3CPO

Architectural Insitu Concrete Bennett, David http-~~-//img223.imageshack.us/img223/9702/67780architecturalinsitgx2.jpg ISBN13: 9781859462591 Editor: RIBA ENTERPRISES Páginas: 240 Data de Publicação: 01 September 2007 Preço estimado: 59,60€

Warehouse Conversion Xiao,B. Zhong, Y. http-~~-//img522.imageshack.us/img522/697/67725warehouse6427d4wv7.jpg ISBN13: 9787538149944 Editora: ICI Interface Páginas: 252 Data de Publicação: 27 September 2007 Preço estimado: 46,40€

Olympic Cities City Agendas, Planning and the World's Games, 1896 to 2012 Gold,John R. & Gold, Margaret M. http-~~-//img518.imageshack.us/img518/1627/67716olympiccities5d08aco9.jpg ISBN13: 9780415374071 Editora: Taylor & Francis LTD Páginas: 368 Data de Publicação: 02 October 2007 Preço previsto: 34€

Paulo Mendes da Rocha FIFTY YEARS http-~~-//img251.imageshack.us/img251/653/67705darocha5842f8an7.jpg ISBN13: 9780847829842 Editora: RIZZOLI INTERNATIONAL PUBLICATIONS Páginas: 368 Data de Publicação: 28 October 2007 Preço Estimado: 61,30€

Olá Nelson, Seria interessante explicar a ideia e o seu objectivo. Abraços :D

PORTUGAL NOW http://portugalnow.net/ PORTUGAL NOW is part of a series of ongoing conference and publication events organized by the CORNELL UNIVERSITY COLLEGE OF ART, ARCHITECTURE AND PLANNING. The series, which takes place in Ithaca and New York City, explores some of the most intriguing currents in contemporary architecture, landscape architecture, art and urbanism in different parts of the globe.

http://img111.imageshack.us/img111/4679/screen1ux7.jpg :D

Casa Darvish, Pouya Khazaeli Parsa http-~~-//img520.imageshack.us/img520/1636/corbuiranthumb9b5292zz2.jpg Architect Pouya Khazaeli Parsa drew upon inspiration from Le Corbusier’s “Poem of the right angle” when designing this home which features an aerial ramp that takes you from a first-floor terrace to a roof garden with views of the beaches along the Caspian Sea. [ame=""]YouTube - Modern Architecture in Iran - Pouya Khazaeli[/ame] Links: http://archnet.org/shared/community-member.jsp?user_id=428506 http://www.landliving.com/articles/0000001250.aspx :D

3ªs Conferências de Arquitectura _ Univ. Beira Interior 12 a 15 de Novembro http-~~-//img223.imageshack.us/img223/1410/3968255vb9.jpg O DEC - Departamento de Eng. Civil e Arquitectura em parceria com o NAUBI promovem a realização das 3ªs Conferências de Arquitectura que decorrerão entre os dias 12 e 15 de Novembro, no Anfiteatro 8.1. Fonte: DEC

Arquitectura em Lugares Comuns: Transições no Vale do Ave Sala de Exposições do DAAUM, Campus de Azurém, Guimarães às 17h entre quarta-feira, 31-10-2007 e segunda-feira, 21-01-2008 Sessão pública de apresentação do evento "Arquitectura em Lugares Comuns"com o lançamento do Concurso de Ideias "Transições no Vale do Ave". Este evento, que se desdobra em duas acções principais (Concurso de Arquitectura e Seminário Internacional) tem como objectivo premiar e debater soluções arquitectónicas inovadoras para áreas urbanas que não se inserem nas definições tradicionais de cidade. É comum dizer que o crescimento urbano dos últimos anos tem «devorado» o território, criando lugares estranhos e difíceis de definir. O fenómeno não é recente mas tem ganho uma expressão cada vez mais considerável, sobretudo porque uma parte muito significativa da população já habita nestas áreas urbanas e não na cidade canónica. Olha-se hoje com algum desespero para estes «Lugares Comuns» e, se a reacção emocional a esta paisagem é geralmente negativa, os arquitectos e a disciplina da arquitectura em particular, afligem-se em encontrar para ele soluções de projecto operativas e qualificadas. O Concurso de Ideias: Transições no Vale do Ave, de âmbito nacional, desafia os arquitectos a proporem soluções originais e inovadoras para áreas inseridas no difuso do Vale do Ave. Soluções para os lugares comuns contemporâneos que não se esgotem no desenho do edifício, nem no desenho urbano tradicional. É necessário inventar novas formas de intervir. Num contexto de mudança de paradigmas não são apenas os lugares que mudam, devem mudar também as exigências de quem os muda e os próprios instrumentos da arquitectura. É este concurso dirigido a arquitectos (que terá sequência num Seminário Internacional nos dias 3 e 4 de Abril de 2008, no grande auditório do Centro Cultural Vila Flor, em Guimarães), que será apresentado na sessão de dia 31. Os arquitectos serão desafiados a percorrer e estudar estes territórios, elaborando propostas de projecto que possam servir de referência como estratégias a adoptar em situações comuns. O evento conta com o apoio da Direcção Geral das Artes / Ministério da Cultura, da Ordem dos Arquitectos e dos municípios de Guimarães e Famalicão. Os prémios do concurso são financiados pelo Grupo Pavigrês. Inscrição: A inscrição, possível a partir de dia 31 de Outubro, é gratuita e deverá obrigatoriamente ser feita para o correio electrónico concurso@arquitecturaLC.org. Entrega para propostas até: 21 de Janeiro de 2008 Mais informação: www.arquitecturaLC.org.

Oscar Niemeyer opens the RIBA conference Video Interview In a specially recorded interview for the RIBA International conference Oscar Niemeyer, who is 100 in December, looks back on his long career, the problems of working with Corbusier, and his latest project in Brasilia. Filmed by the RIBA’s head of awards Tony Chapman, the interview opened the conference which was held October 26 to 27 in the French Communist Party headquarters in Paris designed by Niemeyer while in exile in Paris from 1964 to the end of the 70s. Download ( MOV, 33.1 MB ) The video is the copyright of the RIBA. Fonte: BdOnline

Brave new welt http-~~-//img246.imageshack.us/img246/1525/bmw37285deb0gh3.jpg BMW's new cathedral-like building in Munich evokes perfect German families with toothpaste smiles singing company songs, says Jonathan Glancey "This unique building", says BMW, "is one of the first examples of a new generation of communications buildings for the 21st century." And, I suppose it is. A great metal cloud of a building, BMW Welt rises alongside the 3-series car factory, together with the Bavarian car-maker's distinctive 1970s headquarters, its company museum - and, across the road, the wave-like roof of the 1972 Olympic Stadium. Today, the first of what are expected to be 45,000 new BMW buyers a year will venture into this epic building to collect their gleaming new cars and to while away their special day in the steely arms of the mighty Bayerische Motoren Werke AG. Here, the faithful will be immersed in a baptism of corporate beneficence and culture. Blessed by Munich's Roman Catholic clergy last week, BMW Welt is a cathedral to public relations, a shrine blazing with the company's slogan: Freude am Fahren (joy in driving). Ler mais... Fonte: Guardian

Espanha lança plano de recuperação da costa O governo espanhol pretende recuperar os 777 quilómetros de costa nos próximos anos. Desta feita, elaborou um plano de reabilitação orçado em 5 mil milhões de euros e que inclui a demolição de construções ilegais, como prédios, hotéis e piscinas, que se encontrem a menos de 100 metros da costa.Para concretizar este plano, o governo espanhol propôs às comunidades autónomas um acordo que permita levar as administrações locais a negociar com os proprietários dos empreendimentos próximos da costa. Antónia Serrano, secretário de Estado para a Biodiversidade e Território, segundo as declarações recolhidas pelo Público, afirmou que "temos de convencer as administrações locais de que, tirando algumas casas, prejudicamos alguns mas em troca ganha muito mais gente e aumentará o turismo e a qualidade". Fonte: Jornal Construir

How the Prado's prayer was answered The extension of Madrid's great museum, which opens today, involved rebuilding a 16th-century cloister, reports Ellis Woodman Over the past 30 years, almost every one of the world's foremost metropolitan art galleries has been extended to create extra exhibition space while providing the art-going public with all the education rooms, restaurants and retail opportunities that it increasingly expects. http-~~-//img251.imageshack.us/img251/7311/prado4006b991abj1.jpg Inspired: The room of Muses in Rafael Moneo's extension One notable latecomer to this party has been the gallery that many consider to be the greatest of them all, Madrid's Prado. It has not been for want of trying. In 1995, it staged an architectural competition to find a design for an extension. More than 700 schemes were submitted, but the jury ultimately had to concede that there simply wasn't enough land available to accommodate its brief satisfactorily. The competition was declared void and the gallery set about trying to secure more space. There weren't many possibilities. The Prado presents a 650ft frontage to one of Madrid's most heavily trafficked avenues and is book-ended by an essential entrance courtyard at one end and by the sacrosanct Royal Botanical Gardens at the other. The only real opportunity to grow, therefore, was to the rear. The gallery owned a sliver of land between its building and the road that runs along its rear face, but it wasn't enough. The only way to accommodate all the facilities that were required was to tunnel under the road, making a connection to a new building that would stand on the far side. advertisement There was one obvious place where this could be done – on a plot owned by the neighbouring monastery of San Jerónimo el Real. The gallery reached an agreement that it would buy the land and rehouse the displaced monks in a new building to be constructed alongside. There was just one problem: a large part of the site was occupied by a 16th-century cloister. It was in an extremely dilapidated state but, none the less, it was a listed monument. The gallery held a second competition with the stipulation that the cloister would have to be incorporated within the new building. It was won by the grand old man of Spanish architecture, 70-year-old Rafael Moneo. Today, 12 years after the Prado first embarked on the project of building an extension, his scheme is to be opened by the King and Queen of Spain. The challenge faced by Moneo was significantly compounded by the fact that the steeply sloping ground at the back of the gallery had led to the cloister being constructed on a massive platform built into the hill. His scheme has involved the radical measure of temporarily dismantling the cloister so that the platform could be demolished and the new building constructed in its place. The cloister was then meticulously reconstructed in exactly its original location and the new building extended upwards to engulf it on two sides. From the street, therefore, the cloister is entirely hidden from view. What we see is the new structure, built from the unusually small bricks with pencil-thin mortar joints that are so characteristic of Madrid's architecture. The building has something of the appearance of a small palazzo, boasting a windowless, almost fortified lower level and an expansive glazed loggia above. Moneo's first proposal was for a much more abstract treatment with none of the classical overtones of the final design, but the idea of building next to the 16th-century church proved extremely contentious and the change of approach served as something of a concession to those who opposed it. The new building houses a suite of temporary galleries beneath the cloister and ranges conservation facilities, offices and print rooms around it. By decanting these facilities from the old building it has been possible to return a significant area to its original use as exhibition space. The first exhibition to be staged in the temporary galleries is a show of the 19th-century art that has always been displayed in a separate institution, but which can now be integrated with the Prado's holdings. Ultimately, the project might not rank among its architect's most spectacular works, but it answers an extraordinarily taxing set of requirements very persuasively and promises to have a transformative effect on the gallery. Most impressively, perhaps, there is very little about the finished building that suggests what a battle it has been to get it built. Fonte: Telegraph

Ordem debate sustentabilidade A Ordem encerra hoje a exposição intitulada "A Casa Da Vizinha Não é Tão Verde Como a Minha", que foi inaugurada no Dia Mundial da Arquitectura, com uma conferência intitulada, "Sustentabilidade: Paradigma ou Paradoxo?". Segundo os organizadores da iniciativa, Nadir Bonaccorso, João Manuel Santa Rita e Carlos Sant'Ana, a mesma visa questionar as razões porque "as preocupações ambientais, apesar de configurarem uma moda contemporânea, não se encontram presentes com a assiduidade desejável no dia-a-dia dos arquitectos". Os mesmos responsáveis reiteram ainda que "Talvez por desconhecimento ou por comodidade, o facto é que são poucos os ateliês com consciência ecológica, quando a escolha de bons materiais, locais, ecológicos ou reciclados, e a opção por desenhos potenciadores de maior eficácia climática ou opções políticas e económicas sobre o rumo a seguir em determinado projecto poderiam servir de catalisadores para uma mudança de hábitos, necessária para renovar os processos de produção arquitectónica". Durante a conferência vai ainda ser lançada uma base de dados de projectos sustentáveis, em www.casadavizinha.eu, que durante um ano estará on-line com todos os projectos que participaram na exposição e os que foram entretanto acrescentados. Entre os participantes da conferência encontra-se Jorge Graça Costa, Eduardo Carvalho (Plano B ), Isabel Barbas (Brut Deluxe), Nuno Vidigal (Baixa Atelier) e Pedro Campos Costa. Fonte: Jornal Construir

Praça de Entrecampos na "Reunião de Obra" em Novembro http-~~-//img460.imageshack.us/img460/2576/attachment666d02xk2.jpg O projecto do atelier Promontório Arquitectos para a Praça de Entrecampos, em Lisboa, é o tema da próxima "Reunião de Obra", uma iniciativa promovida pela Ordem dos Arquitectos (OA) e que compreende uma conferência, uma exposição e uma visita guiada à obra em questão, apresentada pelos seus autores. A conferência de inauguração da exposição vai decorrer no dia 8 de Novembro, na sede da OA, seguida da inauguração da exposição que ficará patente na Galeria da Ordem dos Arquitectos até ao dia 30 Novembro, estando a visita ao local agendada para o próximo dia 10 de Novembro. Promovido pela Empresa Pública de Urbanização de Lisboa (EPUL), o empreendimento vai ocupar o espaço do antigo mercado do Rego. O conjunto contempla 650 fogos distribuídos por três edifícios, dois blocos de escritórios, cinco mil lugares de estacionamento subterrâneo, uma praça pública em torno da qual o empreendimento se estrutura, e a construção de um centro de artes (Lisboa Arte Fórum). Fonte: Jornal Construir

Olá Inês, Tal como o Dreamer referiu, existe imensa bibliografia , imagens e desenhos técnicos sobre a Villa Savoye. Seria interessante clarificares o objectivo do teu trabalho e o que já encontraste / pesquisaste. Abraços :D

Confesso que ainda não tinha visto este tópico... é raro isto acontecer! Já estava de saída, mas prometo olhar com mais calma e deixar um comentário... Abraço

Architect Meier turns his ambition to London It is ironic that London is hosting a major retrospective of work by United States architect Richard Meier -- the city is one of the only European capitals where he has not designed a building. But the man who, in 1984 at the age of 49 became the youngest-ever winner of the Pritzker Prize, architecture's equivalent of the Nobels, told AFP that no one has ever asked him to build in London, despite major success elsewhere. Surrounded by his drawings, sculptures and models of his buildings which went on show at the Louise T. Blouin Foundation in west London earlier this month, Meier, 73, found it tough to pick out his favourite work so far. "It is hard to say, because the last one is usually the favourite, and my last one is the Arp Museum, in Rolandseck (western Germany)," he said. "But every time I return to the Getty in LA (Los Angeles, western United States), I say it is amazing that it got built...I guess I would choose the Getty." Then he changed his mind again: "My next one is also my favourite: a group of residential buildings I'm building in the East River, in New York City, south of the United Nations. I think it will be a good addition to the city." Meier has been described by some critics as taking modernism to the extreme -- he is noted for his clean, white lines and use of light, space, shadow and water, while his inspirations include Le Corbusier and De Stijl. Asked what makes architecture art, he said: "The relationship to the context it is located, the quality of the spaces it has, the relationship between space and light." But the human angle is also important: "How people experience it, the quality of human scale...also the tactile quality of the building, the materiality, the sense of how it is made, the feeling that it has." He added that a building "should be inviting, and should enliven the place where it exists". The exhibition, entitled "Richard Meier: Art And Architecture" reveals that the architect, originally from New Jersey on the US east coast, is also a sculptor and a painter. It features model of Meier's bold proposal to replace the World Trade Center in New York, destroyed during the September 11 2001 attacks -- two grid-like, luminous blocks which tower over the Manhattan skyline. In the end, though, the project was awarded to Daniel Libeskind in 2003, which he describes as "a shame". For a period, Meier declined to design houses, saying that the effort it takes to design a building for a handful of people was "crazy when you could be making public housing for hundreds of people, with the same amount of time". "But then I thought that maybe, maybe, these houses have a life outside of themselves, maybe they influence the way people think about architecture, they influence how people think about how to live," he added, indicating a shift. He would love to crown his success by taking on a project in Britain, perhaps a museum, but noted the length of time these take to complete -- he worked on the Getty for 12 years and the Arp for more than 20. Asked why none of his works had been built in London, he said: "Nobody has asked me... but maybe after this exhibition they will ask me." Meier spoke generously about the work of contemporaries including Frank Gehry's Guggenheim Museum in Bilbao, northern Spain. On Norman Foster's Swiss Re building in London, nicknamed "the gherkin", he commented: "It shows that there can be diversity in London." Fonte: France24

Morphosis_ Phare Tower Paris, France “There’s a fluidity, a sensuousness, a softness to the form as it reaches to the sky. Moving around the tower, it appears to shift continually, distinct from different vantage points - not a single image, but a dynamic structure that responds to its site, environment, and performance requirements.” Thom Mayne The Phare Tower is part of the redevelopment for the La Défense business district on the outskirts of Paris. Informed by a commitment to sustainability and urban connectivity, the Phare Tower will distinguish itself as a beacon of optimism and progress. Program, design and engineering, are integrated in an innovative vision for a 21st century tower, which emerges organically from its complex site condition to become, by virtue of its fluid and sensuous form, a landmark in the regional skyline. Ler mais... Fonte: ArcSpace

Calatrava sues for 'violation of copyright' over bridge changes Santiago Calatrava's steel and glass Campo Volantin footbridge has become as distinctive a part of the Bilbao skyline as the nearby Guggenheim Museum. But in a spirited defence of his artistic integrity, the Spanish architect is suing the city of Bilbao for €3m (£2m) for violation of copyright, for allowing an extension to the bridge to be built by another star architect. The Japanese architect Arata Isozaki designed an extension to the 10-year-old footbridge to connect with his recently completed riverside housing development nearby. The court case has prompted a heated debate over whether a public building can be deemed a work of art. Calatrava is renowned worldwide for his soaring, airy bridges, and, in the case presented by lawyers in Bilbao's law courts yesterday, he claims that the new link "breaks the symmetry of the bridge, clumsily distorts the design... and damages the integrity of his work". He is demanding €250,000 compensation and the dismantling of Isozaki's extension, or, if the new link remains, - €3m for "moral damages". Initially ridiculed for "leading from nowhere to nowhere", Calatrava's footbridge is beautiful, but not exactly user-friendly. Its limpid glass floor tiles, designed to reflect the grey-green waters of the river Nervion that flow beneath, are notoriously slippery when wet. For 10 years residents and visitors have complained of skidding and tumbling. The city authorities who approved Isozaki's housing complex and his bridge link vigorously disagree. "The paintings of Goya are works of art; a bridge is for people to walk on," insisted Bilbao's mayor, Iñaki Azkuna. Without the bridge link, pedestrians would have to walk down to the old riverside jetty, then up two flights of steps. Mr Askuna concedes that a metre of banister was removed from Calatrava's bridge to accommodate Isozaki's extension, but reckons "this has no negative impactwhatsoever upon Calatrava's work", and that the structures co-exist harmoniously. Calatrava's lawyer, Fernando Villalonga, thinks otherwise. "This mustn't happen, because in this country, architecture, like other arts, is protected by intellectual property rights," he said. Mr Villalonga accused the town hall of "cheek, arrogance and ignorance". To which Mr Azkuna countered that all 560 glass tiles of Calatrava's bridge have cracked over the years, ravaged by the extremes of climate, and had to be replaced at the cost to taxpayers of €200,000. "If it's his intellectual property, let him take his intellectual property," fumed Mr Azkuna in the spring, when Calatrava launched his suit. "We've had enough of the dictatorship of Calatrava saying we can't touch his little bridge. We've had enough of this superstar." Isozaki has stood his ground. "We don't know what arrangement Calatrava has with the town hall," said the Japanese architect's office in Barcelona. "Isozaki thinks that in architecture it is very difficult to seek author's rights because we're talking about a work for public use, so how can you claim intellectual property?" The judge is expected to rule on the matter shortly. The case comes days after Calatrava's grandiose Arts Palace inValencia was flooded after torrential rainstorms. Mud jammed the stage machinery last week, causing the startof a star-studded opera season to be postponed for a fortnight and some performances cancelled. Fonte: The Independent

Where Gods Yearn for Long-Lost Treasures NO sane architect, one can assume, would want to invite comparisons between his building and the Parthenon. So it comes as little surprise that the New Acropolis Museum, which stands at the foot of one of the great achievements of human history, is a quiet work, especially by the standards of its flamboyant Swiss-born architect, Bernard Tschumi. But in mastering his ego, Mr. Tschumi pulled off an impressive accomplishment: a building that is both an enlightening meditation on the Parthenon and a mesmerizing work in its own right. I can’t remember seeing a design that is so eloquent about another work of architecture. When this museum in Athens opens next year, hundreds of marble sculptures from the old Acropolis museum alongside the Parthenon will finally reside in a place that can properly care for them. Missing, however, will be more than half of the surviving Parthenon sculptures, the Elgin Marbles, so called since they were carted off to London by Lord Elgin in the early 19th century. Britain’s government maintains that they legally belong to the British Museum and insists that they will never be returned. The Greeks naturally argue that they belong in Athens. Until now my sympathies tended to lie with the British. Most of the world’s great museum collections have some kind of dubious deals in their pasts. Why bother untangling thousands of years of imperialist history? Wise men avert their eyes and move on. But by fusing sculpture, architecture and the ancient landscape into a forceful visual narrative, the New Acropolis Museum delivers a revelation that trumps the tired arguments and incessant flag waving by both sides. It’s impossible to stand in the top-floor galleries, in full view of the Parthenon’s ravaged, sun-bleached frame, without craving the marbles’ return. The museum’s rhetorical power may surprise people who have followed the project over the last six years. Mr. Tschumi won the competition with a design that seemed chaste and austere by comparison with the flamboyant confabulations that are now common in contemporary museum design. The museum had to respond to more than 100 lawsuits before construction could begin, including disputes over its location and whether the sculptures could be moved without putting them at risk. (Local preservationists are now fighting to block plans to demolish two landmark buildings — an Art Deco gem and a lesser neo-Classical structure — that block the sightlines from the museum to an ancient amphitheater at the base of the Acropolis.) But the end result is a remarkably taut and subtle building. When I first glimpsed it on the approach from Dionysiou Areopagitou Street, a pedestrian avenue that leads from the Plaka cafe district, it seemed to fade into the dense grid of the city. Its facade, heavy bands of glass atop a concrete base punctured by narrow windows, seemed calm and unobtrusive. Yet as I drew closer, the forms grew more precarious. To preserve the ruins of an ancient village that was discovered at the site during construction, the entire building has been raised on huge columns. A wildly overscale concrete canopy juts over the main entry plaza. Just above, the museum’s top floor seems to shift slightly, its corners cantilevering over the edge of the story below as if it is sliding off the top of the building. This instability sets in motion a carefully paced narrative, guiding you through centuries of Greek history and allowing you to see the Parthenon with fresh eyes. An elliptical cutout in the plaza floor offers a view of the archaeological ruins below. From there you head into a low, dusky lobby and turn onto a vast ramp that leads to the main galleries. Sunlight spills down through a concrete-and-glass grid several stories above; the floor of the ramp is a grid with fritted glass panels that allow additional glimpses of the subterranean ruins. As you walk upward, you pass a series of chiseled figures on gray marble pedestals before arriving at an Archaic limestone pediment at the top of the ramp. The procession echoes the climb to the Parthenon, which culminates when you pause before the stark columns of the Propylaea, or entrance. Yet only as you turn the corner and enter the main gallery do you begin to grasp the significance of the journey. This vast space, now empty, will soon be filled with sculptures of gods and other mythological figures dating from the Mycenaean period to the early fifth century B.C. A fragment of a marble pediment that depicts Athena wrestling with giants — an example of the unrestrained, expressive style that preceded the controlled vigor of the High Classical period — will anchor the gallery’s far end. From there you loop around to more escalators and stairs, leading to a mezzanine restaurant and a small gallery that will house a balustrade from the Temple of Athens depicting the goddess flanked by winged Nikes. The sequence brings to mind a 1940 essay by the Soviet filmmaker Sergei Eisenstein in which he described the Acropolis as one of the world’s most ancient films because of the way you experience it as you move through space. “It is hard to imagine a montage sequence for an architectural ensemble more subtly composed, shot by shot, than the one that our legs create by walking among the buildings,” he mused. Like Eisenstein, Mr. Tschumi aims to create a montage of visual experiences. The roaming viewer stands in for the camera, collecting and reassembling these images along the way. Only when you reach your destination do they fuse into a coherent vision. The sense of anticipation reaches its full pitch as you enter the museum’s top-floor galleries. They echo the layout of the Parthenon itself, with a colonnade set around a sacred inner temple chamber. The temple friezes will be mounted in an unbroken sequence along a central core so that you will be able to follow the narrative without interruption. The panels lost to antiquity will be left blank; those that remain in the British Museum will be reproduced in plaster yet covered by a diaphanous veil to make clear that they’re fakes. The entire floor is wrapped in glass so that you can gaze at the surrounding city. The genius lies in how the room snaps disparate sculptural and architectural fragments into their proper context. You first enter the south side of the gallery, where the museum’s friezes and metopes will be seen against the chalky backdrop of the rooftops of Athens. As you turn a corner, the Parthenon comes into full view; the ancient temple hovers through huge windows to your right. The eastern facade of the Parthenon and the sculptures that once adorned it unite in your imagination, allowing you to picture the temple as it was in Periclean Athens. Eventually you descend through a sequence of smaller galleries, where the glories of the High Classical period gradually give way to Roman copies of Greek antiquities. The Parthenon fades from view. It’s a magical experience. Rather than replicating or simply echoing the Classical past, Mr. Tschumi engages in a dialogue that reaches across centuries. I carried these thoughts with me as I boarded an evening flight to London shortly after touring the museum. The next morning I walked from my hotel to the British Museum to visit the Elgin Marbles. Inside the long, narrow Duveen Gallery I felt an immediate twinge of pain. The marbles were stunning, but they looked homesick. To give visitors some sense of where they were in the Parthenon, the curators have hung the friezes along two facing walls, with the pediments set at each end of the gallery. Even so, you read them as individual works of art, not as part of a composition. A panel depicting the receding tail of one horse and the advancing head of another with an expanse of blank stone in between is breathtaking. But it’s hard to picture how it originally fit into the Parthenon. The lack of context is only reinforced by Lord Elgin’s decision two centuries ago to cut the works out of the huge blocks of stone into which they were originally carved, a cruel act of vandalism intended to make them easier to ship. In dismantling the ruins of one of the glories of Western civilization, Lord Elgin robbed them of their meaning. The profound connection of the marbles to the civilization that produced them is lost. Mr. Tschumi’s great accomplishment is to express this truth in architectural form. Without pomp or histrionics, his building makes the argument for the marbles’ return. Fonte: New York Times

Se estiver esgotado no distribuidor / editor só tens uma solução: [ame=http://www.amazon.co.uk/Thinking-Architecture-Peter-Zumthor/dp/3764374977/ref=pd_bbs_sr_1/203-4403392-4125509?ie=UTF8&s=books&qid=1193678919&sr=8-1]Amazon _ Peter Zumthor - Thinking Architecture[/ame] :D

Fiquei com a ideia que não entendeste bem o 'conceito' de 'laje colaborante'... http://www.constructalia.com/pt_PT/products/productos_detalle.jsp?idApli=66749&sTipo=1 http://www.cbca-ibs.org.br/noticias_exibe.asp?Codigo=469&Refresh=2006926499 http://www.columbia.edu/**/gsapp/BT/BSI/GRAVSYS/grav1.html Abraços :D

Olá Pedro, Bem vindo ao Arquitectura.pt! :D