oscar Niemeyer, who had designed many buildings in Brazil's new capital Brasília.It was designed in 1966 and works began in 1968. The building was inaugurated in 1971; its external dome was not fully completed until 1980. It was built in concrete and has curves. The dome, where the party's National Council sits, represents a pregnant woman according to the architect. Niemeyer, himself a communist, designed the building while living in exile in France during the military dictatorship in Brazil. In designing the building, Niemeyer collaborated with Paul Chemetov, Jean Deroche, José L. Pinho, Jean Prouvé, and Jacques Tricot.In 2007, the building was classed as a monument historique. A survey by 20 minutes in 2020 found the building to be one that divided opinions the most among Parisians, alongside the Tour Montparnasse and the Sacré-Cœur.
https://www.youtube.com/watch?v=ojvdKVEZyL4&list=PLIAeAeZi1_39A8eg78M8NtBwh8-R6D0iE&index=49&pp=iAQB
The Louis Vuitton Foundation, previously Louis Vuitton Foundation for Creation, is a French art museum and cultural center sponsored by the group LVMH and its subsidiaries. It is run as a legally separate, nonprofit entity as part of LVMH's promotion of art and culture. The art museum opened on October 20, 2014, in the presence of President François Hollande. The Deconstructivist building was designed by American architect Frank Gehry, with groundwork starting in 2006. It is adjacent to the Jardin d'Acclimatation in the Bois de Boulogne of the 16th arrondissement of Paris, bordering on Neuilly-sur-Seine. More than 1.4 million people visited the Louis Vuitton Foundation in 2017.Upon Arnault's invitation, Frank Gehry visited the garden, and imagined an architecture inspired by the glass Grand Palais, and also by the structures of glass, such as the Palmarium, which was built for the Jardin d'Acclimatation in 1893. The building site is designed after the founding principles of 19th century landscaped gardens. It connects the building with the Jardin d'Acclimatation at north, and the Bois de Boulogne to the south.The two-story structure has 11 galleries of different sizes (in total 41,441 square feet), a voluminous 350-seat auditorium on the lower-ground floor and multilevel roof terraces for events and art installations. Gehry had to build within the square footage and two-story volume of a bowling alley that previously stood on the site; anything higher had to be glass. The resulting glass building takes the form of a sailboat's sails inflated by the wind. These glass sails envelop the "iceberg", a series of shapes with white, flowery terraces.The galleries on the upper floors are lit by recessed or partially hidden skylights.The side of the building facing Avenue Mahatma Gandhi, right above the ticket booth, holds a large stainless-steel LV logo designed by Gehry.According to Gehry's office, more than 400 people contributed design plans, engineering rules, and construction constraints to a shared Web-hosted 3D digital model. The 3,600 glass panels and 19,000 concrete panels that form the façade were simulated and then molded by industrial robots working off the common model. STUDIOS architecture was the local architect for the project spearheading the transition from Gehry's schematic design through the construction process in Paris to building space. The consultants for the auditorium were Nagata Acoustics and AVEL Acoustics for the acoustics and Ducks Scéno as scenographer.
https://www.youtube.com/watch?v=IoMGiRUxU7Q
Genuine sculpted architecture, this gorgeous summer residence is an exceptional example of the Haüsermann’s architecture and seventies avant-garde. In the heart of Ardèche in the south of France, it enjoys absolute quiet and is located at 30 minutes by car from Aubenas, 45 minutes from Montélimar and 1h30 from Uzès. The property extends over a surface of 156 m², with an entrance, a living-room with a service hatch to the kitchen, two bedrooms and a third with patio and an independent exit, two bathrooms, a living-room/workshop of 60 m², a resting hammock, a library and a pantry. These different spaces are served by two circulation tunnels and have four chimneys. A swimming pool with a spa, many patios (150 m² total), a solarium and a patio-tower with a 360° viewing point over the surrounding panorama, from the Mount Blanc to the Mount Lozère, complete the whole. On a landscape plot of 9 357 m², the residence enjoys a beautiful scenery, wild and preserved and made of hilly rocks and garrigue. Day and night, interior and exterior spaces offer perspectives, lightness and poetry. Made of projected concrete on to a steel framework, the structure of the house spreads out its curves suspended above the ground. The living spaces are organized into a succession of organic alveoli of variable volume. The furniture was sculpted with the walls and is truly part of the architecture. The quality of the spaces is combined with a refined decoration made of mosaics and vibrant sculptures brought out by the white walls. The property was certified a “Patrimoine du XXe siècle” (20th Century Heritage Site) in 2004, and classified as a historical monument in 2010. A complete work of art, between nature and architecture. Price upon request.
https://www.youtube.com/watch?v=tAAtmbuVcsI
The former Van Nelle Factory on the Schie in Rotterdam, is considered a prime example of the International Style based upon constructivist architecture. It has been a designated UNESCO World Heritage Site since 2014. Soon after it was built, prominent architects described the factory as "the most beautiful spectacle of the modern age" (Le Corbusier in 1932) and "a poem in steel and glass" (Robertson in 1930).The Van Nelle Factory shows the influence of Russian Constructivism. Mart Stam, who worked during 1926 as employee-designer at the Brinkman & Van der Vlugt office in Rotterdam, came in contact with the Russian Avant-Garde in 1922 in Berlin. In 1926 Mart Stam organized an architecture tour of the Netherlands for the Russian artist El Lissitzky and his wife Sophie Küppers, collector of avant-garde art. They visited Jacobus Oud, Cornelis van Eesteren, Gerrit Rietveld, and other artists. Sophie Küppers stated that Mart Stam spoke about 'his' factory during that trip. That happened to be the immediate cause for his dismissal.It is claimed that the building featured the first industrially prefabricated curtain wall in the world.
https://www.youtube.com/watch?v=fHHzU-2eWxg
It is a Mughal mausoleum in the city of Agra in the Indian state of Uttar Pradesh. Often described as a "jewel box", sometimes called the "Bachcha Taj" or the "Baby Taj", this tomb is often regarded as a draft of the Taj Mahal.Along with the main building, the structure consists of numerous outbuildings and gardens. The tomb, built between 1622 and 1628, represents a transition between the first phase of monumental Mughal architecture – primarily built from red sandstone with marble decorations, as in Humayun's Tomb in Delhi and Akbar's tomb in Sikandra – to its second phase, based on white marble and pietra dura inlay, most elegantly realized in the Taj Mahal.The mausoleum was commissioned by Nur Jahan, the wife of Jahangir, for her father Mirza Beg, originally a Persian Amir in exile, who had been given the title of Itimad-ud-Daulah (pillar of the state). Mirza Beg was also the grandfather of Mumtaz Mahal (originally named Arjumand Banu Begum, daughter of Asaf Khan), the wife of the emperor Shah Jahan, responsible for the construction of the Taj Mahal.The tomb, situated on the eastern bank of the river Jamuna, is planned in the centre of a Char-Bagh (four-quartered garden), with the usual enclosing walls and side buildings. As conditioned by its situation, the main gate is on the eastern side. Ornamental gateways with prominent lawns are built in the middle of north and south sides. A multi-storeyed open pleasure pavilion is there on the western side, overlooking the river impressively. These buildings are of red sandstone with bold inlaid designs in white marble.Shallow water channels, sunk in the middle of the raised stone paved pathways, with intermittent tanks and cascades, divided the garden into four equal quarters. They are only slightly raised from the parterres which could be converted into flower beds. Space for large plants and trees was reserved just adjoining the enclosing walls, leaving the mausoleum fully open to view.The main tomb of white marble is marvellously set in the centre of the garden. It stands on a plinth of red stone having in the middle of each side, facing the central arch, a lotus tank with fountain. The tomb is square in plan with octagonal towers, surmounted by chhatris, attached to its corners. Each facade has three arches: the central one providing the entrance, and the other two on the sides being closed by jalis. Each side is protected by a chhajja and a jali balustrade above it. There is no dome; instead, the building is roofed by a square baradari having three arched openings on each side which are closed by jalis except in the middle of the north and south sides. It is protected by a chhajja above which is the chaukhandi (pyramidal) roof, crowned by lotus petals and kalash finials. The interior is composed of a central square hall housing the cenotaphs of Asmat Begum, Mirza Ghiyas, four oblong rooms on the sides and four square rooms on the corners, all interconnected by common doorways. The cenotaph of Asmat Begum occupies the exact centre of the hall. Corner rooms have tombstones of Nur Jehan's other relations.The most important aspect of this tomb is its polychrome ornamentation. Beautiful floral, stylized, arabesque and geometrical designs have been depicted on the whole exterior in inlay and mosaic techniques, in various pleasing tints and tones. Wine vase, dish and cup, cypress, honeysuckle, guldasta (flower bouquet) and such other Iranian motifs, typical of the art of Jehangir, have been emphatically used. Some compositions have been inspired by the plant studies of Ustad Mansur Naqqash, the famous "fauna and flora" painter of Jehangir. Some stylized designs have also been done in exquisite carving, both incised and relief. They look like embroidery work done in ivory. Delicacy is their quality. Stucco and painting have been done in the interior where minute animal and human figures have also been shown. The inspiration has come from the contemporary art of painting. There is no glazed tiling and the decoration is largely by coloured stones which is an indigenous development. By far, it is the most gorgeously ornamented Mughal building. It testifies that "the Mughals began like Titans and finished like jewellers"[citation needed]. Chapters 48 and 73 of the Quran have been carved on the 64 panels on the external sides of the ground floor. The date of writing A.H. 1037/1627 A.D. is mentioned in the last panel. Chapter 67 of the Quran is inscribed on the 12 internal panels of the upper pavilion.
https://www.youtube.com/watch?v=t4y8LbZkewI
The Glasgow School of Art is a higher education art school based in Glasgow, Scotland, offering undergraduate degrees, post-graduate awards (both taught and research-led), and PhDs in architecture, fine art, and design.The school is housed in a number of buildings in the centre of Glasgow, upon Garnethill, an area first developed by William Harley of Blythswood Hill in the early 1800s. The most famous of its buildings was designed by Charles Rennie Mackintosh in phases between 1896 and 1909. The eponymous Mackintosh Building soon became one of the city's iconic landmarks and stood for over 100 years. It is an icon of the Modern Style (British Art Nouveau style). The building was severely damaged by fire in May 2014 and destroyed by a second fire in June 2018, with only the burnt-out shell remaining.In 2022, GSA was placed 11th in the QS World Rankings for Art and Design.
https://www.youtube.com/watch?v=J9Qe-54qZ-k
Content:Wa ShanRoissy 1La Maison de FerLa Bibliothèque d'ExeterLa Maison pour tous de RikuzentakataLes Hôtels de Soubise et de Rohan
Drawing on traditions of scholarliness and non-conformity, Wang Shu’s new guesthouse for the China Academy of Art adds to the remote campus neighbourhood that he has been building for over a decade.Last year the architectural world was given a jolt when for the first time in its 34-year history the distinguished Pritzker Prize was awarded to somebody from mainland China. Wang Shu was a relative unknown in architectural circles, let alone beyond its narrow orbit. The intervening 12 months have been an expedited education not only for those who knew little or nothing about this elusive professional, but also for Wang who is unaccustomed to the limelight and uncomfortable in its glare. After a year of almost constant travelling and official obligations, Wang has returned to the east coast city of Hangzhou, home to the China Academy of Art where he is Dean of the School of Architecture, to oversee the final stages in the construction of the new guesthouse and reception centre at the Academy’s Xiangshan Campus, his first building to be completed since the Pritzker award.
https://www.youtube.com/watch?v=sKaW-MU441k
Paris Charles de Gaulle Airport, also known as Roissy Airport or simply Paris CDG, is the principal airport serving the French capital, Paris (and its metropolitan area), and the largest international airport in France.Coming after the Exchange Module in the composition of the Terminal 2 complex, the construction of Hall F modifies the size and internal organization of the whole and greatly increases its complexity without however betraying the system’s initial design.It constitutes a sort of dialectical synthesis of all that preceded it and a new step in the airport’s development. The design creates a balance between the main building in which concrete and opacity prevail despite touches of light and transparency here and there - and the two perpendicular piers, peninsulas, 45 meters wide and 140 meters long, with glass roofs and facades supported by a light metal frame.
https://www.youtube.com/watch?v=ptGLXSElFfg
The Hôtel de Soubise was built for the Prince and Princess de Soubise on the site of a semi-fortified manor house named the Grand-Chantier built in 1375 for connétable Olivier de Clisson, that had formerly been a property of the Templars. The site previously contained the Hôtel de Guise, the Paris residence of the Dukes of Guise, a cadet branch of the House of Lorraine. It was the birthplace of the last Duke, Francis Joseph, Duke of Guise, the son of Élisabeth Marguerite d'Orléans, Duchess of Alençon. He died in 1675 and the Guise estate passed to Marie de Lorraine who died at the Hôtel in 1688 having been born there in 1615.On March 27, 1700, François de Rohan, prince de Soubise bought the Hôtel de Clisson, lately de Guise, and asked the architect Pierre-Alexis Delamair to remodel it completely. Works started in 1704. His wife Anne de Rohan-Chabot, at one time mistress of Louis XIV (their affair is thought to have funded the purchase of the building), died here in 1709.One of the most splendid rooms in the Hôtel is the Salon de la Princesse, an oval chamber embellished in finest Rococo fashion with intricate, gilded boiserie (carved wood), cherubs, ceiling paintings and mirrors.Boiserie is a highly-skilled art form in which wood paneling is carved in painstaking detail and then gilded or painted. This spectacular boiserie ceiling in the Salon de la Princesse is featured in Georgianna's book, "Paris in Bloom".
https://www.youtube.com/watch?v=4zfev12YGn0
Phillips Exeter Academy Library is a library that serves Phillips Exeter Academy, an independent boarding school located in Exeter, New Hampshire. It is the largest secondary school library in the world, containing 160.000 volumes over nine levels with a shelf capacity of 250.000 volumes.When it became clear in the 1950s that the library had outgrown its existing building, the school initially hired an architect who proposed a traditional design for the new building. Deciding instead to construct a library with a contemporary design, the school gave the commission to Louis Kahn in 1965. The library opened in 1971. In 1997 the library received the Twenty-five Year Award from the American Institute of Architects, an award that recognizes architecture of enduring significance that is given to no more than one building per year.Kahn structured the library in three concentric square rings. The outer ring, which is built of load-bearing brick, includes all four exterior walls and the library carrel desks immediately inside them. The middle ring, which is built of reinforced concrete, holds the heavy book stacks. The inner ring is a dramatic atrium with enormous circular openings in its walls that reveal several floors of book stacks.The library has an almost cubical shape: each of its four sides is 33 m wide and 24 m tall.? It is constructed in three concentric areas, which Kahn called “doughnuts”. In the words of Robert McCarter, author of Louis I. Kahn, “From the very beginning of the design process, Kahn conceived of the three types of spaces as if they were three buildings constructed of different materials and of different scales - buildings-within-buildings”. The outer area, which houses the reading carrels, is made of brick. The middle area, which contains the heavy book stacks, is made of reinforced concrete. The inner area is an atrium.The library's heating and cooling needs are supplied by the nearby dining hall, which Kahn built at the same time as the library, but which is considered to be of less architectural significance.
https://www.youtube.com/watch?v=6HScQyMMLxU
La maison de fer ou maison métallique de Poissy (appelée improprement maison Eiffel) et parfois villa de la Maladrerie1, est l'une des dix maisons en fer répertoriées en France et bâties selon le procédé de tôles embouties de Joseph Danly. Construite en 1896, elle est occupée jusque dans les années 1980. Située initialement à proximité du tracé de l'autoroute A14, elle est laissée à l'abandon à la suite d'une expropriation et subit d'importantes dégradations avant d'être abattue par la tempête de 1999. Elle est démontée en 2016 par les services techniques de la ville de Poissy puis remontée dans le parc Meissonier pour installer un centre d’interprétation de l’architecture et du patrimoine en son sein inauguré le 19 septembre 2020.
https://www.youtube.com/watch?v=uCHVvsJKZ5o
Après le tremblement de terre et le tsunami qui a dévasté la côte est du Japon en 2011, la petite ville de Rikuzentakata assisté renouvellement des ruines. Dirigée par Toyo Ito , une équipe de jeunes designers japonais, Kumiko Inui, Akihisa Hirata, Sou Fujimoto , a créé un centre communautaire modeste dans les décombres, en utilisant des arbres ruisselants d’eau salée et tué par la tempête. Pendant des mois, les bénévoles ont participé à tous les jours pour aider à construire le projet, en utilisant le colonnes bois comme supports structuraux. La ville a perdu environ 1.800 habitants et plus de 5000 familles laissées sans abri par des catastrophes. La Maison pour tous projet est devenu un phare pour la communauté, où les douleurs de la tempête demeurent aigus. Enveloppé avec balcons en bois et construit sur piliers, la structure des débris et de ruines de bâtiments anciens regards Architectural Recor.Beaucoup d’architectes qui ont travaillé de façon désintéressée pour reconstruire la région dévastée par le séisme et le tsunami qui a frappé en 2011 la préfecture de Miyagi, au Japon. Leurs contributions sont les efforts volontaires dans la plupart des cas, au-dessus des processus officiels, qui travaillent directement avec les communautés locales, afin de procurer des abris, de confort et un peu de réconfort à ceux qui souffrent le plus besoin.Il a été près de deux ans depuis la Grande East Japan Earthquake. Les souvenirs horribles du tsunami disparaissent peu à peu, et nos vies sont de retour à la normale. Cependant, les gens dans les zones touchées sont pas remis de leurs traumatismes, et aucun signe visible de la reconstruction des villes. Comme architectes, et encore plus en tant qu’êtres humains, que pouvons-nous faire face à cette réalité pour ces gens?La question l’architecture, il est possible ici? a surgi précisément parce que nous croyons que l’architecture peut retrouver son caractère essentiel que dans les conditions et dans de tels endroits. Une petite maison appelée "Maison pour Tous"ne peut se permettre de construire un lien avec les gens dans les zones touchées par la catastrophe. Nous croyons que, grâce à elle, vous pouvez aussi être en mesure de revenir à l’architecture de processus primitive pour le développement.
https://www.youtube.com/watch?v=FAupnV9Eues
Autor
Tópico: Architectures (1996-2019) (Lido 313 vezes)
