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نوع مطلب : آنتی ویروس 2012 ، 
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دوشنبه 23 اردیبهشت 1392
bm architect
مجموعه سوارکاری مدرن
 .

In 2006 we were asked to design the revitalization of a farmstead for congress, company presentation, holding of corporate events and leisure activities. For this purpose our client bought 19th century farmstead located at a large pound. The farmstead included a distillery with it’s chimney. From 1926 there have lived storks on the chimney. It became the main reason for buying this farm.

Riding arena (Images Courtesy Jaroslav Malý and SGL Projekt)

  • Architect: SGL Projekt s.r.o.
  • Name of Project: The Stork Nest Farm
  • Location: Dvůr Semtín, Olbramovice, Czech Republic
  • Client / Developer: Farma Čapí hnízdo, a.s.
  • International award: World Architecture Festival 2011, Barcelona – Shortlisted
  • Category: Sports (Sports hall)

Riding arena (Images Courtesy Jaroslav Malý and SGL Projekt)

  • GPS: 49°41’04.71″N, 14°39’05.51″E
  • Date completed: 03/2010
  • Civil Engineer: Ing. Jiří Starý, Starý a partner s.r.o.
  • Environmental Engineer: Ing. Miroslav Kučera
  • Lighting Consultant: Ing. Michal Kozak, Etna Guzzini s.r.o.
  • Structural Engineer: Němec Polák s.r.o.
  • General supplier: BAK a.s.
  • Author of photos: Farma Čapí hnízdo a.s., Jaroslav Malý, SGL Projekt

Overview (Images Courtesy Jaroslav Malý and SGL Projekt)

The farm is located 50 kilometers to the south from Prague. The surrounding landscape reminds Piedmont area with large forest complexes, vast meadows, wetlands and a great network of ponds. Since the end of the 80′s from the 20th century the farm has been abandoned and the buildings quickly decayed.

The only solitary residents who remained were the storks on the distillery’s chimney. The Stork’s Nest became a symbol for us, which affected the conception of the riding arena and thinking about all the objects of this project.

Aerial view (Images Courtesy Farma Čapí hnízdo a.s.)

It wasn’t a formal symbol for us. We were fascinated by stork’s fidelity. Almost 90 years generations of storks are returning from Africa to the farm and we tried to design the farm in order to bring back people here again.

These birds also fascinated us by their endurance in building their nest. After decades They construct still the same, no doubt about the shape and material, still in the same place and with no desire for originality, which bother all architects and builders nowadays. Storks don‘t look for exceptional places. They don‘t want to distinguish themselves and compete with others. Storks became a symbol for us in the approach to construction. Our design of the farm was led in humility to these bird architects.

Riding arena (Images Courtesy Jaroslav Malý and SGL Projekt)

The old farmstead consisted of an enclosed yard of an almost square ground plan and addition of a piggery. The yard contained two dwelling houses, a distillery, a barn and a stable. Valuable objects were preserved and buildings of poor quality we demolished and replaced by new ones.

The residential yard consist of a reception, a hotel, conference hall, restaurant, pool and bowling and house with private garden for VIP guests. Beside this residential yard we have built another new yard for the animals.

Interior view (Images Courtesy Jaroslav Malý and SGL Projekt)

In this section we have placed a circular riding arena in the shape of a stork nest. It has an external diameter of 34 meters and height of 12,5 meters. The building is used for riding or for a variety of presentations, cultural and social events. Riding arena is located near the stables, and is directly connected to restaurant. The supporting structure is made ​​of glulam timber beams. The external cladding is made of translucent polycarbonate. The oak logs, give the structure an expressive appearance and also provide shading. They were fixed to the building at the total amount of 200 tons at the length of 7, 9 and 11 meters.

At the top of the building there is a central sky-light with a diameter of 8 meters. It serves for intensive ventilation of the internal space by natural air flow. The natural ventilation of the arena provides a good climate.

Riding arena (Images Courtesy Jaroslav Malý and SGL Projekt)

The arena´s riding surface is made of sand with capillary irrigation for equestrian sport. It can be covered with plywood boards during other sorts of events. The riding area is surrounded by a protective barrier and a stand for approximately 200 people. There is VIP stand upstairs.

The Stork nest farm was completed in 2010. The riding arena became a landmark in the area of the farm and an element which attracts attention in wide neighborhood. Later, our firm designed the center for protection of fauna to the farm and recently a large rectangular riding arena.

Riding arena (Images Courtesy Jaroslav Malý and SGL Projekt)

Interior view (Images Courtesy Jaroslav Malý and SGL Projekt)

Interior view (Images Courtesy Farma Čapí hnízdo a.s.)

Interior view (Images Courtesy Jaroslav Malý and SGL Projekt)

Riding arena (Images Courtesy Jaroslav Malý and SGL Projekt)

Riding arena (Images Courtesy Jaroslav Malý and SGL Projekt



نوع مطلب : نمونه ساختمان های ورزشی، 
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شنبه 15 بهمن 1390
bm architect

سالن تنیس در چین

 

With the grand opening of China Open 2011 on September 25 in Beijing, the China National Tennis Center designed by Beijing-based architectural practice Atelier 11 is officially completed and ready to welcome the top players from the world, including Robin Soderling, Li Na, and Caroline Wozniacki, and hundreds of thousands of tennis fans from China and abroad.

Exterior View (Images Courtesy Zhang Guangyuan, Gao Qinglei)

  • Architects: Atelier 11
  • Name of Project: Diamond Arena — China National Tennis Center
  • Location: Beijing, China
  • Design Director: Xu Lei
  • Design Team: Ding Liqun, Gao Qinglei, Liu Heng, An Peng
  • Photographer: Zhang Guangyuan, Gao Qinglei

Bird Eye View (Images Courtesy Zhang Guangyuan, Gao Qinglei)

  • Construction Drawing: Xu Lei, An Peng, Gao Qinglei, Ding Liqun, Li Lei, Liu Heng, Zhu Yin, Jin Ding
  • Construction Period: 2009-2011
  • Site Area:170,020 sqm
  • Construction Area: 51,199 sqm
  • Client: Beijing Shi Ao Co., Ltd.

Interior View (Images Courtesy Zhang Guangyuan, Gao Qinglei)

Following a coherent design approach, 16 sets of V-shaped columns are used to form the structure of the Center to support the grandstand and outdoor maintenance facilities and at the same time create a simplistic triangular motif for the overall design. By extracting the visual elements out of the structure itself and eliminating unnecessary decorations, the architecture displays its grace and beauty with a pure balance between form, material, and construction. Built with concrete for the main body, the architecture is given a solid volume and magnificent perception value

Images Courtesy Zhang Guangyuan, Gao Qinglei

Called as Diamond Arena for its shape and important status in China’s sports field, the Center can seat 15,000 audiences with its state-of-art facilities. A collapsible steel roof is designed to react on the weather change during the games. With a maximum opening of 60x70m towards the sky, it has the biggest opening scale in Asia and takes 12 minutes to perform an opening procedure. Divided into 2 layers and 4 units, the roof can be opened in the direction of east and west, and then be stacked in the storage space built under the fixed part of the roof on both ends. Using a material with good light perviousness for the roof, the Center will use natural daylight to provide the lighting required by the games during the daytime; so that the requirements both on energy-saving and management cost control can be satisfied.

Images Courtesy Zhang Guangyuan, Gao Qinglei

Besides the regular seating rows spreading around the stadium, two floors of glass boxes are placed around the bottom part of the grandstand to seat important guests or be used for special group activities. The boxes provide more exclusive seats for a better view within the limited space.

Images Courtesy Zhang Guangyuan, Gao Qinglei

Another significant feature of the design is a circular observation deck on the 7th floor of the Center where the highest seats are located. With an open space running around the whole building, the deck allows the audience to enjoy a 360° sightseeing to the Olympic Park next to the Center, which would be an exclusive attraction to the audience during the break of the games.

Images Courtesy Zhang Guangyuan, Gao Qinglei

The Center takes full advantage of the site to cope with the traffic issues in and outside the stadium. Audience can enter the venue via the terrace on the second floor; while staff, VIPs and players can directly get into the Center from under the terrace. So the possible conflict in the flow lines is reduced to its minimum and the comfort in the interior space can be achieved. Outside the Center, the entry and exit channels for each group are carefully divided without interference, which guarantees a well-organized traffic flow inside the stadium even if with its maximum capacity.

Images Courtesy Zhang Guangyuan, Gao Qinglei

Images Courtesy Zhang Guangyuan, Gao Qinglei

Images Courtesy Zhang Guangyuan, Gao Qinglei

Images Courtesy Zhang Guangyuan, Gao Qinglei

Images Courtesy Zhang Guangyuan, Gao Qinglei

Images Courtesy Zhang Guangyuan, Gao Qinglei

Night View (Images Courtesy Zhang Guangyuan, Gao Qinglei)

Exterior View (Images Courtesy Zhang Guangyuan, Gao Qinglei)

Exterior View (Images Courtesy Zhang Guangyuan, Gao Qinglei)

http://www10.aeccafe.com/blogs/arch-showcase/files/2011/10/plan1.jpghttp://www10.aeccafe.com/blogs/arch-showcase/files/2011/10/elevation.jpg


http://www10.aeccafe.com/blogs/arch-showcase/files/2011/10/plan2.jpg


http://www10.aeccafe.com/blogs/arch-showcase/files/2011/10/section1.jpghttp://www10.aeccafe.com/blogs/arch-showcase/files/2011/10/plan3.jpg


http://www10.aeccafe.com/blogs/arch-showcase/files/2011/10/structure.jpghttp://www10.aeccafe.com/blogs/arch-showcase/files/2011/10/section2.jpg





نوع مطلب : نمونه ساختمان های ورزشی، 
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شنبه 15 بهمن 1390
bm architect

سالن اسکی رو یخ

 

Article source: Projektarbeitsgemeinschaft Behnisch Architekten Pohl Architekten

Projektarbeitsgemeinschaft Behnisch Architekten Pohl Architekten wins World’s Best Sport Building at World Architecture Festival Awards 2011

Speedskating Stadium Inzell, Germany, designed by Projektarbeitsgemeinschaft Behnisch Architekten Pohl Architekten, has won the ‘World’s Best Sports Building’ award at the prestigious World Architecture Festival (WAF) Awards 2011.

The presentation of the WAF Awards are taking place during the largest global celebration of architecture – the World Architecture Festival, which is being held at the Centre Convencions International Barcelona (CCIB) this week.

Outdoor in the Evening (Images Courtesy Sabine Schmalfuss)

Designed to host the World Single Distant Speed Skating Championships 2011, the Speedskating Stadium in Inzell upgraded the existing outdoor speed-skating track through the construction of a high-performance intelligent roof structure. This improved arena can accommodate up to 7,000 spectators and offers maximum flexibility for large scale world class competitions as well as regular seasonal speed-skating training.

The building was selected by a panel of esteemed architects and designers, beating off competition from a shortlist of 10 entries.

 

Race Event (Images Courtesy David Matthiessen)

Speaking at the WAF Awards 2011 Paul Finch, WAF Programme Director, said: “The World Architecture Festival is the world’s largest, live, truly inclusive and interactive global architectural awards programme. Attracting entries from internationally renowned practices to small local architects, the stellar quality of this year’s designs demonstrates their commitment to designing the world’s most exciting buildings. This year we’ve attracted more entries than ever before, with over 700 submissions from 66 different countries. Our congratulations go to the winners for a truly accomplished project.”

Outdoor in the Evening (Images Courtesy Sabine Schmalfuss)

This is the 4th year the World Architecture Festival Awards have been presented, and by the end of the awards 38 WAF Awards will have been announced across the three main sections of Completed Buildings, Structural Design and Future Projects. The Festival culminates with the announcement of the prestigious ‘World Building of the Year 2011’ award.

Previous winners include ‘World Building of the Year 2008’ – Luigi Bocconi University, Milan, designed by Irish practice Grafton Architects; ‘World Building of the Year 2009’ – Mapungubwe Interpretation Centre in South Africa, designed by Peter Rich Architects of Johannesburg, and ‘World Building of the Year 2010’ – MAXXI (National Museum of the 21st Century Arts) in Rome, designed by Zaha Hadid Architects.

 

Race Event (Images Courtesy David Matthiessen)

The WAF Awards see unsung local buildings take on internationally acclaimed projects in what is the world’s biggest architecture contest. Unlike other architectural competitions, architects present their work in front of leading industry judges and a live public audience as they compete for the accolade of ‘World Building of the Year’.

 

Nighttime Event (Images Courtesy Sabine Schmalfuss)

Project in Detail

The Bavarian town of Inzell hosted the World Single Distant Speed Skating Championships 2011. To create the world-class competition conditions required for this event, the existing outdoor speed-skating track was upgraded through the construction of a high-performance intelligent roof structure. This improved arena can accommodate up to 7,000 spectators and offers maximum flexibility for large scale world class competitions as well as regular seasonal speed-skating training.

From Across the Pond (Images Courtesy David Matthiessen)

The 200 meter long and 90 meter wide arena was planned as an independent wide-span structure, free of interior columns. The athletes and spectators can enjoy panoramic views of the Bavarian Alps through the continuous glass facade which stands as a transparent band between the cloud-like roof and the concrete grandstands that flow into the landscape. At the same time, passers-by can look into the stadium interior and catch a glimpse of daily activities.

Entrance (Images Courtesy David Matthiessen)

The roof itself embodies a precisely designed interior climate concept that ensures optimalized energetic, economic, and sustainable operation of the ice track on a daily basis. On the underside the roof is fitted with a “Low-E” membrane stretched between the lower cords of the ten-meter high timber and steel trusses. The function of this engineered fabric is to reflect the ice’s own cold thermal radiation back onto the speed track, thus maintaining the low temperature of the ice surface. Simultaneously, this membrane maximises quantity of diffuse daylight that streams into the stadium through the roofs seventeen large north-facing skylights.

Cross Section

A number of existing support buildings were also upgraded in order to integrate them into the arena’s overall concept of optimum energetic performance. They accommodate offices for the stadium director and the training staff, as well as workshops and spaces for the ice maintenance equipment. The major technical plants and extensive changing rooms are discretely located below the entrance concourse at the level of the ice field.

Ground floor plan

Master plan





نوع مطلب : نمونه ساختمان های ورزشی، 
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شنبه 15 بهمن 1390
bm architect


 
June 18th, 2011 by Sumit Singhal

Article source: Iki Architecture

IN MEMORY OF THE GREATEST ARCHITECT SINAN “ON MOSQUE ARCHITECTURE IDEAS COMPETITION”

Transparency and simplicity which are the basic principles of Islam, are the most basic fundamentals that shape our proposals.

The habit for arranging the worshipping area with Qibla direction was continued to be organized in a square form. The surrounding for this square form should be a transparent “Glass Lantern”. So that an idea emerged to create a “glass prism” where the carrying blocks and surfaces are formed by the same material in which  the worshipping area will have an visual quality of the highest degree between the exterior day light and the worshipping area. In order to capture strong mystical ambiance, all the verses of the Quran were stamped on the transparent walls and ceiling surfaces.

Exterior View

  • Architect: Iki Architecture
  • Name of Project: Competition of İdea regarding Mosque Architecture
  • Software used: Autocad , 3dsMax

The dome that has been the most powerful form of the memory of mosque architecture for ages, was taken from its traditional use and turned into an overall coating that will cover the mosque’s internal and external activities and ensure the sun control. Instead of the idea of covered inner yard that is widely seen in traditional uses, an approach of outer yard for which a holed coating is identified and localized to be open at four sides, attention-inviting, and in the form of pressed dome.  It was in this way made into a structural pattern that emerges through filled and empty spaces on the coating that is one of the familiar prototypes of Islamic architecture. While this prototype is always perceived in the ceiling between the worship area and the outer area activities (such as ritual ablution, bayram celebrations, and funeral prayer), a strong spatial effect that will be created by the shadows was obtained.

Rendering 01

The pool that surrounds the glass prism from three sides, that is pressed by the outer cover from two spots, and the minarets are  located on, was important because it was either reflecting the sky to the floor or it was forming a humanitarian approach to the volume of worshiping. The inscription of “Allah” that was planned to be written on the bottom of the pool was made to create a mystical visual influence together with the reflection of the sky during the worship. The impact from the illumination of this inscription on the bottom of the pool at night was considered to increase the enlightenment either of the night from the worship are or from the outside of the building.

Rendering 02

The minarets took their places in the composition as elegant monumental landmarks. The mihrab and the minber were made of glass panels in harmony with the general structural language. On the holed wall in front of the women’s area and the final prayer’s area as well as the reliefs on the fountain of ablution Islamic patterns were used.

Rendering 03

It was assumed that the heating, cooling, and ventilation problem of the glass prism can be solved via suction and exhaust registers working in integration with the floor and that the illumination can be subject to specific details to illuminate along the surfaces of the carriers in addition to the traditional round chandeliers.

Rendering 04

From 27 January to 31 March 2012 the ifa-gallery (Institute für Auslandsbeziehungen/Institute for Foreign Cultural Relations) in Stuttgart (Germany) will show the exhibition “Mosque modern” (Culture Transfers#4).

The building of a new mosque is nearly always accompanied by controversy and debate. In this exhibition we take these debates as an opportunity to discuss new and innovative ideas in the architecture of contemporary mosques, not only in Germany but also including outstanding examples from the Islamic world and from outside Europe.

Rendering 05

Furthermore, one feature of the ifa Gallery programme is the presentation of both fine art and applied art, and therefore we are showing both contemporary building projects and artistic positions. The ifa Gallery sees its role here as providing a platform for discussion.

To complete our exhibition, we would like to give your proposal for “In remembrance of Sinan the Great” from 2010 a place to show contemporary projects of architecture. Therefore, we sending a request to you if it’s possible to get material (high-res pictures; plans, renderings, videos) of this project.

Rendering 06

About ifa-Gallery Stuttgart and the series “Culture Transfers”:

The Institut für Auslandsbeziehungen e.V., created to be the leading German institution for international art exchange, organizes and promotes exhibitions of German art all over the world. The non-commercial ifa-galleries in Stuttgart and Berlin present and mediate contemporary art, architecture and design from Africa, Asia, Latin America and Eastern Europe. ifa brings together people from different cultures in exhibitions and events, scholarship and exchange programmes and also in international conferences relating to foreign culture and education policy, thus initiating intercultural dialogue and discourse.

Rendering 07

“Culture Transfers” is the title of the exhibition series starting in 2010 by the Stuttgart and Berlin ifa galleries, addressing the various forms, standards, subject matter and strategies adopted by cultural transfer operations between the centre and the periphery. Even the working method of institutions such as ifa is based on cultural transfers, promoting, demanding, supporting and initiating intercultural encounter and discussion.

Exterior View

Plan

Section

Site Plan





نوع مطلب : مسجد، 
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شنبه 15 بهمن 1390
bm architect


The new Biodiversity Gallery at the South Australian Museum was opened to the public on 12 February 2010 to wide acclaim.
“The biodiversity of South Australia’s oceans, deserts and forests is truly exceptional. The South Australian Museum’s Biodiversity Gallery celebrates and helps conserve this wonderful asset.” – Sir David Attenborough. Located on the second floor of the Museum’s east wing the gallery showcases South Australia’s rich biodiversity and diverse wildlife across four geographical zones – arid, temperate, coastal and marine tidal.

South Australian Museum Biodiversity Gallery

  • Architects: Grieve Gillett
  • Project: Biodiversity Gallery – SA Museum
  • Location: South Australian Museum, Adelaide
  • Year: Completed 2009
  • Client: Arts SA
  • Project Value: $5M
  • Awards:
    • AIA (SA Chapter) Collaborative Design Architecture Award, 2011
    • “This multi-sensory experience, exhibiting aesthetic quality, experimentation and intense collaboration within an incredibly prescriptive set of constraints stands apart from its forbears, as an axemplar of the benefits of rigorous collaboration.” Jury Citation.

South Australian Museum Biodiversity Gallery

The gallery utilises a variety of media to display the vast information illustrating this biodiversity. These include: touch screen resource libraries, film clips, electronic labelling, interactive specimen drawers containing some of the museum’s extensive collections, and vibrant displays. This is designed to make the gallery visually and mentally stimulating for visitors of all ages.

South Australian Museum Biodiversity Gallery

Grieve Gillett was the Lead Professional Services Contractor for the project, providing full Architectural services, heritage advice and coordinating the extensive team. As well as services, building surveyors and structural consultants the team included an array of specialists:

  • Exhibition Designers Mothers Art Productions from Melbourne – responsible for overall exhibition design and showcase documentation.
  • The South Australian Museum scientists and exhibition specialists – responsible for specimen preparation, interpretive information, exhibit layout and construction.
  • Lighting Designers Bluebottle – an integral member of the team providing specialist advice from the outset and documentation and installation at later stages.
  • Managing Contractor Hansen Yuncken – in addition to sensitively managing the base building works also coordinated joinery installation, input from specialist fabricators not directly under their contract and installation of specialist equipment.
  • Audio Visual consultants: S-Tek – provided technical advice to realise audio visual design intent.
  • Graphic Designers: Ography and Prue Marks – design and documentation of graphics as informed by both Mothers Art and the SA Museum team.
  • Specialist Joiner: ADS Solutions (Melbourne) – conducted a constructability review of the joinery design followed by specialist fabrication and installation.
  • Showcase Construction: Click (Melbourne) – completed a constructability review of the showcases followed by construction, delivery and installation process.
  • Specialist Fabricator: SPUD – provided design development and fabrication of complicated specialist items.

 

South Australian Museum Biodiversity Gallery

The coordination and hard work of all the parties above has led to the gallery’s successful outcome. This collaborative approach was instigated from the inception of the project and carefully managed by Grieve Gillett through to completion. Care was taken to meld the design intent of all parties to create an environment that expressed the framework and objectives of the Museum. Particular attention was paid to balancing the scientific and experiential aspects of the exhibition. The specialist nature of the works and the number of organizations involved in realising the project made financial management a key parameter for a successful outcome. A number of value management sessions were undertaken to balance the Museum’s desire to maximise objects within the exhibits while achieving aesthetic and experiential aspects of the design, providing the required level of environmental control and meeting the budget.

South Australian Museum Biodiversity Gallery

South Australian Museum Biodiversity Gallery

South Australian Museum Biodiversity Gallery

South Australian Museum Biodiversity Gallery

South Australian Museum Biodiversity Gallery

South Australian Museum Biodiversity Gallery

http://www10.aeccafe.com/blogs/arch-showcase/files/2012/01/Biodiversity_-_Plan_A_pdf_page_0.jpg





نوع مطلب : موزه، 
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شنبه 15 بهمن 1390
bm architect


 

The design for the new theater in Lelystad is part of the Master plan for the city center of Lelystad, designed by West 8. The theater plays an important role during the day as well as during the night in this area of the city. The clustering of cultural and social activities in this new quarter will give Lelystad an outspoken cultural face.

 

Exterior View (Images Courtesy Christian Richters)

  • Architect: UNStudio
  • Name of Project: Theater Agora
  • Location: Lelystad, the Netherlands
  • Time Period: 2002- 2007
  • Client: Municipality of Lelystad
  • Program: Theater with two halls and a multifunctional space, restaurant and bar
  • Photos credit: Christian Richters and Iwan Baan

Exterior View (Images Courtesy Christian Richters)

  • Team: Ben van Berkel with Gerard Loozekoot, Jacques van Wijk and Job Mouwen, Holger Hoffmann, Khoi Tran, Christian Veddeler, Christian Bergmann, Sabine Habicht, Ramon Hernandez, Ron Roos, Rene Wysk, Claudia Dorner, Markus Berger, Markus Jacobi, Ken Okonkwo, Jorgen Grahl-Madsen
  • Executive architect: B+M, Den Haag
  • Theatre technique: Prinssen en Bus Raadgevende Ingenieurs, Uden
  • Engineering: Pieters Bouwtechniek, Almere
  • Acoustics/Fire strategy: DGMR, Arnhem
  • Building surface: 5890m2 bvo
  • Seats: Large theater hall: 725
  • Small theater hall: 200
  • Volume:30.000m³
  • Building site: 2.925 m² and expedition area

 

Interior View (Images Courtesy Christian Richters)

In this context the design for the theater forms an important orientation point with a forthright architectural look. Walking from the central station the theater-tower forms a striking accent in the diagonal view. At night the volume illuminates, and is easily traceable from the different parking facilities.

 

Interior View (Images Courtesy Christian Richters)

In daytime the shape of the theater has a sculptural effect. The grand cafe, also open during the day, connects to the evening square. From the different lobbies of the entrance of the theater a beautiful view of the Green Care is presented. The vertical foyer, which swings through the entire building, connects different theater and congress halls on the different floors.

 

Interior View (Images Courtesy Iwan Baan)

The typology of the theater has become more and more complex during the years. UN Studio strived to bring the complexity of a multifunctional theater back into a flexible, transparent and intelligent design. The clear and open organization of the design will serve as a cultural icon for Lelystad.

 

Interior View (Images Courtesy Iwan Baan)

UN Studio has worked on different projects where theater art and new media were important aspects in the program. The interaction between different art disciplines should be integrated in the design process of these buildings. UN Studio’s expertise lies in the analytical approach of the design requirements. During the research process, before the design process, questions regarding special organization and the multifunctional use of the theater obtain an important role.

 

Concept

Diamant structure

Facade

Transition in out





نوع مطلب : سالن تئاتر و اپرا، 
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شنبه 15 بهمن 1390
bm architect


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