Archipulse
3 Projects
Tension Spaces
House; Public vs. Private
6 Projects 
Wall Craft
9 Projects 


186p / pb / USD 24
이만원(한국어판)




from Korea
from other Countries
C3 no.303 0911


Perspective
Frog's Dream / Calvin Chiu
MoMA Tower at 53W53rd / Axis Mundi
World Village of Women Sports / BIG-Bjarke Ingels Group
Shanghai World Expo 2010_Hungarian Pavilion / Tamás Lévai
Shanghai World Expo 2010_French Pavilion
/ Jacques Ferrier Architectures
Shanghai World Expo 2010_Shanghai Corporate Pavilion
/ Atelier FCJZ

Archipulse
Knock in the Ground - Museum of Atacama Desert
COZ - POLIDURA - VOLANTE arquitectos
Wooden Cocoon for Prayers - Chapel of the Deaconesses of Reuilly
Rollinet & associés
Garden Sense - Rafael del Pino Auditorium Building
Rafael de La-Hoz Arquitectos

Tension Spaces
House; Public vs. Private

Public & Private_Tension Spaces / Silvio Carta
House in Carapicuiba / spbr arquitetos
House before House / Sou Fujimoto Architects
House II for a Photographer, Tarragona
/ OAB-Office of Architecture in Barcelona
House Hidden in the Valley / José Cruz Ovalle
Lampyris House / S+PBA

Wall Craft
Wall Craft / Salvatore D'Agostino
Midrash Cultural Center, Rio de Janeiro / Isay Weinfeld
Multi-story Car Park in Sheffield / Allies and Morrison Architects
41 Cooper Square / Morphosis
Nordwesthaus / Baumschlager Eberle
Boiler Suit & Guy’s Approaches / Heatherwick Studio
Orange Office / Sander Architects
Sports Center in Barcelona / vora arquitectura
Atelier Bardill in Scharans, Switzerland / Valerio Olgiati

미리보기
개구리의 꿈 / 칼빈 츄
뉴욕의 신개념 마천루, 모마 타워 / 액시스 먼디
말뫼의 여성 스포츠 단지 / BIG-비야케 잉겔스 그룹
2010 상하이 세계 박람회_헝가리 국가관 / 떠마쉬 리버이
2010 상하이 세계 박람회_프랑스 국가관
/ 자끄 뻬르히에 악쉬떽튜어
2010 상하이 세계 박람회_상하이 기업관 / 아뜰리에 FCJZ

따져보기
흙에서 답을 찾다 – 아타카마 사막의 박물관
꼬스-뽈리두라-볼란따 아르키텍토스
나무 고치 예배당 – 뢰이 여집사단의 예배당
롤리네 에 아쏘시에
정원의 기억 – 라파엘 델 피노 회관
라파엘 데 라 호즈 아르키텍토스


사잇공간

공동 영역과 개인 영역 사이의 긴장 공간 / 실비오 까르따
까라피꾸이바 주택 / spbr 아르키테토스
집 이전의 집 / 소우 후지모토 아키텍츠
타라고나의 사진작가를 위한 집Ⅱ/ OAB-바르셀로나 건축 사무소
골짜기에 숨어 있는 집 / 호세 크루즈 오발레
반딧불이 주택 / S+PBA

신 벽화
신 벽화 / 살바토레 다고스티노
리우데자네이루의 미드라시 문화 센터 / 이자이 와인펠드
셰필드의 다층 주차 건물 / 알리스 앤 모리슨 아키텍츠
41 쿠퍼 스퀘어 / 모포시스
물 위에 떠 있는 빛 상자 / 바움슐라거 에벨레
가이즈 병원의 파사드 / 헤더윅 스튜디오
오렌지 사무소 / 샌더 아키텍츠
바르셀로나 스포츠 센터 / 보라 아르키텍투라
샤란스의 바르딜 공방 / 발레리오 올지아티

Tension Spaces
House; Public vs. Private



Public & Private_Tension Spaces
Is the house still a cube?
Is the house still conceivable as a cube? Or can it be rather thought as a system of boxes? What happens if a house is divided into different parts and spread out around the plot? Is it still a house, or does it become something else? In other words, can a house be broken down into its component parts and keep its character at the same time?
Distribution and disposition
One of the first clues is given by one of the leading architecture schools in Europe during the eighteenth and nineteenth centuries – the École des Beaux-Arts de Paris. Conceived to teach a “timeless architecture,” it underwent several changes of direction in response to the increasing complexity of the design tasks and technological development.
Before the École des Beaux-Arts’ main shifts in design approach, the conception of a main shape of a building was based on volume and on dividing up its spaces by using classical tools like symmetry and bays. This practice can be summarized by the word distribution. With the passage of time (the design for architects became progressively more complex. As the cities grew, the functional and programmatic aspects of constructing a building placed more demands than ever upon architects. In this phase, the buildings started to be thought as an assemblage (or better, a composition) of masses and spaces. The main shape of a building was no longer achieved by dividing and subdividing a single entity. Combining components, composing with elements, gained prominence . In this particular moment a significative shift from distribution to composition can be appreciated.

...
Written by Silvio Carta

Wall Craft



Wall craft
The wall starts to exist when the man becomes a farmer after being a nomad.
The new need of sedentariness drove him to reproduce the places where he lived before – such as caves and tents – simply stacking stones to protect himself from weather, animals and hostility of men.
The wall was intended as a shield between the internal and the external environment; it was the main bearing structure in the 20th century and its exterior surfaces became a “medium” to give iconography support to the holy and profane social organizations, a statement of hierarchy and society.
In the 20th century the development of reinforced concrete and the evolution of steel structure, the architectural language changes. The envelope loses its thickness and becomes a membrane. In a long time period, architects discovered all its expressive potential and the different languages represented by the materials. The Architect becomes a graffiti artist and begins to leave his ‘tags’ on the walls.
The exterior side of the envelope on a building is known as the facade. With the same term it is possible to describe somebody's appearance. This could be read as a negative connotation if it doesn't correspond to his true character.
If we study the meaning of these two words, we can define the “facade” as the non-structural layer and “honest” as the bearing wall. Let’s read, on this regard, the following selection of recent projects, starting with the metaphor of “honest” wall:
Valerio Olgiati is a Swiss architect. He designed the “Atelier Bardill in Scharans, Switzerland” for a musician that occupies the site of a former barn in the old center of Scharans, Switzerland.
To get planning permission the new building within the protected historical villagescape, the same volume of the old barn had to be rebuilt. He does so but in concrete painted in red.

...
Written by Salvatore D'Agostino