#architects model plinth

[tembusugrandsingaporeb]

Grand Hyatt New York Hotel's $130 Million Renovation

Initially opened as The Commodore Lodging in 1919 and reflagged as The Great Hyatt New York in 1980, the inn has played host to numerous dignitaries, superstars and visitors for a long time. The lodgings $130 million redesign addresses a resurrection and resurgence of this notable inn and is a significant piece of the general renaissance of the Great Focal area.

ALSO VISIT:-10 Great Reasons to Invest in Alhaurin El Grande Property

Situated in Midtown Manhattan, the amazing Excellent Hyatt New York has recently finished its $130 million redesign. Found at the intersection of Manhattan contiguous Terrific Focal Station, the lodging has had a start to finish remodel that incorporates 1,306 carefully updated guestrooms and suites including top notch craftsmanship, the acclaimed New York Focal café, a changed hall and mezzanine, numerous occasion and meeting spaces, rejuvenated assembly halls and the creative in and out food outlet, Market.

Change of the Stupendous Hyatt New York highlights abilities by universally eminent specialists Jaume Plensa and Per Fronth, and plan by Bentel and Bentel, George Wong Plan and Looney and Partners. The Midtown Manhattan lavish lodging dispatched craftsmen and architects to re-quicken and recharge the inns public spots. Works by stone carver Jaume Plensa, known for his fantastic public activities in Madison Square Park in New York, Thousand years Park in Chicago and Yorkshire Figure Park in the UK, will act as the lodging entryway's focal point; paintings addressing depictions of New York by Norwegian craftsman per Fronth are displayed in the guestrooms and in the New York Focal's Wine Exhibition; and dynamic, brilliant boards from the German craftsman Burghard Muller-Dannhausen should be visible in the New Exhibition on Lex occasion space.

The Stupendous Hyatt New York

The Anteroom - Traces of Easter Island Rejuvenated

Visitors showing up in the amazing entryway on their immediate occasions to New York will wonder about the two awesome models by Jaume Plensa, named Awilda and Chloe, which are suggestive of the Moai figures on Easter Island. Made from a similar white macael marble utilized in old Roman sections, one stands in a 'water wall' contiguous the entry, while the second sits on a white onyx stone plinth by the appearances and takeoffs region. Plensa made the figures to have all the earmarks of being in a fanciful state, wanting to urge the hurried world to pause and get some down time to join the fantasy of individuals simply attempting to be content where they are, the point at which they are at the Great Hyatt.

Guestrooms and Suites - Inspiring the Mind-set of a Manhattan Home

The 1,306 guestrooms, including 51 suites, consolidate refined colors, lavish surfaces and rich work of art inspiring the plan of a smooth, current Manhattan home. Planned by Looney and Partners of Dallas and George Wong Plan of New York, the rooms offer a quiet safe-haven, a long way from the buzzing about of the downtown area beneath. Most of the guestrooms were planned by Looney and Partners with rich woods, profoundly conditioned pinstripe covering, emotional lighting, all motivated by the idea of a 'hot Manhattan condo'. The 20 celebrity Suites were likewise planned by Looney and Partners and deal two unmistakable ideas; the possibility of a 'space' and the possibility of a cutting edge 'home'. The Space Suites are ideal for business explorers with a sensation of manliness and plan components including coffee colored pecan decorations and extravagant parlor regions, while the Home Suites offer a milder tone and a more unbiased feel.

The four Chief Suites, planned by George Won Plan, depend on the idea of the 'pied-a-terre' and include two fundamental plans; uptown and downtown. The Uptown Suites catch the tones of an exemplary Manhattan condo while the Midtown Suites are motivated by the light and breezy open lofts of TriBeCa.

The Fantastic Club and Get-together Space

The Fantastic Club, intended to look like a housetop garden, is a private style gathering place for visitors, with admittance to innovation, workspaces and food and refreshments. Planned by George Wong, this cutting edge space is loaded up with warm wood surfaces, sage shaded walls and retro-modern metalwork which reflect different components of nature. Encircled by a confidential patio with outdoor tables and curiously large parlor seats, the club includes a section hall looking like a gazebo, a lounge with different seating regions, a morning meal room with regular wood and stone surfaces and a breezy studio. The lodging has a sum of 55,000 sq ft of occasion space going from private meeting rooms to sweeping dance halls. Display On Lex is a 4,400 sq ft occasion region with a club-like feel including beautiful boards from German craftsman Burghard Muller-Dannhausen.

Food and Drink Choices

Planned by Bentel and Bentel, the 6,000 sq ft New York Focal eatery incorporates a parlor, café and wine exhibition highlighting WineStation innovation, an inventive wine apportioning framework permitting visitors to taste a wide range of wines. Gourmet expert Christian Ragano offers a different menu enlivened by the kinds of Western Europe while head cake culinary specialist Katzie Fellow Hamilton has a creative style, mixing exemplary French baking procedures with varied New York City taste.

Market is a 24-hour 'in and out' outlet situated in the primary lodging hall, offering delicious New York treats to inn visitors and the Fabulous Focal area.

[artplinths]

Model Plinth Base For Heatherwick Studios.

Heatherwick Studios Design for Goggle’s new  Mountain View H.Q. .  

Artplinths fabricated this bespoke Pedestal base for the Architects Model.   

Images courtesy of Heatherwick Studios

[lesliasonsdemarieantoinette]

Cabinet des Glaces Montantes

Petit Trianon

Versailles

In 1788, Marie Antionette commissioned the architect, Richard Mique to oversee the renovation of her boudoir. The boiseries are the work of the celebrated Rousseau brothers.

On the white marble fireplace, the busts of Empress Catherine II of Russia (1729-1796) and of her son the future Paul I (1754-1801) reside. They were made in the manufacture of Sèvres based on models by Louis-Simon Bizot. The bust of Catherine the Great was received in 1779, and that of the Tsarevich in 1782. The latter recalls the visit that this prince when he visited the Trianon under the name of Count of the North, accompanied by his wife, Maria Feodorovna (Sophie- Dorothée of Württemberg). The bust is from a 19th century edition. There is also a reproduction of a clock created for Marie-Antoinette in 1780 by the sculptor François Vion and the clockmaker Jean-Antoine Lépine, in gilded chiseled bronze on a white marble plinth.

[architectuul]

FOMA 45: International Style, Structure and Space

Guillermo Dürig selected five projects for this month’s FOMA. Cases are part of the International Style in North America and Europe, which share modernist principles of volume, regularity and flexibility. Their large-scale structures offer various solutions for public programs creating new spatial typologies and constructive synergies while transcending the classic disciplines of architecture and engineering with specific and unique solutions.

Morphological implementation of the large - scale structure in the context of the city. | Collage MvdR office, © MoMA, New York, scanned from: Phyllis Lambert, Mies van der Rohe in America, Montréal and New York 2001, p. 462.

The two-tone aluminium panels make the structure of the Chicago Convention Hall Project. | Model MvdR office, © MoMA, New York, scanned from: Phyllis Lambert, Mies van der Rohe in America, p. 473.

The entire hall of the Chicago Convention Hall Project rests on the peripheral pillars. | Drawing MvdR office, © MoMA, New York, scanned from: Phyllis Lambert, Mies van der Rohe in America, p. 467.

Mies van der Rohe created his Chicago Convention Hall Project (1953-54) in which the clear-span roof shelter of 219,45x219,45 m creates a polyvalent hall defining a universal space able to host 50’000 seated people and a sports arena or an exhibition space. The exposed structure is engineered as a non-hierarchical two-way truss system resting on punctual supports, aiming for greatest purity following Mies’ ideal: “Construction not only determines form but is form itself.” [1] The composition of the façade is directly derived from the trusses and cladded with different tonalities of insulated aluminium panels, making its constructive logic of the buildings main expression. The hall itself, as the largest of four buildings, sits in the centre of a plane field, flanked by smaller box-shaped volumes in a typical Miesian composition. There is no need for spatial or morphological mediation to the surrounding city as stated by Mies: “A Hall of this dimension doesn’t depend on its environment: it creates its environment.”[2]

The second case is a student Master Thesis by Emmanuel Glyniadakis, entitled A sports centre (1964) under the supervision of Myron Goldsmith, Fazlur Kahn and Davis Sharpe. A minimal structure defines the space for an arena, a track with field area, a swimming pool and a flexible area for diverse sporting activities under an 810-foot-square (246,88x246,88 m) roof.

A minimalistic architecture shelters various functions. | Photo © Charles Reynolds, scanned from: Myron Goldsmith; Werner Blaser (Ed.), Buildings and Concepts, New York 1987, p. 153.

Functions as detached elements on a plane grid. | Photo © Charles Reynolds, scanned from: Werner Blaser (Ed.), Buildings and Concepts, p. 152.

Ground level with different sports arenas in the open space. | Plan © Emmanuel Glyniadakis, from: Werner Blaser (Ed.), Buildings and Concepts, p. 151.

The steel structure consists of a two-way grid with a height of 5,18 m and rests on nine pillars. While the grandstands in the convention hall are sunk into the ground, the project arranges the different elements like furniture objects on a plane field, creating a formal composition. A glazed wall along the roof’s periphery seamlessly shelters the program with the public space expanding as a continuous grid from the inside to the outside. The project’s architectural expression is characterised by the minimal and consequent expression of the structure and its programmatic infills.

Franz Füeg has created a grid based on the dimension of 1,68 m served as basis for the church’s strict modularity and final dimensions of 37,3m by 25,6m. The facade of the St. Pius Church in Meggen (Switzerland) consists of steel profiles, which don’t only hold the marble panels in place, but also support the main structure made out of filigree and custom-made trusses. 

Overview over the church, the bell tower and adjacent buildings for the parish (left). | Photo: Archives de la construction moderne (ACM), EPF Lausanne, taken from: Kunst + Architektur in der Schweiz, 56, 2005, p. 56.

The 28mm thick Pantelikom marble from Athens filters the daylight and illuminates the space evenly. | Photo © Archives de la construction moderne (ACM), EPF Lausanne, from: Kunst + Architektur in der Schweiz, 2005, p. 57.

Diagonal wind bracings in the four corners stabilize the structure. The sloping topography of the site exposes a concrete base acting as a precise and sober volume for the lightweight church to sit on. The industrial use of steel as well as the project’s modularity bases on what Füeg had conceptually described as “start building a church as if it would be a factory.” [3]

The floor plan of the church and its repetitive grid. | Scanned from: Jürg Graser, Gefüllte Leere, Zürich 2014, p. 217. 

The translucent marble panels shine outward during the night and light the hall subtly during daytime, creating a volume of light. The non-industrial trusses excluded, the constructive excellence, the rigorous execution of the details as well as the exposed structure are consciously derived from Mies’ idea of the symbiosis of architecture and construction.

A weightless roof hovering above a glass volume. | Photo © Arne Jacobsen, Royal Academy of Fine Arts Library, collection architectural drawings, scanned from: Carsten Thau, Kjeld Vindum, Arne Jacobsen, Copenhagen 2001, p.454.

The Sports hall for the City of Landskrona (Sweden) by Arne Jabcobsen consists of a rectangular roof of 52x92 m, a podium elevated 20 cm over the ground and a transparent glass wall in-between. In order to remove every vertical sensation and reinforce the horizontal character, the columns are shifted to the inside of the hall and split in two.

The ball field and the bleachers as depression in the plinth. | © Dissing + Weitling’s archives, from: Carsten Thau, Kjeld Vindum, Arne Jacobsen, p.457.

In order to remove every vertical sensation and reinforce the horizontal character, the columns are shifted to the inside of the hall and split in two. The structure and the technical installations are hidden above a suspended ceiling, turning the roof into an abstract apparatus, breaking with Mies’ ideology of the structure as the main space defining element. The focus shifts from the construction to the volume. [4]

Like furniture elements, two wooden boxes stand inside the open space. | © Arne Jacobsen, from: Carsten Thau, Kjeld Vindum, Arne Jacobsen, p.454.

A ball field with its bleachers is sunk into the podium, two wooden pavilions house ancillary rooms. The wardrobes as well as the technical areas are inside the podium. While the architectural language and spatial organization still roots in the International Style, a new facet emerges as the expression shifts to “[…] a dematerialized architecture, an architecture without gravity. The dream of a hovering plane” as described by Thau and Vindum.[5] 

The freestanding, multifunctional concrete oval bowl of the The Memorial Coliseum’s sports arena is wrapped in a 360-foot-square (109,72x109,72m) box. The four reinforced concrete columns are shifted into the inside and are totally independent from the arenas’ structure as well as the façade, offering a clear height of 10,97m.

Filigree pavilion resting on an elevated plinth. | Photo © Julius Shulman, SOM 

Cantilevered steel trusses are optimised in height and width according to the spans and hidden together with the technical ducts above a false ceiling following Jacobsen’s strategy of prioritising the space itself.

Circulation space between stadium and façade. | Photo © Art Hupy

While the spectators access the stadium from the parking lot through the glazed public area surrounding the oval, a plinth containing the restricted program is introduced.

Access level of the spectators. | Plan © SOM

Being surrounded by a new artificial embankment, the glass pavilion appears to hover over the terrain. Staff and athletes access it through precise incisions in the ascending slope. The minimal architectural expression is characterized by the conceptual tour de force between the abstractness of the shell and its sculptural content.

---

FOMA 45: Guillermo Dürig

Guillermo Dürig is a swiss architect based in Zurich. He graduated from the Swiss Federal Institute of Technology in Zurich (ETH) obtaining his diploma in 2013. After interning at Juan Navarro Baldeweg in Madrid in the years 2009-10, Guillermo joined Jean-Pierre Dürig’s practice in 2013 and becoming the head of DÜRIG AG in 2021. The main interest of the office lies in the development of radical and conceptual projects, as well as in the execution of public buildings and large-scale infrastructures. In 2015 Guillermo co-organized the summer school ‘MAU’ in Motovun (Croatia). From 2016-19 he worked as a teaching assistant at the chair of Marc Angélil at the ETH, being in charge of organization of the semester on Madrid and Porto. Additionally, he has been a guest critic at the ETH as well as at the ZHAW. His works have been featured and exhibited in various specialized media.

_

Notes:

Mies van der Rohe, lecture, Chicago occasion and date unknown, quoted after: Fritz Neumeyer, Mies van der Rohe on the Building Art. The Artless Word, Cambridge 1991, p. 325. 

Mies van der Rohe, undated typescript, probably prior to 11 November 1953, quoted after Phyllis Lambert, Mies van der Rohe in America, Montréal and New York 2001, p. 463.

Franz Füeg, Gedanken zum Kirchenbau, in: Bauen + Wohnen, 1958, 11, pp. 294-296. Quote translated by the author

On this shift see: Carsten Thau, Kjeld Vindum, Arne Jacobsen, Copenhagen 2001, p. 456. 

Carsten Thau, Kjeld Vindum, Arne Jacobsen, p. 458.

Guillermo would like to thank Joshua Brägger and Philipp Krauer.

[fanonical]

Day 21 of the LEGO Harry Potter Advent Calendar

today we are opening the 21st door!

i’m gonna be honest, ladies, when i opened this i didn’t know what the fuck it was

like some kind of... statue...? with a remote control? at least it explains the plinth, right?

anyways i showed my girlfriend and she was like “i don’t know” but googled “gold Hogwarts statue” and THIS motherfucker came up

it’s the architect of Hogwarts! he’s this funky wizard statue out in the entrance to the school holding a scroll and a model of Hogwarts. and i must say, as weird of a choice as it is... it captures the likeness pretty well!

i’m gonna have to rate him like... a 7/10? because i think it’s a waste of minifig (when, again, we should be getting stuff like Neville or Snape) and kinda weird and niche but super recognisable as soon as you know what it’s supposed to be.

so fucking weird.

what did you guys think?

stay tuned for door 22!

door 1 / door 2 / door 3 / door 4 / door 5 / door 6 / door 7  / door 8  / door 9  / door 10  / door 11  / door 12  / door 13/ door 14 / door 15 / door 16 / door 17 / door 18 / door 19 / door 20

[david-sankey]

Burdett-Coutts sundial and lesbianism and transgender history

https://photos.app.goo.gl/U9etP6rDSdJ1EKBn8

https://photos.app.goo.gl/f47wPs52KbHvHK7Z7

https://historicengland.org.uk/listing/the-list/list-entry/1113250 (History + Details, below)

History

The public gardens around the St Pancras Old Church were opened in 1877,after the churchyard was closed for burials in 1850.The gardens are made up of part of the old churchyard for the church of St Pancras,enlarged in 1800,and a separate burial ground for St Giles-in-the-Fields,added 1803.It was a preferred burial place for Catholics,with an area devoted to French émigrés.The burial ground and churchyard were partially destroyed by the development of the Midland Railway;the company formed a cutting in 1865 for the construction of the railway lines from St Pancras Station.The clearances of tombs and bodies was highly controversial and caused considerable protest;the graves were dug up at night,behind screens,a process overseen by Thomas Hardy,then an apprentice architect,and many years later recorded in a poem,‘The Levelled Churchyard’(1882).The grandest tombs survived,including the tomb to Sir John Soane(d 1837)and his wife(d 1815),but others were moved.The ground was levelled and the headstones were placed in mounds or around the walls.In 1875 the remaining land was acquired by the St Pancras Vestry for use as public space,and the gardens were opened to the public in June 1877;Baroness Burdett-Coutts laid the foundation stone of the monument she had presented,to commemorate the graves disturbed in the construction of the railway.The gardens were laid out in their present form in 1890-1 by the Vestry,in conjunction with the Midlands Railway Company. Angela Georgina Burdett, suo jure Baroness Burdett-Coutts(1814-1906)was a prominent philanthropist who is estimated to have given away between £3 and £4 million.As described by her biographer Edna Healey,in the Oxford Dictionary of National Biography,Burdett-Coutts set a new standard in philanthropy:prompt and practical,her charity was given with style and without condescension.In her time she was an honoured institution and most of her enterprises bore lasting fruit.Even her visionary schemes that did not survive–Columbia market and Columbia Square–served as models for the shopping precincts and housing estates of a later era.In the breadth and sincerity of her sympathies and in the variety of her social and intellectual interests she has had no rival among philanthropists before or since.Her example not only provided an immense stimulus to charitable work among the rich and fashionable but also suggested solutions to many social problems.She was the first woman to be given a peerage,in 1871,and was thus described by Edward VII:‘after my mother the most remarkable woman in the country’.Burdett-Coutts lived with her companion and partner Hannah Brown for 52 years,after whose death,she married her protégé,William Lehman Ashmead Bartlett;it was called the ‘mad marriage’ by Queen Victoria,for Burdett-Coutts was 66,and Bartlett 29. Burdett-Coutts commissioned this memorial to commemorate a diverse group of people whose graves had been destroyed by the development of the railway.Among the names included on the memorial is that of the Chevalier d’Eon,who was a celebrated French spy and diplomat in the eighteenth century.The Chevalier lived the first part of their life as a man and the latter as a woman.Their gender was widely speculated about,and they were written about in many satires and pamphlets.D’Eon used female pronouns in later life,and signed their name as Mademoiselle d’Eon. Numerous other significant historic figures are noted on the memorial, including Sir Edward Walpole, Sir John Soane, and sculptor Thomas Flaxman, whose tomb (q.v.) stands nearby. The burial of Sidly Effendi, the Turkish Ambassador, presumably a Muslim, is quite unusual. In line with Burdett-Coutts’s humanitarian principles, a special dedication is made to the ‘memory of those whose graves are now unseen, or the record of whose names may have become obliterated’.

Details

Memorial sundial,1877-1879.Designed by George Highton of Brixton for Baroness Burdett-Coutts, and manufactured by H Daniel and Co,cemetery masons of Highgate;relief carvings by Signor Facigna.MATERIALS:constructed from Portland stone,with marble and granite dressings and mosaic detail,a red Mansfield stone base and wrought ironwork.DESCRIPTION:the memorial is a tall square shaft in decorated Gothic style,standing on a square plinth and a three-tiered octagonal base.The shaft has angle colonnettes in pink and grey granite,which rise on each side to a trefoil head to a recessed panel with inscriptions in applied lettering.Four tall,richly-moulded gables surround a crocketed spire with corner pinnacles.The SW side faces the entrance to the gardens.The trefoil contains a marble plaque beneath a relief carving of St Pancras with a palm and book,above a marble panel with a two-part inscription:the first is the beatitudes from St Matthew V,3-9 (verses 4 and 5 in reversed order),and the second is a religious poem,the author of which is unknown.In the gable above is an iron sundial,with the words ‘TEMPUS EDAX RERUM’ –time devours all things.The SE and NW sides have relief carvings of Morning,represented by a woman with a cockerel upon her head,and Night,represented by a robed figure with a star and crescent moon. The panels contain lists of names of eminent people once buried in the churchyards.On the NE is St Giles,whose panel has a dedication to those people whose graves were disturbed but whose names were not recorded.The names are listed thus:SE side:‘CHARLES LOUIS VICOR DE BROGLIE 1765/CHEVALIER D’EON,1810/FRENCH MINISTER PLENIPOTINTIARY/JOSEPH FRANCIS XAVIER DE HASLANG,1783/COUNT D’HERVILLY,1795 MARSHAL OF FRANCE/PASCHALIS DE PAOLI,1807 OF CORSICA/COMTE DE PONTCARRE,1810 /MICHAEL JOANNED BAPTISTA,BARON DE WENZEL,1790/OCCULIST TO THE COURT OF HUNGARY/LORD CHARLES DILLON,1741:LADY DILLON, 1751/ARCHIBISHOP DILLON,1806/GENERAL SIR RUFANCE DONKIN,KCB,GCH 1841/MISS FRANCES DOUGHTY,1763/DAUGHTER OF SIR HENRY TICHNORNE/GUY HENRY MARIE DU VAL, MARQUIS BE BONNEEVAL, 1863 /REV.JOSEPH DUNCAN,1797/SIDLY EFFENDI,1811/ TURKISH AMBASSADOR TO THIS COUNTRY/JOHN FLAXMAN,1826 SCULPTOR/SIR JOHN FLEETWOOD,1741/PHILLIPPO NEPUMUCENO FONTANAE,1793/AMBASSADOR FROM THE COURT OF SARDINIA/TO THAT OF SPAIN/FRANCIS PIETRI FOZANO,1838/CLAUDE JOSEPH GABRIEL,CISCOUNT LE VAULX,1809 / MARSHAL OF FRANCE/BONAVENTURA GIFFARD,1734 AND ANDREA GIFFARD,1714 /JOHN ERNEST GRABE D.D.1711/ANTOINE FRANCOISE,COMTE BE GRAMONT,1795/SIR JOHN GURNEY,1845/FORMERLY THE CHIEF BARON OF THE EXCHEQUER/SAMUEL HARRISON,MUSICIAN 1812/THE HON ESME HOWARD OF NORFOLK,1728/YOUNGEST SON OF HENRY,EARL OF ARUNDEL AND SURREY/AND HIS WIFE MARGARET,1716 /COUNT LA MARCHE,1806 BISHOP OF LEON’(33)NW side:‘HIS EXCELLENCY PHILLIP ST MARTIN/COUNT DE FRONT,1812./MORRIS LEIVESLEY,1849,/54 YEARS SECRETARY OF THE FOUNDLING HOSPITAL./ JAMES LEONI,1746, ARCHITECT./COUNT FERDINAND LUCHESSE,1806, ENVOY FROM NAPLES/ANDRES MARSHALL,1813,PHYSICIAN./MAURICE MARGAROT,1815,AND HIS WIFE ELIZABETH,1841 / THOMAS MAZZINGHI,1775,VIOLINIST./FATHER OF JOSPEH MAZZINGHI,THE COMPOSER./THE HON:ISAAC OGDEN,1819./REVD FATHER O’LEARY,1802./DON JOSEPH ALONZO ORTIZ,1813,/CONSUL GENERAL OF SPAIN./STEPHEN PAXTON,1787,MUSICIAN./ PETER PASQUALINO,1766,MUSICIAN./MADELINE ANTOINETTER PULCHERIE,MARQUISE DE TOURVILLE,1837./SENORA DONA MARIA MANUELA RAPAOL,1839,/NATIVE OF CORDOVA./SIMON FRANCIS RAVENET,1764,ENGRAVER./LADY SLINGSBY,1693,AN ACTRESS./SIR JOHN SOANE,R.A.F.R.S. 1837,/ARCHITECT OF THE BANK OF ENGLAND/JEREMIAH LE SOUEF,1837,/FOR 20 YEARS VICE CONSUL OF THE UNITED STATES./SIR CHARLES HENRY TALBOT,1798,/HIS WIFE AND OTHER MEMBERS OF THE TALBOT FAMILY./SIR HENRY TEMPEST,1753./MANOEL VIERA,1783 PORTUGUESE MERCHANT./JOHN WALKER,1807/AUTHOR OF THE PRONOUNCING DICTIONARY./EDWARD WALPOLE,1740./SIR JOHN WEBB,1797,/AND HIS WIFE BARBARA,1740.’(29)NE side,beneath the dedication:‘RT:HON’ MARY DOWAGER LADY ABERGAVENNY,1699./FRANCIS CLAUD AMOS 1800./THE HON:COUNT ARUNDELL,1752 AND HIS WIFE ANN,1778./LOUIS CLAUD BIGOT,1803/MINISTER PLENIPOTENTIARY FOR THE KING OF FRANE IN SWEDEN./LADY BOWYER 1802,RELICT OF SIR WILLIAM BOWYER,BART/WILLIAM BRETT,1828,ARTIST./HENRY BURDETT,1736, GOLDSMITH./MARY BURKE,1846./WIFE OF JOHN BURKE,AUTHOR OF “THE PEERAGE”./THE HON:ELIZABETH BUTLER,1823,/DAUGHTER OF LORD LANGDALE./RT:HON:ELIZABETH,COUNTESS OF CASTLEHAVEN,1743,DAUGHTER OF LORD ARUNDELL./TIBERIUS CAVALLOW,1809, SCIENTIST./THE HON AMEY CONSTABLE,1783,/DAUGHTER OF LORD CLIFFORD OF CHUDLEY./CATHERINE CONSTABLE,1783/WILLIAM CUMMINGS,1833,GENERAL OF H.M.FORCES./JOHN DANBY,1798,MUSICIAN./ALEXANDER CAESAR D’ANTERROCHES,1793,/BISHOP OF CONDORN./JOSEPH CAYETANO DE BERNALES,1825,SPANISH MERCHANT,/ AND HIS WIFE ELIZABETH,1823.’(24)The square plinth has four corner posts linked by foliate ironwork.The Mansfield stone octagonal base has three tiers of troughs,with the outer face of each containing intricate mosaic and relief moulded panels depicting flowers,foliate symbols and the seasons.The troughs are filled with plants.C20 cast-iron railings enclose the monument,and in line with the corners are four stone statues:two of seated dogs,said to have been modelled on Burdett-Coutts’s collie,and two lions.Johann Christian Bach’s plain pauper’s plaque stands on the NW edge of the railings.

Amongst people commemorated is the Chevalier d'Eon (1728 – 1810) , an 18th century French spy, diplomat and freemason whose gender transition was recognised in French and English law.

For 33 years, from 1777, d'Éon dressed as a woman, claiming to have been female at birth. Doctors who examined d'Éon's body after d'Éon's death discovered that d'Éon would have actually been designated male at birth.

Source: Burrows, Simon (October 2006). Blackmail, scandal and revolution London's French libellistes, 1758–92. Manchester, UK: Manchester University Press. 9780719065262.

[arts-dance]

The Making of Brick House

By High Line Art | January 14, 2019

Brick House, Simone Leigh’s commission for the inaugural High Line Plinth, is a monumental 16-foot-tall bronze bust of a Black woman whose skirt resembles a clay house. The sculpture is infused with the architectural concepts and processes taken from West Africa as well as the American South: the Batammaliba architecture from Benin and Togo, the Mousgoum people of Chad and Cameroon, and the restaurant Mammy’s Cupboard, in Natchez, Mississippi. Currently in the process of being fabricated in Philadelphia at Stratton Studio, Leigh designed and constructed this massive work through a complicated and fascinating multi-step process that pays homage to these “architectures of anatomy”.

Batammaliba, the name of people of Northeast Togo, translates as “those who are the real architects of the earth.” The Batammaliba believe in the interconnected relationship between architecture, humans, and their environment. The designs of each house, place of worship, and gathering space serve as visual reminders of the human body. Within this tribe, the architects are involved in all the steps it takes to erect a structure: from conception to design to fabrication.

Leigh was also inspired by Mammy’s Cupboard, another built structure that references the human form, though in a much more direct way. Built in 1940, Mammy’s Cupboard is a restaurant in Natchez, Mississippi. The brick restaurant is shaped like a 28-foot-tall woman wearing a round skirt that towers alongside US Highway 61. Mammy’s Cupboard originally took the guise of a darker-skinned Mammy figure, the racist archetype of a Black woman domestic worker that was prevalent in the late 19th to early 20th centuries and which was popularized in Harriet Beecher Stowe’s Uncle Tom’s Cabin and later with the character of Mammy in the film Gone with the Wind. Though repainted with a paler skin tone to downplay the resemblance to the racist stereotype, Mammy’s Cupboard remains an embodiment of the Black woman’s form as symbol for the labor she provides. That metaphor of body as function, as informed by these intersecting cultural references, provides a point of entry for understanding Leigh’s Brick House.

The sculpture began as a ceramic maquette in Leigh’s Brooklyn studio that was used to create digital 3D models of the sculpture for planning and visioning of the artwork on the Spur, and also as a reference for constructing the full-scale sculpture. Then, roughly two tons of modeling clay specially chosen from a French quarry (which is said to be the one where Auguste Rodin took his clay from) were mounted onto an armature and sculpted by the team, with Simone overseeing the shapes and textures of the different elements.

Leigh and High Line Art chose the Stratton Foundry for their experience and expertise with hand-sculpting and casting in large-scale, bronze sculpture. Often when an artist wants to create a sculpture ambitious in size, a smaller maquette will be reproduced as a full-scale foam model from which the mold is made. However, Simone had concerns that a computer generated reproduction would lose the visible, personal touches important to her process.

READ MORE:

https://www.thehighline.org/blog/2019/01/14/the-making-of-brick-house/

[rabbitcruiser]

Public Art, Lisbon (No. 9)

Monument that reproduces in life size the "Lusitânia" waterplane used, by Gago Coutinho and Sacadura Cabral, in the first crossing of the South Atlantic, towards Brazil, in 1922.

Opened on October 15, 1991, in the Jardim da Torre de Belém, it comprises an elegant architectural plinth in concrete, lined with granite, on which a stainless steel seaplane sits, with the same dimensions as the original. In the interior, suggesting human presence, the bronze busts of the aviators are modeled, executed in a very realistic and life-size manner.

The sculptural work is by Mestre Domingos Soares Branco, and the architectural work belongs to the architects Eduardo Martins Bairrada and Leopoldo Soares Branco.

Source

[paulandkarenartandlife]

Art in Public (Scotland)

https://www.bbc.co.uk/programmes/m00124rq

BBC Scotland have made a film about the public art of Scotland’s New Towns during the 1970s. The film was presented by the actor, Mark Bonnar. Co-incidentally, Mark is the son of one of the town artists, and grew up amidst all this creative energy.

The recent events in Bristol and the taking-down of the sculpture of Edward Colston, the 17C slave trader, has prompted a lot of discussion about the role and status of public art in the civic space of our town and cities...

For most of history, public art has taken the form of figurative sculptures that commemorate the important rulers and military figures of the area. Generally, these sculptures were presented, raised on a plinth.

It was only in the middle part of the 20C, and at the Festival of Britain (1951), that artists such as Henry Moore proposed a new kind of public sculpture. The shapes became bigger and more abstract and came down from the plinth. The engagement with the work was more interactive and dynamic...

The possibilities of this kind of work were shown at the sculpture exhibitions in Battersea Park in 1951. The basic proposal, of moving beyond the representation of public worthies was enthusiastically taken up as part of the template of post-war reconstruction, and in the conceptualisation of the civic place-making of the post-war New Towns and the new, plate-glass, campus Universities.

The basic idea of the New Town template was to provide an updated version of the garden-city model proposed by Ebenezer Howard as a solution to 19C London’s problems of overcrowded living conditions. These conditions had been recognised by 19C social reformers as providing for both an economic and moral blight upon the poor. The arguments regarding the provision of modern housing for the poor have been presented in the historic documentary film, Housing Problems (1935)

https://vimeo.com/4950031

and also by Ian Hislop in his documentary series about 19C social reform https://www.bbc.co.uk/programmes/b00wkmh4/episodes/guide

The New Towns were an ambitious solution to build new communities and ease the problems of slum tenements and overcrowding in Scottish cities after WW2, particularly in Glasgow. Five Scottish New Towns were designated between 1947 and 1966. They were, East Kilbride in 1947, Glenrothes in 1948, Cumbernauld in1956, Livingston in 1962 and Irvine in 1966). 

The towns each appointed a town artist and encouraged them to make small-scale interventions into the public domain...these took the form of concrete sculptures, totems and murals. Later, as the film describes, these works became the subject of various administrative arguments...In contrast, the response of the general public has been enthusiastic.

The English New Towns also followed the same template of open space and public art. Recently, public sculpture has come under threat from scrap-metal thieves...

There are many examples of modern sculpture as public art in London. The names of Henry Moore, Barbara Hepworth and Frank Dobson can provide a starting point for exploring these wonderful objects. The dinosaurs at Crystal Palace provide a different, but no less important, kind of starting point.

I should add that one of the things my parents gave to me, I understand now, was the sense of the sculptural potential of everyday objects. I think I got this, especially, from the loudspeaker my father had constructed from a cast concrete drainpipe. It stood on its end in the corner of our living room, with the speaker resting in its opening. The drainpipe was painted white. 

I think it dated from my father’s Corbusian phase. A stage that all architects, of a certain vintage, had been through. My father had worked, in a very junior capacity, at the Festival of Britain. and later at Coventry, under the direction of Arthur Ling. The are murals by Gordon Cullen at Coventry, and all the buildings of the city centre seemed to fit together as a coherent and expansive expression of potential and possibility. I couldn’t possibly have understood all that when I left Coventry, aged 4. But, I must have responded to this idea because, here I am, sixty odd years later, writing about it and acknowledging its significance.

In Folkestone, where we live now, the provision of public art has been promoted through the Triennial. Over the last few years, the town has gone from having two pieces of public art - the statue of William Harvey (the 17C doctor who discovered the circulation of the blood) and the war memorial 1914-1918 - to having a broad selection of work by contemporary artists.

I’ve posted about some of them on my new pamphleteer site

https://paulrennie.rennart.co.uk/post/92437670595/folkestone-t2014-sarah-staton

and here is the link to Creative Folkestone 

https://www.creativefolkestone.org.uk/folkestone-triennial/

It’s difficult to believe, but as recently as the 1990s, three was a fierce culture war about modernism and modern art in Britain. That has broadly been won in favour of modern art and artists. Thank goodness for that.

[architectnews]

Gulmeshwori Basic School, Nepal

Gulmeshwori Basic School, Nepal, Nepalese Rammed Earth Building, Asian Architecture Images

Gulmeshwori Basic School in Nepal

28 Dec 2021

Architects: MESH Architectures

Location: Mahadevsthan Mandan, Bagmati Province, Nepal, central Asia

Kids of Kathmandu, an NGO that builds schools in Nepal, recruited MESH to build the new Gulmeshwori Basic School building for 5-7th graders on a scenic site in the hills outside Kathmandu. The organization is committed to sustainable construction. Resources were limited by budget ($135K), site accessibility, and material scarcity. They had a contractor experienced with rammed earth. MESH eagerly accepted the pro bono challenge.

Gulmeshwori Basic School

The existing school occupied a handful of small, uninspiring sheds. Nepalese pedagogy is recognizable as traditional, rote lesson delivery to orderly rows of students crowded into desks. To encourage alternative classroom organization and also in response to the open surroundings, MESH proposed an organization of hexagonal rooms: 3 classrooms at grade, with a computer room and library upstairs. A covered porch provides an outdoor space usable during the monsoon, and an outdoor plinth becomes a stage for gatherings, connected by stair to a green recreational roof.

MESH designed trapezoidal desks, scaled to the hexagonal classrooms, that combine into many different configurations to encourage diverse interactions: the desks can make hexagons to gather around, undulating lines to disperse for individual work, or individual stations.

All of this makes for a variety of spaces within a small footprint. A loose organization of heterogenous spaces like this keeps the mind open and active by continually rewriting the mind’s model of its surroundings.

The school is sustainably built by any measure: Rammed earth has a low energy/CO2 footprint because most of the mass is excavated from the site itself, with a small amount of cement. It functions much like reinforced concrete, with structural strength, fire and earthquake resistance, and thermal mass to modulate temperature. There is no heating/cooling. Lightweight, site-welded space frames support the roofs. MESH-designed railings express energetic optimism. All steel is the color of marigolds, heaped generously on all visitors.

What was the brief? The school needed new classrooms for younger middle school students, a library, and a computer room.

What were the key challenges? The budget was very low and resources scarce. The challenge was to build an inspiring place for learning with humble means.

Key products used: The building is constructed almost entirely of rammed earth, sourced from the site, which is mixed with a very small amount of cement. There are steel space frames to support the roofs and 2nd floors and steel railings for the stair and green roof deck.

What building methods were used? The building is constructed almost entirely of rammed earth, sourced from the site, which is mixed with a very small amount of cement. There are steel space frames to support the roofs and 2nd floors.

What are the sustainability features? 1) Construction in rammed earth, sourced from the site 2) no mechanical systems or plumbing 3) no finishes or other extraneous features

Gulmeshwori Basic School in Nepal, Asia – Building Information

Architects: MESH Architectures

Structural Engineer: Office of Structural Design

Project size: 2350 ft2 Site size: 21250 ft2 Project Budget: $135000 Completion date: 2021 Building levels: 2

Photographer: Bhushan Dahal

Gulmeshwori Basic School, Nepal images / information received 281221

Location: Mustang, Jomsom, Nepal, Central Asia

Nepal Building Developments

Nepal Architecture Designs – chronological list

Soaltee Crowne Plaza Kathmandu hotel building image courtesy of architects office Soaltee Crowne Plaza

Fog Harnessing Spa and Water Irrigation Plant, Ilam district, Eastern Nepal Design: Margot Krasojević Architects image courtesy of architect Spa and Water Irrigation Plant in Nepal

Artificial Snow Cave Emergency Shelter Design: Margot Krasojević Architects image courtesy of architect Artificial Snow Cave Emergency Shelter

New Delhi Architecture Walking Tours

Indian Architecture – Selection:

Kolkata Airport, Kolkata Design: RMJM Architects Kolkata Airport

Nariman Point, Mumbai Design: Chapman Taylor Nariman Point

Comments / photos for the Gulmeshwori Basic School, Nepal – page welcome

Website: Nepal

The post Gulmeshwori Basic School, Nepal appeared first on e-architect.

[architectsumedha]

How do architect’s charge?

Percentage based: Our charges are normally founded on a rate model. Our architecture charges will be 7% of the absolute undertaking cost brought about by the customer. This rate is applied on the grounds that an architect is engaged with all parts of design directly from arranging, vastu, light, ventilation, structure, byelaws, workers for hire, materials, costs, financial plans, completes, customer prerequisites, style, subtleties, interiors and so on Henceforth a rate based charge guarantees that the association is all through actually like some other calling like specialist, or legal counselor.

For a customer to financial plan for a task becomes troublesome when his architect is yet to deliver a design and is discussing rates. A thumbrule cost of development, taking here for instance: Rs.2000/sq.ft. of proposed developed area.So lets say a 2000 sq.ft. house is proposed, the task cost will be Rs. 40,00,000/ - .

Architects expense at 7 % will be 40,00,000 x .07= Rs. 2,80,000/ - .

50 to 60 % of an architect's work obligation is finished before real work begins at site. This is on the grounds that the whole tasks is visualized, endorsed by customers, assessed, designed for structure, drawings are given out for all stages and just when everything is considered, manages job start nearby. When work at site starts off, the architects job is to regulate and guarantee that all guidelines are followed, bills are checked, and all issues at site are settled.

So 60 % of 2,80,000 will be 2,80,000 x 0.6= Rs.1,68,000/ - which ought to be paid to the architect before beginning of work at site.

Lumpsum based: Often a few customers have their own arrangement of natural development groups, or they, when all is said and done, are in the realty business. At such at such critical times the work is finished by them. Consequently architects are not called for oversight. In this way they look for just part association from the architect. For such customers we frequently quote a lumpsum charge which incorporates just this first stage depicted over.( 60% work) In such a case the architect doesn't assume liability of the site. The customer needs to request that the architect complete management visits and pay for them independently. My own experience is that such an inclusion puts the architect on a backfoot. It's anything but a specialist to give great medication for a very long time, yet to not be worried about the patient's future wellbeing.

Square foot based: There are some senior architects who have a fixed style of design and consequently know the materials that they would utilize, and can project an exact expense of house. At such critical points in time a charge dependent on per square foot space of the developed. So lets say an architect charges Rs.300/sq.ft., for a proposed developed of 2000 sq.ft., Architect's expense will be Rs.6,00,000/ -

Notes: A rate applies on project cost which incorporates the worker for hire's expenses, his charges including tank and taxes.On costly prepared purchased out items,percentage can be applied just specifically. For instance: If a customer demands introducing a gem studded gold spigot, the exertion taken by an architect to anticipate it will maybe be equivalent to that for a typically utilized Chromium plated fixture. Henceforth a rate over an accepted expense of chrome covered spigot will be charged, and not over the gem studded tap. This is obviously according to watchfulness of every architect.

Workscope: Building a house goes the through the accompanying advances

a) Getting clear papers of the land

b) Appointing an architect

c) Finalizing design with architect,structural design from engineer, and submitting it for endorsement with the nearby administering authority

– Getting initiation testament

– Finalizing on gauges fro project workers base wear BOQ arranged by architect.

d) Start of establishment work at site

e) Plinth checking endorsement from administering body

f) Structural system(Columns-pillar/loadbearingwalls/steel outline) gets constructed first

g) Walls,plumbing, electrical and mortar are finished

h) Doors,windows,floor,lights,and fittings are cpompleted

I) After finish of house, application for consummation testament and building architect's visit.

j) Start of water supply and waste, all No Objection certificates(NOCs) are supported.

[designhistoriestheories-lucia]

Ya Lucia Kang HTD Essay 2

This is an anchor sitting at the junction between Deptford High Street and New Cross. It was gifted as a respect of Deptford maritime history by Chatham Dockyard.

Deptford, originated from the deep ford across the River Ravensbourne. It was a shipbuilding centre for the Royal Navy at the Royal Dockyard since 1513 during King Henry VIII time. (Deptford History | A Tale of Two Rivers, 2021) It was also famous in trade. Honourable East India Trading Company had a yard in Deptford and many slave trades were done there. However, it started to have a high increase of unemployment rate as the shipbuilding industry came to a decline. (Deptford History | A Tale of Two Rivers, 2021) Since then, even Deptford does have a reputation in maritime history like Greenwich, it is often seen as a poor community in London.

The anchor was chosen by an architect, Rosie Chard. She states that “the anchor was originally chosen for its size, sculptural qualities and condition.” (The Deptford Anchor | deptfordisforever.net, 2021) She was looking for an anchor with the size related to its location. It was placed at the current location in order to be seen by more people. The anchor uses its own oval shape as a plinth instead of an extra one, which makes it more realistic and look functional. The height of plinth was also considered by Rosie. She said that it invited people to sit down. However, when this function was combined with the stereotype of poverty community in South East London, it caused a controversy between the Lewisham Council and the neighbourhood.

The anchor was removed in 2013 because of reports received by Lewisham Council. It stated “Attitude surveys… highlighted concerns of safety of the high street, particularly at night. It was felt that the position of the anchor on a raised plinth… provided an opportunity for loitering, street drinking and antisocial behaviour.”(Waywell, 2021) Obviously, the anchor was never the reason of these behaviours. The anchor was liked by the neighbourhood. It was a landmark of Deptford and it represented the long history and community of Deptford. The removal of the anchor was like denying the history and community. It also enhanced the stereotype of the poverty image of Deptford. In order to get back the anchor, a campaign was held by the neighbourhood and the petition got more than 4,000 signatures.(Waywell, 2021) People also started varies form of revolt like painting the anchor, making models of the anchor and gathering around them, and getting tattoos of the anchor. Finally, the anchor was returned in 2018.

References

- deptfordisforever.net. 2021. The Deptford Anchor | deptfordisforever.net. [online] Available at: <https://deptfordisforever.net/the-anchor> [Accessed 27 February 2021].

- Deptfordlandings.co.uk. 2021. Deptford History | A Tale of Two Rivers. [online] Available at: <https://www.deptfordlandings.co.uk/news/a-tale-of-two-rivers/> [Accessed 27 February 2021].

- Murray, R. and Murray, R., 2021. A Brief History Of Deptford — South London Club. [online] South London Club. Available at: <https://www.southlondonclub.co.uk/blog/a-brief-history-of-deptford> [Accessed 27 February 2021].

- Waywell, C., 2021. How people power got the Deptford anchor back. [online] Time Out London. Available at: <https://www.timeout.com/london/news/how-people-power-got-the-deptford-anchor-back-022118> [Accessed 27 February 2021].

[biofunmy]

How to Build a Modern Barn

Three years ago, Marc and Lana Reuss found themselves happily untethered, in the enviable position of being able to make a new home for themselves almost anywhere they pleased.

They had spent the previous eight and a half years in Europe, where Mr. Reuss helped take a medical products company public. Ms. Reuss had retired from teaching. And their twin daughters had left for college back in the United States.

“That’s how we began the process of asking, ‘Where do we want to go, and what do we want to do?’” said Mr. Reuss, 58.

The couple, architecture buffs, had previously lived in and around Boston, where they had once owned the Big Dig House, a much-publicized dwelling made from reclaimed highway materials.

Image

Marc and Lana Reuss met with the architects at Birdseye, hit it off and got to work.“I gave them a Lego model of what I wanted,” Mr. Reuss said.Credit…Jim Westphelan

They liked the idea of returning to the northeast, but wanted a more relaxed, bucolic place. They weren’t sure exactly where, until they visited one of their daughters at Middlebury College in Vermont.

“We just remembered how beautiful Vermont was,” said Ms. Reuss, 58.

They also recalled a town about 60 miles southeast of Middlebury that offered not only natural beauty but a vibrant community with appealing stores and restaurants. “We knew that Woodstock was a really cool little town,” Ms. Reuss said.

In June 2016, they paid $210,000 for a 27-acre, forested lot outside Woodstock with enough elevation to offer long views of the Green Mountains. Then they began looking for someone to design their dream home and stumbled upon the website for Birdseye, an architecture and building company based in Richmond, Vt.

“One look at their portfolio and it was a no-brainer,” Mr. Reuss said. “They do spectacular architecture.”

The Reusses met with Birdseye architects Brian Mac and Jeff McBride over a beer at the Long Trail Brewing Company near Woodstock, hit it off, and got to work.

“I gave them a Lego model of what I wanted,” Mr. Reuss said. “Which is a little bit comical in retrospect, but they took it on board.”

The building blocks weren’t entirely inappropriate, Mr. Reuss pointed out, as the couple essentially wanted a “modern barn” with a simple form.

As Birdseye refined the design, however, it became clear that the architects weren’t content to build just any barn. “We were trying to give it more of a regional feel, in terms of how barns relate to the landscapes of Vermont,” Mr. Mac said.

Because the state’s undulating topography had historically encouraged many farmers to build bank barns — partially buried in a hill and accessible from two levels — Birdseye eventually decided to use a similar approach for the house.

Working on a grassy slope, they dug the basement into the hillside, keeping one end level with the gravel driveway to create a garage and subterranean game room. Above, they added a “concrete plinth,” Mr. Mac said, which holds a two-story structure with a gable roof, but also extends out into the landscape, beyond the house, with a deck, hot tub and firepit.

To limit the material palette, the architects designed the ground floor — which contains a living, dining and kitchen area, as well as a home office — as an open box of floor-to-ceiling glass and exposed steel.

The second floor, where there are three bedroom suites, has a different look and feel, with punched windows in a cedar facade.

Tying the levels of the 4,600-square-foot house together is a monumental, 16,000-pound, powder-coated steel staircase that was built off-site and craned into place before the roof was added.

Despite all the glass in a climate that gets frosty in winter, the house is designed to eventually to produce more power than it consumes. A geothermal system provides heating and cooling, and the Reusses plan to add a photovoltaic system for electricity in the future.

Birdseye, which built the house in addition to designing it, began construction in June 2017 and completed work two years later, for a total cost of about $2.8 million.

Mr. Reuss said the couple had invited bids from other contractors, some of which were less expensive, but decided to stick with one firm for design and construction to protect against errors. “The house is so precise, you can’t bury anything behind a wall,” he said. “At the end of the day, it was like they were building a home for a parent. They just took such excruciating care.”

As the project was wrapping up, Mr. Reuss accepted a job at a technology company near Boston. He and Ms. Reuss now split their time between Vermont and Massachusetts, but think of the house in Woodstock as their forever home.

“I call it a final home,” Mr. Reuss said. “Living there is almost overwhelming. It’s just — morning, noon and night — a source of tremendous pleasure.”

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[architectnews]

Dezeen's top 10 British architecture projects of 2021

From a towering castle entrance to a studio in an old barn, we take a look at 10 of the most impressive British architecture projects featured on Dezeen this year as part of our review of 2021.

Photo is by Jim Stephenson

East Quay, Somerset, by Invisible Studio and Ellis Williams Architects

A mashup of galleries, studios and holiday homes can be found at the East Quay art centre, which Invisible Studio and Ellis Williams Architects designed for a community group in the West Country harbourside town of Watchet.

In reflection of its varied contents and the surrounding ad-hoc harbour buildings, the complex is composed of a stack of volumes with different forms and materialities. They are unified by a concrete plinth that wraps around a public courtyard.

Find out more about East Quay ›

Photo is by Hufton + Crow

Maggie's Southampton, Southampton, by AL_A

This year saw Amanda Levete's studio AL_A join the illustrious list of architects to have designed a Maggie's Centre for cancer care in the UK.

Maggie's Southampton is a low-lying pavilion, tucked away in a verdant garden at Southampton General Hospital. AL_A adorned its exterior with mottled stainless steel cladding and walls of pastel-coloured ceramic blocks.

Find out more about Maggie's Southampton ›

Photo is by Morley von Sternberg

Cambridge Central Mosque, Cambridge, by Marks Barfield Architects

Elaborate tree-like pillars are the focal point of the Cambridge Central Mosque, which Marks Barfield Architects completed this year as a "calm oasis of contemplation".

The pillars, which feature inside and outside the building, link to form a decorative canopy supporting the mosque's domed roof. Outside, they are paired with a decorative brick facade that draws on local architecture.

Find out more about Cambridge Central Mosque ›

Photo is by Nick Kane

Auckland Tower, Bishop Auckland, by Niall McLaughlin Architects

One of the more unusual projects of the year is Auckland Tower, a landmark entrance and viewpoint created for a castle in the County Durham town of Bishop Auckland.

Niall McLaughlin Architects modelled the viewpoint on an illustration of a medieval siege engine, while its adjoining welcome building resembles a market hall, nodding to the town's old marketplace.

Find out more about Auckland Tower ›

Photo is by Rory Gardiner

Sands End Arts and Community Centre, London, by Mae

In Fulham, Mae opened a community centre that was designed using the principles of a circular economy – an economic model that minimises consumption.

The centre is designed to be easily adapted to meet future needs and is built with an exposed timber structure, bricks made from construction waste and reversible fixings in place of glue. As part of the project, Mae also converted an existing lodge on the site into an arts space.

Find out more about Sands End Arts and Community Centre ›

Photo is by Rory Gardiner

Redhill Barn, Devon, by TYPE

Another project on this list that involved the conversion of an existing structure is the Redhill Barn, a secluded home in Devon that was created by TYPE.

The house slots within the weathered stone walls of a 200-year-old barn that was missing its roof. TYPE's intervention preserves this original envelope, marrying it with an exposed Douglas fir structure, lime plaster walls and pared-back furnishings.

Find out more about Redhill Barn ›

Photo is by Jim Stephenson

David Brownlow Theatre, Newbury, by Jonathan Tuckey Design

Jonathan Tuckey Design used a facade of red composite cement panels to set the David Brownlow Theatre apart from its leafy surroundings at Horris Hill School in Newbury.

The theatre, which is intended to evoke Renaissance architecture, is used for everything from school assemblies to drama productions. Its other key features include a cross-laminated timber structure and a portico that doubles as a billboard.

Find out more about David Brownlow Theatre ›

Photo is by Jim Stephenson

Art Barn, Devon, by Thomas Randall-Page

Another Devon barn conversion that featured on Dezeen in 2021 was carried out by architect Thomas Randall-Page for his father, the sculptor Peter Randall-Page.

The project, aptly named Art Barn, involved transforming the agricultural building into a studio space. The building's original appearance has been retained, but sliding doors and a folding balcony that blend into its cladding have been introduced. Inside, a freestanding cork-clad structure has been added for use as a cosy workspace.

Find out more about Art Barn ›

Photo is by Gillian Haye

Writer's studio, Edinburgh, by WT Architecture

The smallest project on the list is a glasshouse hidden in the garden of a Victorian villa in Edinburgh, which WT Architecture designed as a studio for pair of writers.

In homage to a dilapidated glasshouse that previously occupied the site, its design is intended to be visually simple. It features a low brick base, from which an exposed timber and steel structure is cantilevered.

Find out more about the writer's studio ›

Photo is by Taran Wilkhu

Design District, London, by Knight Dragon

SelgasCano, 6a Architects, Barozzi Veiga and David Kohn Architects are among the eight architecture studios that contributed to the Design District in Greenwich.

Led by developer Knight Dragon, the project is intended to emulate a city and features a cluster of creative workspaces all with a unique style. Among the buildings is an aluminium-clad block by Barozzi Veiga and a transparent structure (above) by SelgasCano that contains the site canteen.

Find out more about Design District ›

The post Dezeen's top 10 British architecture projects of 2021 appeared first on Dezeen.

[my-house-of-fashion]

Casa Plenaire is an imaginary holiday home for lockdown escapism

https://static.dezeen.com/uploads/2020/05/casa-plenaire-child-studio-interiors-renderings_dezeen_sq-1-852x852.jpg

As the coronavirus pandemic puts a halt on all travel plans, Child Studio has collaborated with Plenaire to envision an idyllic seaside villa for the “perfect holiday”.

Designed as a “hideaway for the lockdown world”, Casa Plenaire is seen through a series of dreamy renderings created using 3D modelling programmes.

The project takes its name from skincare brand Plenaire, which up until recently had been working with Child Studio to develop the interiors of its upcoming London store.

As the coronavirus crisis worsened and stay-at-home orders were put in place, the two parties decided to collaborate on a fictitious space that could be experienced via Instagram.

“Suddenly, the feasibility of the store, and the future of physical retail spaces in general, started to look very uncertain,” studio founders Che Huang and Alexy Kos told Dezeen.

“During the lockdown period, we find ourselves confined to our homes, and imaginary spaces can provide some escapism and enjoyment,” they continued.

“Casa Plenaire is designed to evoke the memories of a perfect holiday.”

The imagined home has a sunny, whitewashed interior, similar to the pale villas that dot the coastline of the Greek island Santorini.

At its centre lies a circular bath, flanked by short flights of stairs. They lead up to a rear bedroom, where a mattress dressed in simple brown linens is placed atop a plinth that rises from the floor.

The room’s walls have been punctuated with two openings – one of them grants access to a sun terrace clad with terracotta tiles, while the other is a picture window that offers unspoilt vistas of the surrounding ocean.

Its ledge is dressed with a sink basin and a handful of Plenaire products.

On the opposite side of the homes lies a stepped outdoor shower area with burnt-orange walls, complete with arched nooks.

Beachy paraphernalia such as straw hats, striped towels and hand-held fans have been dotted throughout the home, as well as an array of ceramic ornaments and decorative fragments of coral.

A couple of mid-century pieces have also been included in Casa Plenaire. The Anywhere Lamp by Swedish designer Greta von Nessen appears on the bedside table, complemented by a white edition of Finnish designer Eero Aarnio‘s bulbous Pastil chair.

The entire space is topped with an undulating ceiling, in a nod to the shapely form of buildings by Finnish-American architect Eero Saarinen.

Child Studio is a multidisciplinary design studio based in London. It has previously created a collection of lamps that are meant to look as if they’re “frozen in time”.

In 2019, the studio’s Humble Pizza project was shortlisted in the restaurant and bar interior category of the Dezeen Awards. The eatery is almost exclusively clad in panels of baby-pink Formica and features cherry wood detailing.

The post Casa Plenaire is an imaginary holiday home for lockdown escapism appeared first on Dezeen.

Source link

from http://www.houseoffashion.co.za/casa-plenaire-is-an-imaginary-holiday-home-for-lockdown-escapism/

[livrenucci]

The god Ptah and the High Priest of Ptah

Like we saw in the previous post, it would be possible to believe that Psamtikpadineith has a link with the god Ptah or the High Priest of Ptah, due to the suffix in his name.

I therefore thought it would be interesting to get to know more about the god Ptah and the High Priest who was serving this god on earth. 

God Ptah 

General overview 

Figure 1: Bronze statuette of the god Ptah from the Second Intermediate Period, 26th dynasty. This representation shows the god wrapped in an open sheath on the front to let through the hands that hold the Ouas scepter and the Anhk, sign of life. The garment rises slightly in the back above the shoulders. The false beard is held at its end by a reinforcement. The face is finely worked, the lips are thick, the nose is flat and the eyes are made up. The head is covered with his typical adjusted cap. This piece can be found at the Archeological Museum of Strasbourg.

Ptah (or Tanen, "He who opens") is a creator God and one of the first deities in Egypt. Being thought to be a creator god , the legend says that he would have “thought” the world in his heart and then would have created it by the verb, by his talk. 

He also regarded as the patron of artists, craftsmen and architects as well as the God of learning and knowledge. Credited as a god with healing powers, he is also viewed as the patron of construction, metallurgy and sculpture. He was also the Patron of shipyards and carpenters in general. 

In the art, the god Path is pictured under multiple representations. 

Under his main representation as “Ptah” (see example on Figure 2), he is depicted in the form of a green-skinned man with a divine-shaped beard (a beard that is like a column under the chin), wrapped in a mummifying cloak, wearing a blue leather cap on his head.  He wears the Ménat necklace around his neck. This necklace, which is a ceremonial object associated with the goddess Hathor, consisted of a heavy bead necklace with a crescent front piece and a counterpoise attached at the rear. Under this form, Path also holds a sceptre combining the symbols that define him (Look at Figure 3,4,5 and 6): the cross “Ankh” (representing life), the stick “Ouas” (representing the divine) and the pillar “Djed” (representing stability). 

Although he is most of the time portrayed standing, we can find pieces where he is represented seated. He is also often depicted inside a naos, which is the innermost part of a shrine or temple, in the window of which his bust is framed. Sometimes he is represented standing on a base or plinth, a kind of pedestal echoing a symbol of Maat.

He can also be represented, as Ptah-Patèque, in the form of a misshapen naked dwarf. He will then take the appearances of Sokaris in this case we find him figured enclosed in his white shroud, either hieracocephalic or orrocephalic, wearing the crown Atef. Then it will take the appearance of Tatenen, which is a chtonian form of the God (Divinities which refer to the underground world) and will become Ptah-Tennen (or Tenen). In the form of Tatenen, he is depicted as a young and vigorous man, wearing a crown with two tall feathers that frame a solar disk.

More details on Ptah

The Apis bull was Ptah’s oracle. He had several epithets: "Ptah who listens to prayers", "Lord of magic", "Master of eternity", Prince of darkness "," Master of Truth "," The Lord of snakes and fishes ", "Ptah with a beautiful face", "Master of justice" and "Master of jubilees" 

Ptah was later assimilated by the Greeks under Hephaestus and by the Romans under Vulcan.

Figure 2: Drawing of the god Ptah under his main representation. We can here see distinctly his green skin, the Menat necklace, his column like beard, as well as his iconic sceptre. 

Figure 3: Example of a Menat necklace. A menat necklace consists of a heavy, keyhole-shaped counterpoise (menat) and many strands of beads. Although the necklace is sometimes shown being worn (fig. 2 above), it was more often carried by females participating in religious ceremonies. It functioned as a percussion instrument that was shaken to create a soothing noise that was thought to appease a god or goddess. This object can be found at The Metropolitan Museum, 11.215.450.

Figure 4: The “Ankh”, which is essentially a cross with a circle, also commonly called "cross of life" or "key of life", is a special symbol which can be dated to the beginning of the dynastic period, going from 3150 to 2613 BC. Some interpret this symbol according to the two parts that make it: the oval shape is supposed to be symbolizing the eternity of deities, and the cross that comes out, a symbol of continuation and extension. In Egyptian hieroglyphs, since the Old Kingdom, the ankh symbolized life, but not the normal and ordinary life of which we think. The ancient Egyptians associated ankh with the spiritual life of the soul which most of us do not even think of in our daily life.

Figure 5: Drawing of a “Ouas” sceptre. The “Ouas” sceptre is a symbol that appeared often in relics, art, and hieroglyphics associated with the ancient Egyptian religion. It appears as a stylized animal head at the top of a long, straight staff with a forked end.Was sceptres were used as symbols of power or dominion, and were associated with ancient Egyptian deities such as Set or Anubis as well as with the pharaoh. Was sceptres also represent the Set animal. In later use, it was a symbol of control over the force of chaos that Set represented.

Figure 6: Drawing of a Djed pillar. The djed is one of the more ancient and commonly found symbols in ancient Egyptian religion. It is a pillar-like symbol in Egyptian hieroglyphs representing stability. Along Ptah, this pillar is also commonly linked with the god Osiris. 

The High Priest of Ptah

Figure 7: This finely modeled head dating back to approximately 750–664 BCE, wears a sidelock attached to the right side of his head. The sidelock is worn by children, royal sons, and by certain priests, particularly the High Priest of Ptah at Memphis, probably because the priestly role has some filial aspect. This statue might represent a king's son or, more likely, a High Priest of Ptah. It can be found at The Metropolitan Museum, 66.99.64.

The High Priest of Ptah, who was sometimes referred to as "The Greatest of the Directors of Craftsmanship" as he was the patron of craftsmen, was a religious figure in Ancient Egypt. The High priests of Ptah are mentioned in inscriptions dating back to at least the Fourth Dynasty. 

If the most renown office of the High Priest of Ptah is located in Memphis in Lower Egypt, a large temple complex dating to the time of Ramesses II is located at the modern site of Mit Rahina. The Temple of Ptah from this time period was one of the largest temple complexes in Egypt. Not much of this complex has been excavated because a large part of the site lies very close to the modern town.

The characteristic badge of their function and their rank was the wearing of a large precious metal necklace with the characteristic geometric shape, one end of which was decorated with a jackal head provided with two arms raised in sign of adoration and the other of a falcon head, probable reminders of the deities of the Memphite necropolis Oupouaout and Sokaris.

Sources: 

http://antikforever.com/Egypte/Dieux/ptah.htm

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https://en.wikipedia.org/wiki/Was-sceptre

https://en.wikipedia.org/wiki/Djed

https://www.metmuseum.org/art/collection/search/545931

https://en.wikipedia.org/wiki/High_Priest_of_Ptah

https://fr.wikipedia.org/wiki/Grand_pr%C3%AAtre_de_Ptah