Dreamer

(continuação) The obsession for pixels by Rem Koolhaas, that the entry for the Gazprom competition showed again, seems to go back a while, and is for instance also apparent in the Beijing Books Building. In the city of Hamburg, where the new architecture… Speicherstadt, Hamburg (Photographer: Michiel van Raaij) … sometimes looks just like the existing architecture… Speicherstadt, Hamburg (Photographer: Michiel van Raaij) … the Science Center by OMA will stand out, together with the amazing, and devastatingly beautiful, Elbphilharmonie by Herzog & de Meuron. A short film of the Ueberseequartier can be viewed here. Related: Manhattan Bar Chart, by OMA, Blocks, by Rex, Bookcase, by OMA.

Amethyst, by OMA http-~~-//www.eikongraphia.com/wordpress/wp-content/Science%20Center%20Modellfoto%20Außenansicht%20s.jpg OMA/Rem Koolhaas - Science Center, Hamburg (Copyright OMA) Amethyst The new Science Center in Hamburg designed by Rem Koolhaas/OMA looks just like an amethyst. As Rem Koolhaas despises the explicit use of iconography in architectural design, the amethyst analogy is not deliberately meant. The Science Center measures 14.000 square meters and features an aquarium, an academic theater, and probably also a planetarium. 3deluxe - Interior (Copyright 3deluxe) [ 3deluxe - Interior (Copyright 3deluxe) The city of Hamburg in northern Germany is redeveloping its docklands into a mixed-use high-density neighborhood. The centerpiece of this HafenCity is being privately developed by the Dutch combination of ING Real Estate, SNS Property Finance and Gross & Partner. Last December the conceptual design for the area, by Rem Koolhaas/OMA and Erick van Egeraat/EEA, has been presented to the public. HafenCity, Hamburg Ueberseequartier, HafenCity, Hamburg In the urban design the Science Center is counter-parted by a similar sized building that features a hotel and cruise terminal. Originally the Science Center and Cruise Terminal were designed as twins; two halves of a sphere – the one standing up, the other one laying down. A meteorite broken in half. The Magdenburg Hemi-spheres, finally parted. Ueberseequartier, HafenCity Hamburg The redesigned Cruise Terminal however has a more modest, traditional design, so one amethyst remains. Ueberseequartier, HafenCity, Hamburg The concept of encircling a central void with program is echoed in the work of ex-OMA architects MVRDV, for instance in the pop podium The Effenaar, in Eindhoven. MVRDV - De Effenaar, Eindhoven (Copyright MVRDV) Formally the Science Center reminded me of a design by Rem Koolhaas/OMA for a skyscraper that was presented in the Content Exhibition. The skyscraper also featured a contrasting smooth outer skin, and a pixilated open core. OMA/Rem Koolhaas - Design for a skyscraper for Japan at the ’Content’ Exhbition in the Kunsthal in Rotterdam (Photographer: Michiel van Raaij) (continua)

Water, by Herzog & de Meuron Herzog & de Meuron - Elbephilharmonie, Hamburg (Copyright Herzog & de Meuron) Water (Copyright Cynthia Wilson) The Swiss Architects Herzog & de Meuron have proposed a new design for the Philharmonie in the HafenCity of Hamburg at the waterfront of the river Elbe - the Elbphilharmonie. On top of an old warehouse two concerthalls (a big one, and a smaller one) are positioned, plus a hotel that wraps around it all. The form of the building echoes the water of the Elbe. The glass facade recalls the transparency of water. Herzog & de Meuron - Elbephilharmonie, Hamburg (Copyright Herzog & de Meuron) Herzog & de Meuron - Elbephilharmonie, Hamburg (Copyright Herzog & de Meuron) The form of the building also looks a bit like an Ice-berg. That reading is almost too ironic, since the Port of Hamburg is regularly visited by cruise-ships that would dwarf the Titanic. In January 2007 a slight redesign has been presented. On a special website a 3-d tour around and through the building can be made. Herzog & de Meuron - Elbephilharmonie, Hamburg (Copyright Herzog & de Meuron) The auditorium is designed to create a stadium-like one-room atmosphere, say the architects, in contrast to the very compartmentalized traditional concerthall design. The cone on the ceiling diverges the sound. Herzog & de Meuron - Elbephilharmonie, Hamburg (Copyright Herzog & de Meuron) The project is added to the Top 10, Architects, and Representation pages. Link do artigo: http://www.eikongraphia.com/?p=88

A velocidade a que a nossa sociedade evolui no tempo é em tudo superior àquela que existiria no tempo dos egípcios. Cada um de nós pode experimentar formas diferentes de percepcionar o tempo, basta ver que quando estamos a fazer algo que gostamos, o tempo passa a voar, no caso contrário, nunca mais passa... não é o tempo que varia, mas a percepção que cada um de nós tem dele.

WKK Energy Plant by Atelier Zeinstra van der Pol in Netherlands http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/0219_wkkUtrecht_14.jpg Architect: Liesbeth van der Pol Project: Total energy plant, 6000m3. Contractor: University of Utrecht, De Uithof, Utrecht Builder: Heijligers Bouw bv, Amersfoort, Hollandia bv, Krimpen a/d IJssel, Homij bv, Nieuwegein Location: De Uithof, Limalaan, Utrecht On an industrial site in Utrecht called De Uithof stand two power stations. Following a recent decision to increase the capacity of these power stations, their volume was to be extended to 6,000 m3. The new building was planned next to the existing plant in the south-eastern corner of the site. The size and construction of the building are largely determined by the technical requirements. The building is completely covered in order to keep noise pollution to a minimum. A skin of steel is folded over the machinery and the giant filters and dampers. The building has space for people to work, with facilities like toilets and showers, but not an inch of space is wasted. The building has a sculptural role in the landscape. Its striking form is emphasized by the self-supporting steel skin. The skin is kept separate from the engine rooms to prevent the vibrations caused by low frequency sound in the gas turbines. This gives the building a box-within-a-box construction. The rigidity and strength of the material comes from the steel itself, and this can only be achieved by folding the material. The form then becomes the construction and the folds form the frame of the building. http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/0219_wkkUtrecht_15.jpg http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/0219_wkkUtrecht_16.jpg http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/0219_wkkUtrecht_17.jpg http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/0219_wkkUtrecht_18.jpg http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/0219_wkkUtrecht_19.jpg http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/0219_wkkUtrecht_20.jpg http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/0219_wkkUtrecht_aqua.jpg Link do artigo: http://arkispot.com/blog/atelier-zeinstra-van-der-pol/2006/07/12/wkk-energy-plant/

Police Station by Atelier Zeinstra van der Pol in Public Buildings http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/9413_dronte_00.jpg Architect : Liesbeth van der Pol Project: Police station, 900 m2. Contractor: Regio Politie Flevoland, Lelystad Builder: Nelissen van Egteren Bouw, Zwolle Location: Het Gangboord 62, Dronten http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/9413_dronte_04.jpg No one goes to a police station for the fun of it - you end up there either because you’re suspected of committing a crime or because you’re the victim of one. It’s a place of refuge, or a place to confront authority. It is this combination of safety and power that characterizes the new police station. Two sides of the building slope towards each other dramatically, enclosing a light-filled entrance hall which marks the crossing point of all the functions taking place in the building. From the outside the building looks heavy, but the atmosphere when you enter the building is one of openness and light. The building has a clear organisation. All the public areas are on the ground floor, leading off the main hall. The various security zones are separated from one another by semi-transparant glass walls. The other administrative functions are housed on the other floors, opening on to a gallery which links up directly with the entrance hall http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/9413_dronte_02.jpg http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/9413_dronte_03.jpg http-~~-//arkispot.com/blog/wp-content/uploads/Atelier_Zeinstra_van_der_Pol/9413_dronte_05.jpg Link do artigo: http://arkispot.com/blog/atelier-zeinstra-van-der-pol/2006/07/12/police-station/

Hoje o mundo é visto de uma forma diferente de à alguns anos atrás. A Google e o seu google earth veio tornar quase obsuletos os anteriores mapas, relegando-os para um segundo plano. São alguns os sites com curiosidades sobre estas imagens aéreas, falhas nas imagens, elementos estranhos, etc. Aqui fica uma perpectiva interessante daquilo que hoje todos vemos "a partir" do céu, à distância de um aparelho com ligação à rede universal. Link do artigo: http://www.eikongraphia.com/?p=971

Miniature Memories http-~~-//www.eikongraphia.com/wordpress/wp-content/nycpocketbook72dpi.jpg There is something strange and unsatisfactory about the miniature architecture models that were shown in the October issue of Icon Magazine. The two remaining matches that Tobias Wong made of a Florent matchbook represent the WTC towers in New York, a brief remembrance before they are ritually destroyed again. The ‘Buildings of Disaster’ by Constantin Boym are less ritual, but not less unfamiliar. The architecture models do not represent the fertile and beautiful (iconographic) buildings, but represent wounded buildings, and therefore recall the specific moment in time of the disaster. http-~~-//www.eikongraphia.com/wordpress/wp-content/Boym%20-%20Buildings%20of%20Disaster.jpg http-~~-//www.eikongraphia.com/wordpress/wp-content/Boym%20-%209-11%20Set.jpg Bigger wounds, wounds that take the size of a whole building are represented in Boym’s ‘Missing Monuments’, a set of miniature models of buildings that no longer exist outside our memory. The connection of memory to the architectural object is questioned. What happens when an iconographic building is cut loose from its icon? What remains of a pyramidal building without the pyramids of Giza? Both the ‘missing’ and remaining monuments are memories, only once seen via different media - a book, the internet, etc., or in real-life. http-~~-//www.eikongraphia.com/wordpress/wp-content/Boym%20-%20Missing%20Monuments.jpg Link do artigo: http://www.eikongraphia.com/?p=930

Maple Leaf, by West 8 West 8 has won the competition for the redevelopment of the central waterfront of Toronto, surpassing firms like Foster & Partners and the ‘projective’ team led by Stan Allan and Sarah Whiting. Foster proposes pavilions that use the iconography of sails, and the Projective team makes variations on the fold (so nineties!). The design of West 8 features a wooden boardwalk along the waterfront, the planting of a lot of trees, and a floating islands in the form of the national symbol of Canada; the maple leaf. In line with the recent work of West 8 the design is somewhat nostalgic. Conservatism can be productive at times, but the approach of West 8 goes far beyond that. In the The Toronto Star West 8 front-man Adriaan Geuze sounds almost like social engineer Jane Jacobs: “What the waterfront needs is a village-like neighborhood with small-scale buildings where you find shops, bars, nightclubs, institutions…” A lively urban life is something to fight for, but in the case of West 8 it is too easily translated into the coziness of ‘small-scale buildings’, trees and… a lot of seats at the water. The seats look like the sit-pits of the sixties. Of all competition entries the renderings of West 8 are the most densely flocked with people. I have no idea what all these people are doing on the dead-end wooden piers. Highly remarkable however is the proposal for floating islands in the form of maple leafs. As a symbol it seems to have only positive connotations – the green Canada. It represents a virtue. It reminds of accidental (?) ‘Japanese Flag’ at the WFC skyscraper that KPF had to redesign in Shanghai. It reminds also at the palms of Dubai, and of the possible representation of the stars in the layout of the pyramids of Giza. At night the lightened shape of the maple tree takes its place among the stars that are reflected in the water of the lake. At first sight the problem op the floating maple leaf would be that one would not be able to experience it at ground level. It looks like a feature that the designers had drawn to enliven their presentation panels. The reality is far more sophisticated. Besides the obvious Google Earth, viewers from the TV Tower nearby can recognize the islands. More subtle the biggest floating maple leaf is strictly aligned with the runway of the airport nearby. The project is added to the Themes and Representation pages. Link do artigo: http://www.eikongraphia.com/?p=756

Deixo aqui um artigo que encontrei sobre um projecto em que aquilo que para muitos é um dos elementos mais feios da cidade (talvez a par das marquises), o "split" do ar condicionado, foi tido em conta na fase de projecto, tentando de alguma forma integrá-los na imagem do edifício. Lihk do gabinete: http://www.bolles-wilson.com/flash/ Link do artigo: http://arkispot.com/blog/bolles-wilson/2006/08/14/virtual-air-conditioners/

Zgandulo, que tal dares tu o início aos comentários e explicares o que para ti é cada uma dessas coisas.

Muito interessante, ainda bem que há gente que não se deixa atemorizar pelo suposto terrorismo... Além de que pode ser uma oportunidade única para o João Lagos.

Não são jogos de palavras, são formas diferentes de se entender o "tempo".Estás a falar, futurismo e cubismo incuídos, da forma como o autor "constrói" a obra, do tempo nesse contexto, como factor "motivador" da obra.Outra coisa é como o observador interpreta a obra, o "tempo" que ele demora a apreendê-la.

MVRDV e Richard Hutten Parkrand Building Amesterdão MVRDV, são um grupo de jovens Holandeses, discípulos de Rem Koolhas, para este grupo a formula de desenho para enfrentar a complexidade é agora a distorção geométrica. Outra constante no trabalho de este atelier Holandês é a investigação sobre temas urbanos relacionados com a alta densidade de população. As suas obras erguem-se com base em dados politicos e económicos, É a realidade onde lhes toca actuar. O edificio Parkrand de MVRDV e Richard Hutten em Amesterdão, são cinco torres construídas sobre uma cobertura em frente a um parque público e conectadas por uma espécie de “anel” dos pisos superiores, ao qual dá ao edificio uma imagem unificada em lugar de parecer cinco edifícios separados. O projecto é considerado como edificio chave dentro da renovação urbana de Geuzeveld-Slotermeer. Situado entre um parque e um bairro residêncial, fixado já para demolição. De 12 andares, este domina o seu entorno através da sua dimensão,assim com 223 habitações, das quais 193 estão no topo do mercado de locação, o edifício Parkrand introduz um tipo de inquilino ao noroeste da periferia de Amesterdão West, que havia sido praticamente ausente nas unidades de habitação social que substitui. A concepção de um edifício, ao qual, apesar do seu tamanho e overpowering presença, não iria bloquear a visão do bairro adjacente ao parque, e que também oferece a um número máximo de apartamentos que têm uma relação directa com parte, tirando partido do panorama das árvores cultivadas no parque. Neste volume de grandes buracos - dois em frente ao parque, três do outro lado - oferecem-nos vistas para o interior do quarteirão, através de plataformas para um jardim no seu interior. De acordo com o arquiteto, esta disposição é o resultado de um longo processo de planeamento que inicialmente foi considerada a execução de uma série de torres, esta proposta foi abandonada em favor de um grande e simples volume: um fora-de-escala "casa senhorial com vista sobre o parque". As árvores são plantadas em vasos de plantas gigantes de prata, e as designadas áreas de jogar para crianças estão decoradas com elegantes bancos brancos e escorregas, para que se possam sentar em um tapete relva artificial. No seu tratamento de materiais, bem como na concepção dos seus espaços interiores e coletivos, o Parkrand edifício é totalmente diferente do hippie de inspiração estética dos projectos anteriores. Se uma entrada ao ar livre no espaço plinth, á primeira impressão é de um rigoroso controlo visual requintado e de brancura. As fachadas, folheadas e com brilhantes, vidros e tijolos com linhas em um diamante padrão em toda a sua superfície, “emprestam” a esses espaços uma atmosfera de alto requinte, com interiores forradas com papel de parede. Ideia 1 - Cinco torres entre duas plataformas, a inferior com serviços e a superior com penthouses. Ideia 2 - Um bloco de 135m x 34m x 34m que forma um pátio interior. Ideia 3 - 174 apartamentos. Todos com distintas vistas para áreas verdes circundantes. Ideia 4 - Unificar materialmente (ocultar as torres e a pltaforma para que apareça o bloco côncavo) e destingir o pátio interior com características próprias. Ideia 5 - Pátio interior com plantas, mobiliário e finos encontros com o solo, muros e céu, convertendo-o em espaço central para os habitantes. Uma distinta concepção com áreas comuns. Estes espaços são oferecidos como áreas para algum tipo de vida coletiva, mas eles parecem convidar um uso muito restrito. Em impressões do artista, em qualquer caso, eles são preenchidos por homens a falar ao telémovel, e esta parece ser a forma mais precisa de representação de qualquer uso futuro deste espaço, do que as crianças a brincar. Esta solução, combinada com o planeamento da laconic residências, representa o tipo de gesto ousado com o qual MVRDV conseguiu estabelecer-se, e que irá, sem dúvida, atrair os turistas. Talvez este edificio seja uma atração, de modo a ser um espaço significativo para estabelecer relações com o meio ambiente. Edição Construlink.com Arq. Tânia Magda Santos Link do artigo: http://www.construlink.com/Homepage/verDestaqueArquitectura.php?id=82

Vi parte desse documentário. Acaba por ser importante perceber o porquê de a determinada altura o projecto teve parado, ainda nas fundações, devido à economia e o reatamento da contrução posteriormente, com as condicionantes apresentadas no artigo.

Sputnik, ainda que compreenda o teu ponto de vista, permite-me discordar. É verdade que uma pintura é vista completamente à primeira, mas tal como a arquitectura, é preciso esse tempo para a apreender, para ver os detalhes, para formularmos uma história à volta dela, a forma como cada um de nós interpreta a obra a determinado momento da nossa vida. Tens também o exemplo clássico, ainda que não sendo pintura, o livro principezinho de Exupéry, podes lê-lo uma vez, apreendes a história, mas mais tarde, passados uns anos, ao ler a mesma história, aquilo que apreendes é completamente diferente. Logo aqui, em dois suportes bidimensionais, percebe-se o quanto o factor tempo pode influenciar a percepção daquilo que estamos a apreender. São formas diferentes de entender o "tempo", tão válidas quanto o tempo que se demora a percorrer uma "arquitectura".

Ups... distração... :*

Acho que continua a existir :\

Bottle Opener, by KPF In the magazine of the New York Times Arthur Lebow writes that the design of the World Financial Center (WFC) in Shanghai byKohn Pederson Fox (KPF) had to be changed because of its iconography. The relieve the wind pressure on the 101-story building KPF designed a round hole in the top of the building. http-~~-//www.eikongraphia.com/wordpress/wp-content/192627.jpg The mixed-use tower with offices and 300-room hotel is however developed by the Japanese Mori Company. The Chinese read the round hole as a metaphor for the red sun in the Japanese flag. The Chinese government put the project on hold for half a year, while asking for a redesign. Eventually KPF changed the round hole into a parallelogram. This case shows how important iconography has become in architecture. And the emphasis that the Chinese put on iconography put a promise in place for the future. http-~~-//www.eikongraphia.com/wordpress/wp-content/192626.jpg http-~~-//www.eikongraphia.com/wordpress/wp-content/448156.jpg At first the tower seemed beautifully ’stapled’ -how appropriate for an office building!- at the top. Now it looks like a bottle-opener. Plop! http-~~-//www.eikongraphia.com/wordpress/wp-content/willow.jpg A Geoff-ian speculation is appropriate here. How much fun would it be if the Chinese would actually make a miniture version of the building that can actually open bottles? It would be a present that could be given away to business relations, or sold on the street to tourists. Finally the tourist-rubbish could be actually functional. It would be the first architecture that opens bottles. It would redefine iconography as we know it. Designers would start to consider the functional properties of the scale model of the building. Iconic buildigs always have such a miniature copy. Buildings would be designed to have a double function as lighter, cork, usb-stick, pen, lamp, bowl, lipstick, pencil, bookstand, dildo, ruler, croissants, and even champagne glasses. Link do artigo: http://www.eikongraphia.com/?p=295

Bookcase, by OMA http-~~-//www.eikongraphia.com/wordpress/wp-content/remOMA2.jpg Beijing Books Building (Copyright OMA) [ATTACH]2984[/ATTACH]Bookcase Central Library TU Delft The Beijing Books Building (BBB) of OMA Ole Scheeren uses the iconography of the bookcase. The facade is made of glass bricks that have a dubble function as bookcase. The users of the building alter the pixelated image of the building constantly when the take books out of the ‘bookshelves’ or place them back. Beijing Books Building (Copyright OMA) Beijing Books Building (Copyright OMA) Beijing Books Building (Copyright OMA) The building itself is a fascinating tandem of the pixelated facade and an enormous lcd-screen at the entrance of the building. Two screens; one slowly animated by hand and with a low resolution, the other one fast animated electronically and with a high resolution. The two screens overlap in the sense that the lcd-screen presents events inside the building, and the facade-screen is a direct representation of the shopping-event. I would argue that the Beijing Books building is one of the examples of recent work of OMA in which representation is back. Rem Koolhaas has argued in Delirious New York that the facade of a building like a skyscraper cannot represent its programme anymore. That argument came back in his Bigness essay, and his designs such as the Zeebrugge Cruise Terminal. But recently with the Seattle Public Library, the PCM Headquarters, and the Beijing Books Building there is a renewed interest in an abstract representation of the programme of the building. Screen The Beijing Books Building also refers to the cliché cinematic image of looking through a bookcase at a beautiful man or woman. The facade of the BBB is therefore coded with an image of flirt. Looking through A different representation of ‘books’ in the facade is off course the National Library of France in Paris by Dominique Perrault. The four glass towers that frame the open courtyard represent four ‘open books’. Dominique Perrault - National Library of France, Paris Is this all too vulgar? Livio di Marchi even built a house out of ‘books’. Livio de Marchi At the ‘Content’ Exhibition about OMA in the Kunsthal in Rotterdam studymodels of the BBB were shown. Models of the Beijing Books Building (Photographer: Michiel van Raaij) Models of the Beijing Books Building (Photographer: Michiel van Raaij) Link: http://www.eikongraphia.com/?p=261

Outra questão, neste tópico Novos Guggenheim..., na última mensagem, transpus um artigo da net. No passado, quando havia o tag "média", facilmente carregava lá e as imagens eram imediatamente ajustadas ao tamanho desejável. Agora não tenho essa ferramenta, por isso pergunto-me sobre qual a solução? Tenho de recolocar as imagens uma a uma, usando os anexos ou um serviço de upload na internet? O trabalho que dá para se fazer o download e o novo upload acaba por ser tempo perdido que resulta tão somente de não existir o tag. O que aconselham?... não será melhor voltar a ter o tag?

Reavivando este tópico, deixo aqui um artigo onde são reveladas imagens de outras propostas para o local em Guadalajara Link do artigo: http://www.eikongraphia.com/?p=7

Como é que podemos criar e/ou alterar e/ou acrescentar, os tags de determinado tópico/mensagem, depois de este(a) ter sido criado(a)?

Curly Slabs 2: Oppenheim http-~~-//www.eikongraphia.com/wordpress/wp-content/Oppenheim_Dubai_6_Small.jpgOppenheim - Marina and Beach Towers, UAE (Copyright Oppenheim) To resist thecliché of crisscross bridges between the slabs, and instead flatten that image into two surfaces, is just magnificent. The homerun is made with the terrific dialogue of the crisscross strips with the trees down below on the ground. The idea of slabs that bend and blend at its bottom isn’t that new. Anarchitecture last fall showed a huge Modernist project in Vienna that tries to fold into the earth with terrace housing. And a firm like BIGhas projects like that all the time. What fascinates me though at this project by Oppenheim for an undisclosed location in the United Arab Emirates is that the starting point is the good-old slab. The abstract Modernist slab, with its inherent economy of building, is here only slightly morphed for maximum effect. Like the other work of Oppenheim it is slick. And it remains very two dimensional, like the slabs of Le Corbusier. The surface with crisscross lines at the inside emphasized this thinness of the surfaces. Whereas the curveous objects of BIG are always three-dimensional. That is so boring. Note that the slabs end differently at the beach and the harbor. Facing the open sea the slab almost dissolves in the terraces on the beach, facing the harbor the slab ends abruptly – seemingly not touching the ground. A beach works like a gradient, while a harbor in its morphology in contrast has all these sharp borders. Dock, boat, water, it all remains very digital. The waving water on the sand on the other hand is a blurry border, as the fuzzy distinction between beach and dune. To my own surprise I have to conclude that these curly slabs by Oppenheim, in their relation to the context, are truly iconographic. They are. Beautiful. http-~~-//www.eikongraphia.com/wordpress/wp-content/Oppenheim_Luxicon_5_Small.jpgOppenheim - Marina and Beach Towers, UAE http-~~-//www.eikongraphia.com/wordpress/wp-content/Oppenheim_Dubai_2_Small.jpgOppenheim - Marina and Beach Towers, UAE http-~~-//www.eikongraphia.com/wordpress/wp-content/Oppenheim_Luxicon_4_Small.jpgOppenheim - Marina and Beach Towers, UAE http-~~-//www.eikongraphia.com/wordpress/wp-content/Oppenheim_Dubai_3_Small.jpgOppenheim - Marina and Beach Towers, UAE http-~~-//www.eikongraphia.com/wordpress/wp-content/Oppenheim_Dubai_7_Small.jpgOppenheim - Marina and Beach Towers, UAE http-~~-//www.eikongraphia.com/wordpress/wp-content/Oppenheim_Dubai_1_Small.jpgOppenheim - Marina and Beach Towers, UAE Link do artigo: http://www.eikongraphia.com/?p=2199 Link do gabinete (OPPENHEIM): http://www.oppenoffice.com/

Curly Slabs 1: A-Cero http-~~-//www.eikongraphia.com/wordpress/wp-content/A-Cero_Dubai_5_Small.jpgA-Cero - Condominiums, Dubai ‘One curve. These are the laziest architects ever’, Jeremy Clarkson would have said when he would have any clue of architecture. Which I’m sure he hasn’t. The project is crap, but that curve saves it, a bit. What is significant here is that this curve is added to a simple Modernist slab. The emergence of form we have seen in architecture since the success of the Guggenheim Museum in Bilbao, and later the Swiss Re Tower in London, does not end with towers. It goes on to slabs, the Modernist building type per excellence. The slab, with its functional layout and construction, with its inherent abstract esthetic, is now absorbed – one curve at a time – in the world of form. The abstract surfaces will be slowly but deliberately transformed into sculptural objects. In the end the only difference with a tower will be the length of its façade – a slab has a longer perimeter. http-~~-//www.eikongraphia.com/wordpress/wp-content/A-Cero_Dubai_2_Small.jpgA-Cero - Condominiums, Dubai http-~~-//www.eikongraphia.com/wordpress/wp-content/A-Cero_Dubai_3_Small.jpgA-Cero - Condominiums, Dubai http-~~-//www.eikongraphia.com/wordpress/wp-content/A-Cero_Dubai_1_Small.jpgA-Cero - Condominiums, Dubai http-~~-//www.eikongraphia.com/wordpress/wp-content/A-Cero_Dubai_6_Small.jpgA-Cero - Condominiums, Dubai http-~~-//www.eikongraphia.com/wordpress/wp-content/A-Cero_Dubai_4_Small.jpgA-Cero - Condominiums, Dubai Link do artigo: http://www.eikongraphia.com/?p=2199 Link do gabinete: http://www.a-cero.com/