JVS

Também gostei. Muito bom.

2013 Arquitecto Carrilho da Graça vence concurso para novo terminal de cruzeiros de Lisboa 31.07.2010 - 09:20 Por Marisa Soares O arquitecto Carrilho da Graça ganhou o concurso para projectar o novo terminal de cruzeiros de Santa Apolónia, lançado em Março pela Administração do Porto de Lisboa (APL). O júri, que avaliou os 37 trabalhos concorrentes, foi unânime ao considerar que a proposta de Carrilho da Graça se traduz "num claro benefício" para a cidade e para o seu porto. A obra custará 25,5 milhões de euros A obra custará 25,5 milhões de euros (DR) O projecto do autor de alguns edifícios emblemáticos da capital - como o Pavilhão do Conhecimento dos Mares, na antiga Expo "98, ou a recente Escola Superior de Música - convenceu o júri por incluir um "edifício relativamente pequeno, com uma volumetria delicada", sublinhou o grupo de avaliadores composto pelo arquitecto catalão Juan Busquets e o arquitecto paisagista Gonçalo Ribeiro Telles, entre outros. Ao PÚBLICO, Carrilho da Graça explicou que a ideia-base do projecto foi "partir da intervenção que a APL quer fazer na zona e criar espaços que possam ser desfrutados pela cidade, independentemente de haver cruzeiros ou não". A dimensão prevista permite minimizar o impacte visual do terminal, um assunto que tanta polémica suscitou no passado junto dos moradores do bairro de Alfama. Estes temiam perder a vista sobre o Tejo, caso avançasse o anterior projecto da APL. O júri apreciou também a cobertura visitável do terminal, o que converte o edifício numa "nova topografia da cidade, entre a colina de Alfama e o Tejo", salienta a APL, no comunicado em que anuncia o vencedor Outra preocupação do arquitecto foi tornar o espaço polifuncional. "Nos períodos com menos paquetes, a zona pode ser utilizada com outros objectivos, como concertos ou exposições", explica. Além de um grande parque verde urbano, que preenche a área envolvente, eestacionamento (para cerca de 80 autocarros), a proposta vencedorainclui um anfiteatro exterior com vista para o rio e para a cidade. O terminal de cruzeiros vai juntar-se à lista de obras emblemáticas deste arquitecto, que tem no currículo ainda a Escola Superior de Comunicação Social e a extensão do Palácio de Belém. A primeira fase do projecto deverá estar concluída em 2013. Terá uma área total de 7790 metros quadrados, envolve um investimento superior a 25 milhões de euros, pagos pela APL, que promoveu o concurso em parceria com a Câmara de Lisboa e a Ordem dos Arquitectos. Além do projecto de Carrilho da Graça, o júri destacou, pela qualidade, mais quatro projectos. Receberam menção os gabinetes de Aires Mateus Arquitectos, Guillermo Vazquez Consuegra, ARX Portugal Arquitectos e Zaha Hadid Limited. in http://www.publico.pt/Cultura/arquitecto-carrilho-da-graca-vence-concurso-para-novo-terminal-de-cruzeiros-de-lisboa_1449528 Lisboa: Carrilho da Graça desenhará novo terminal de cruzeiros Arquitecto apresentou projecto de «edifício relativamente pequeno, com uma volumetria delicada» rquitecto Carrilho da Graça vai ser o autor do projecto para o novo terminal de Cruzeiros de Lisboa, anunciou esta sexta-feira a Administração Portuária de Lisboa, na cerimónia de apresentação dos resultados do concurso da obra, noticia a Lusa. Foram 37 trabalhos que se apresentaram, mas foi o de Carrilho da Graça que convenceu, porque fez um projecto que envolve um «edifício relativamente pequeno, com uma volumetria delicada», justificou o júri composto pelo arquitecto catalão Juan Busquets e o arquitecto paisagista Gonçalo Ribeiro Telles, entre outros. Além disso, «vai ser um espaço aberto ao exterior», explicou ainda o arquitecto. Carrilho da Graça é o autor de obras como o Pavilhão do Conhecimento dos Mares, a Escola Superior de Comunicação Social ou a extensão do Palácio de Belém. Agora será o responsável pelo terminal de cruzeiros de Lisboa, cuja primeira fase deverá estar concluída em 2013, num investimento de cerca de 30 milhões de euros, pagos pela Administração do Porto de Lisboa (APL), que lançou o concurso público, em conjunto com a autarquia lisboeta e a Ordem dos Arquitectos. in http://diario.iol.pt/sociedade/tvi24-arquitecto-projecto-lisboa-cruzeiros-carrilho-da-graca/1181500-4071.html Novo Terminal de Cruzeiros de Lisboa com projecto de Carrilho da Graça Quinta-Feira , 25 Março 2010 A proposta apresentada pelo arquitecto Carrilho da Graça foi a melhor posicionada no concurso de concepção do Terminal de Cruzeiros de Lisboa, na sessão pública de abertura de propostas que hoje decorreu na Gare Marítima da Rocha do Conde de Óbidos, em Lisboa. Por unanimidade, o júri do concurso reconheceu nesta proposta qualidades que resultam "num claro benefício" para a cidade e para o seu porto. "Valorizada pela escala e leveza do edifício, com carácter pavilhonar, muito elegante e que procura um forte diálogo entre a cidade e o rio, demonstrando ampla compreensão do lugar" – assim é caracterizada a proposta de Carrilho da Graça pelo júri do concurso que apreciou, ainda, "o facto de a cobertura ser visitável" por converter "o edifício numa nova topografia da cidade, entre a colina de Alfama e o Tejo". Constituído por Andreia Fernandes Ventura, Joan Busquets, Ludgero Gonçalves e Rui Alexandre (indicados pela Administração do Porto de Lisboa), Graça Dias, (pela Câmara Municipal de Lisboa) Gonçalo Ribeiro Telles (pela Associação dos Arquitectos Paisagistas) e por Pedro Pacheco (pela Ordem dos Arquitectos), o júri avaliou um total de 37 propostas a destacou, pela qualidade, cinco projectos classificados nos primeiros cinco lugares. Assim, além do gabinete de Carrilho da Graça, receberam menção os gabinetes de Aires Mateus Arquitectos Lda., Guillermo Vazquez Consuegra, ARX Portugal Arquitectos e Zaha Hadid Limited. Resultando de um investimento global de mais de 25,5 milhões de euros, o novo Terminal de Cruzeiros de Lisboa vai localizar-se na zona de Santa Apolónia, devendo ficar concluído em 2013, ao cabo de 24 meses de obras. Com uma área total de 7790 metros quadrados, a nova estrutura de Santa Apolónia deverá corresponder a um conceito "friendly", tendo em consideração os aspectos de conforto, acessibilidade, flexibilidade e rapidez nos serviços prestados aos passageiros, e adequar-se ao tráfego actual e futuro, de forma a proporcionar a Lisboa o aumento significativo dos cruzeiros que começam e terminam no seu porto. Para mais informações, designadamente sobre as peças do concurso, rectificações, esclarecimentos ou alterações, clique aqui: Anexos Ordenamento.pdf Press Release - Terminal Lisboa.pdf in http://www.portodelisboa.pt/portal/p...notid=52486751

IN http://lx-projectos.blogspot.com/2009/05/novo-aeroporto-de-lisboa.html

in http://viasfacto.blogspot.com/2010/07/dar-nas-vistas.html

in http://vnre.blogspot.com/2009/09/dolphin-plaza.html

World Architecture - http://www.worldarchitecture.org/main/

One Madison Park to Receivership; Flood of Sales to Come? Email Print More...By Dana Rubinstein April 16, 2010 | 6:40 p.m One Madison Park +Enlarge Danny Kim All is not lost for would-be buyers of ultra-luxe condos at the skyscraper-cum-recession symbol that is One Madison Park. A judge on Thursday ordered the appointment of a receiver and the resumption of sales at the 23rd Street condominium tower, a 60-story monument to the reckless hubris of the run-up to the Great Recession. The building is still incomplete, is the subject of more than a dozen lawsuits and has caused a rift between the two principals and onetime friends who, as Slazer Enterprises, developed the tower. In February, lender iStar Financial sued to foreclose on the property, which forced a halt to all sales in the building. The Observer profiled the development, and the resulting imbroglio, in March. Tamir Shemesh, the Prudential Douglas Elliman broker in charge of sales at the condo, said he was thrilled with the news. "All parties are extremely happy with the judge's ruling, because obviously nobody wants to see the project fail," he said. "We have a lot of buyers that are waiting for resolution so they can move forward because they love the building so much." drubinstein@observer.com in http://www.observer.com/2010/real-estate/hurray-sales-can-resume-one-madison-park-judge-appoints-receiver

"I do not respect Mies," Rem Koolhas has written. "I love Mies . . . I do not revere Mies." Nowhere is this in greater display than in OMA's design, unveiled yesterday, for the $380,000,000 700 foot tall Museum Plaza in Louisville, whose upper reaches look like Koolhaas and OMA design partner Joshua Prince-Ramus took Mies' IBM and Seagram Buildings and stashed them atop a high shelf. The design is like a highrise version of the same team's Seattle Public Library, a set of three massive concrete cores around which a series of platforms are cantilevered, most strikingly in the case of the one-acre 22nd floor "island" structure that will house a contemporary art museum, which will actually be constructed at ground level and then lifted up into position. Unlike Mies, who created buildings that could house diverse functions in a uniform structure, OMA likes to break out the individual functions into different forms. At the Seattle Library, all of these forms were united by the curtain wall-facade, a continuous steel mesh of diamond-shaped windows. In Louisville, each function has its own building. At the base two separate structures, a 300 room hotel, and a tower with 150 lofts, are built around two of the cores, and have a strong visual affinity to Mies' 860-880 Lake Shore Drive Apartments. The huge "island" museum (passing resemblance to Mies' proposal for a massive exhibition hall on the site of the current McCormick Place) sits atop these buildings, with the third core rising as a sort of a concrete peg leg for balance. Set atop the museum like so many wooden blocks are two tall luxury condo towers, looking like the short ends of the IBM and Seagram, and a lower and broader office structure. looking a bit like it was carved out of the Dirksen Building, cantilevered over the edges of the museum. A free standing glass elevator structure rises diagonally, like the ladder on a firetruck, from ground level up 22 stories to the museum. One of the early models for the complex resembled a bundle of sticks held together by the museum island as if it were a rubber band, but the sharp diagonality of that concept now survives only in the glass elevator shaft - the rest is surprisingly angular and four-square. Whether the final product comes out looking cutting edge or merely cloyingly mannerist will largely depend on the quality of the curtain wall. In the illustration above, the curtain wall is darker, with a distinctly Miesian ambiance. In other renderings, the curtain wall shows up lighter and spikier, more like that of the Seattle Library. In one sense, the Louisville project seems almost quaint. In contrast to Chicago projects like Trump Tower, where half a million gets you a starter unit, Museum Plaza's luxury condos start at $400,000, and the prices of the lofts top out at $275,000. The Louisville Courier-Journal has extensive coverage of the project on its website. Thumbing through Koolhass's 2004 compilation Content, I came across a section Rem Koolhaas OMA Concept for The Hyperbuilding, Bangkok ThailandI had forgotten: "The Hyperbuilding - OMA's brief, titillating brush with sci-fi." a proposal for Bangkok, Thailand - "a city on the edge of the tolerable (which) offers the perfect context in which to test these theories." The theories are for a "self-contained city", a 1,000-meter-high "mass of thin towers and blocks of program." The idea went nowhere, but Koolhaas and his collaborator Joshua Prince-Ramus are nothing if not persistent. Once they develop a theory, they kept refining it, often through several unsuccessful competitions or pitches, until they finally find a willing client. Who would have thought the client for OMA's wildly radical hyperbuilding would be found not in Tokyo, New York or China, but along the banks of the Ohio River? It's not unlike how OMA's Seattle Public Library is a direct extension of their thinking for losing entries in competitions for a library in Jussieu and for the National Library in Paris, where the concept of floating programmatic elements within a large rectangular void can also be seen in simplied form in the Wyly Theatre project in Dallas, where programs are stacked vertically in an 11-story-high glass cube. in http://www.lynnbecker.com/repeat/louisville/louisville.htm Louisville Museum Plaza is a 62-story skyscraper planned for Louisville, Kentucky.[1] The 703-foot (214 m) tall skyscraper is projected to cost $490 million and contain a 1-acre (4,000 m2) public plaza and park, condominiums, lofts, a hotel, retail shops and a museum. It would replace the AEGON Center as the tallest building in Kentucky; it would also be taller than any building in Cincinnati, Columbus, Memphis, Milwaukee, Kansas City, San Diego, or St. Louis. The avant-garde design of the skyscraper was chosen by New York City REX (formerly Office of Metropolitan Architecture- New York) architect Joshua Prince-Ramus. A groundbreaking ceremony was held on October 25, 2007, and construction at that time was expected to be complete by 2010. Delays have disrupted the project, but Craig Greenberg, one of the projects four developers, is "hopeful that construction will start this year [2010]".[2] He also expects the project to be complete by late 2012.[2] The location of Museum Plaza would be between River Road, Main Street, 7th Street and 6th Streets in downtown within the West Main district, adjacent to the Muhammad Ali Center.[1] If built, it would be the first skyscraper constructed in Louisville in 17 years since the 35-story AEGON Center was constructed. History Initial offering The Museum Plaza project was first announced on February 9, 2006 as a 62-story three-tower skyscraper.[3] The original intent of the project was to house a "contemporary art museum, restaurants, retail stores, 85 luxury condominiums, 150 lofts, a 300-room hotel, office space and a 1,100-car underground parking garage." The project originally contained approximately 1,200,000 square feet (111,000 m2) of space, nearly twice the size of AEGON Center, 300,000 sq ft (30,000 m2). of which would be reserved for office space. Sales of the lofts, condos and offices began in March.[3] The $380 million project that featured a fairly radical skyscraper concept would engulf the West Main district, also known as "Museum Row" for its diverse collections of exhibitions. $305 million will be paid for with private money and income from operations, with the remainder coming from the city and state in the way of upgrading adjacent infrastructures which would include moving the adjacent floodwall, redirecting several city streets, and constructing a public park and walkway;[3] the city and state money would come from rebates on new taxes generated by Museum Plaza over 20 years. The location of the proposed skyscraper was chosen for its derelict structures; it was donated by the city to the developers. At the time of its unveiling, the University of Louisville was negotiating with the developers to move its Master of Fine Arts program into the complex. The primary reason is that there will be ample gallery space that could be shared between various artists and the University; the public can also collaborate with the residents, university students, workers or visitors to Museum Plaza.[3] One of the main concerns was that the design would be "out-of-context" with the West Main Street district. The surrounding structures are a mix of four- and five-story period structures that would be "engulfed" by the 62-story tower. Several, including Louisville's mayor, Jerry Abramson, raised concerns that the skyscraper would "separate itself" from the district due to its size and style.[4] Preliminary construction begins Preliminary construction began on November 13, 2006 with the selective demolition of four West Main Street buildings.[5] The facades of 615-621 West Main will be saved and serve as an entrance to a "pedestrian promenade and retail corridor." The buildings were abandoned, having been purchased by the Parking Authority of River City in 2001 for a "grand entrance" for the failed 30-story Vencor Tower that was to be located on the same site as Museum Plaza. The "retail arcade," as currently planned, would extend from West Main Street to a pedestrian overpass over Washington Street, where it will connect to a plaza and amphitheater.[6] Currently under construction, if completed it will feature 34 trees, a terrace, and connections to Museum Plaza and the Muhammad Ali Center. The skyscraper's groundbreaking occurred on October 25, 2007.[7] Growing larger On December 6, 2006 it was announced that Museum Plaza was becoming larger.[1] The $380 million price tag had risen to $465 million due to several additions to the complex, adjacent roadway improvements and rising basic material costs; new alterations to the city's waterfront would entail more work for the city and state. The announcement also stated that the project would contain a 246-room Westin Hotel, the addition of 14 luxury condominiums for a total of 99, a 140,000 sq ft (13,000 m2). park that would connect to the nearby Muhammad Ali Center, and for the demolition of the LG&E tower at Eighth Street. The project now contains 1,500,000 sq ft (139,000 m2). of space, a 40,000 sq ft (4,000 m2). contemporary art museum, 20,000 sq ft (2,000 m2). of restaurants and retail space, 99 luxury condominiums, 117 lofts, a 246-room hotel, office space and an 800-car underground parking garage. In the revisions, the number of lofts was lowered from 150 to 117 because the University of Louisville's Master of Fine Arts program was intending to move to Museum Plaza;[1] this would give the school additional room. The arts program, covering 36,500 sq ft (3,390 m2). over four levels, will include a glass-making shop. The hotel also lost 50 rooms in the process, but the addition of a ballroom, fitness center, spa, restaurant and bar makes up for the difference. On January 22, 2007 it was announced that the number of lofts would be decreased to 108 and the number of luxury condominiums would be 95, a loss of four.[8] The amount of restaurant and retail space increased to 40,000 sq ft (4,000 m2). It was also announced that there would be 16 floors with a total of 295,000 sq ft (27,400 m2). dedicated to offices. The total number of floors was also increased to 62. It was expected that, once construction began in May or June 2007,[9] there will be 561 full-time workers employed at the construction site for three years; construction is projected to end in 2010. The combined economic impact is $900 million, making it one of Kentucky's largest economic development projects.[1] [edit] Details The fourth level is slated to be a public plaza.[9] Located on multiple floors will be an art showcase titled the "Island"; the five galleries within the "Island" would, if completed, feature frequently changing contemporary exhibits. Two of the galleries will be dedicated to the University of Louisville, one specifically for their glass-arts study. Offices would be located around the "Island" and surround that will be a lobby, spas, stores and other support facilities. The public plaza outside of the Museum Plaza is planned to feature a playground, flora and water features, and a playing field.[9] The Fort Nelson Park would serve as a "parkway" to this plaza. Financial issues The city of Louisville's Convention and Visitors Bureau, and numerous groups representing the hotel and tourism industries, are opposed to the legislation that would allocate portions of the room tax for the proposed Westin Hotel at Museum Plaza to the developers.[10] A resolution by the groups was passed in late-January 2007. The money would reimburse Museum Plaza officials for construction costs regarding a new floodwall and the River Road extension, among other public work improvements. The developers claimed that the $465 million development could not be built without the tax changes and two other measures that were introduced in Frankfort.[10] The other measures included requesting changes in state law that would allow them to extend the tax increment financing from 20 to 30 years, and to remove sales tax from all construction materials.[11] On February 1, 2007 Mayor Jerry Abramson intervened, urging the Museum Plaza developers and opponents of the room tax to reach agreement "within 48 hours".[12] One day later, agreement was reached between the Convention and Visitors Bureau, hotel and tourism industries and Museum Plaza officials regarding the tax proposal.[11] According to the deal, the amount of tax revenue spent on public infrastructure will be limited to a maximum of $400,000 per year, to increase by four percent per year over thirty years. Any revenue generated above the upper limit will go to the Bureau. Museum Plaza is approved On March 2, 2007 House Bill 549 passed by a 79-13 vote that allowed the state to provide funding for one fourth, or $130 million, of the Museum Plaza project.[13] It then cleared the Senate on March 12 by a 35-1 margin, and the House approved the Senate changes 85-11.[14] On April 20 it was announced that the groundbreaking for Museum Plaza' construction would be September 27.[15] The finalized list of features include: * 98 luxury condos * 117 studio loft condos, * 270,400 sq ft (25,120 m2). of offices on 13 floors, * 250-room Westin Hotel that has a ballroom, fitness center, spa, restaurant and bar/lounge, * 140,000 sq ft (13,000 m2). public plaza, * 20,000 sq ft (2,000 m2). of restaurants and shops, * 36,500 sq ft (3,390 m2). of studios for the University of Louisville fine-arts program, a glass shop, and fine arts gallery, * 40,000 sq ft (4,000 m2). of contemporary art space, * 800-space parking garage. A "string of shops" will be constructed behind the three facades that were saved at 615-621 W. Main Street, providing an entryway over the floodwall into Museum Plaza.[15] On May 23, 2007 the Downtown Development Review Overlay board, which oversees the design of downtown projects, stated that Museum Plaza met most of its guidelines for new construction.[16] It suggested a few improvements for the project, including: * A way to connect a public plaza to the Ohio River, similar to how the Belvedere reaches the wharf at Fourth Street and River Road. * Encourage public art on the site. * Submit plans for signage, landscaping, exterior lighting and details on the four-story parking structure that will serve as the base of Museum Plaza. The city landmarks committee also recommended that an obelisk at Fort Nelson Park (Seventh and Main streets) remain at its current location.[16] Museum Plaza officials wanted to remove it to build a parkway that would lead to the public plaza. The obelisk marks certain distances to Fort Nelson, the second fort built in Kentucky. [edit] Groundbreaking ceremony On October 25, 2007 an official groundbreaking ceremony was held on the site to kick off actual construction. [edit] Subsequent problems Construction on the building halted in January 2008 after vibrations from digging tools at the site shook nearby 19th century Main Street structures. The building's developers still project that the building will be completed in 2011.[17][18] In March 2008 construction was halted due to financial problems and engineering problems related to the bedrock on the site. Construction resumed in June 2008 with the relocation of underground utilities. [17] By January 23, 2009 two contractors on the project had filed liens against the project, for $2.3 million and $1.4 million. The lienholders stated that they had not been paid for work previously done on the project.[18] [edit] On hold in 2010 In February, 2010 Mayor Abramson forecasted that financing would be resolved in 2010 with construction starting up again in 2011.[19] In the article he implied that part of the funds might come from the Federal stimulus funds. In another article from February, 2010, Craig Greenberg, one of four Museum Plaza developers expressed his hopes that construction would restart in 2010. He refers to a 30-month project completion time and forecasts a 2012 opening based upon a 2010 resumption of construction.[2] However, there were no concrete details of progress in either of these news reports. A news conference was held at the site, on June 25, and an announcement was made that a $100 million HUD loan application was to be filed, in July. The primary developer, Laura Lee Brown, will be using her personal guarantee as the collateral. If HUD approves the loan, construction may resume.[20] Location Intersection of Seventh St. and Washington St., between River Road and Main St. Status Construction Halted Groundbreaking October 25th, 2007 Estimated completion 2012 (est.) Opening 2012 (est.) Use Residential, commercial, retail, museum, University of Louisville Master of Fine Arts program, public park Height Roof 214.2 m (703 ft) Technical details Floor count 62 Companies involved Architect(s) REX Developer Steve Wilson and Laura Lee Brown, Steve Poe, Craig Greenberg in http://en.wikipedia.org/wiki/Louisville_Museum_Plaza

May 8, 2010 Riverside Museum, Glasgow’s Guggenheim, nears completion Charlene Sweeney Like a steel tsunami from the Clyde, the landmark building that could become Glasgow’s answer to the Guggenheim in Bilbao is now almost complete. The wave-shaped Riverside Museum, designed by the acclaimed Iraqi architect Zaha Hadid, will be the new home of the city’s transport museum. The structure, three interwoven galleries clad in 24,000 zinc tiles made on site, is one of the most ambitious building projects attempted in Scotland, and will rank with the Scottish Parliament building at Holyrood as an attraction in its own right. Hadid, a previous recipient of the Pritzker Architecture Prize, the profession’s highest award, won the commission after an international contest. With just a year until the museum is due to open, the pressure is on fund-raisers to find the final £1.7 million. The Riverside Museum Appeal, launched in August 2007, pledged to raise £5 million towards the £74 million bill. To help boost funds, the appeal has entered a new phase in which the public will be encouraged to become involved. Expatriates in the United States have also been invited to support the campaign. It is hoped that the museum’s role in conserving Scotland’s heavy industry heritage, especially shipbuilding on the Clyde, will convince them to dig deep. “It is not a good time for raising money but I think people will rally round and contribute because there is a close relationship between Glasgow and the museum,” said Lord Smith, the appeal chairman. “Glaswegians are very supportive of their museums and galleries. At the moment 500,000 a year visit the transport museum so there are a lot of people proud of it.” Taking a leaf from the campaign that raised £14 million for the city’s Kelvingrove Art Gallery, all donors, no matter how small, will be commemorated at the new museum. Those who contribute more than £5000 will have their names on a special wall, while smaller donors will be mentioned on a special video screen. There are also plans for a gala dinner in September and a fresh assault on corporate donors. Paul Jaffray, project manager for BAM, the building contractor, says it is one of the most unusual buildings he has encountered. “When I first saw the plans I thought, ‘What do we do with this?’ ” he said. “We looked at a lot of Zaha’s buildings before we started.” The last of the tiles are being hammered in and the specially reinforced concrete floors are being laid. The spacious interior will hold about 3,000 artefacts — more than double the number on show at the old museum, in cramped and rundown premises just over a mile away at Kelvin Hall, which closed two weeks ago. Prize items will include the late Colin McRae’s Subaru Impreza in which he became the youngest World Rally Champion at the age of 27 in 1995, and a Glasgow-built steam locomotive that was returned to the city from South Africa and is being restored. The centre has views of the Govan shipyard where two aircraft carriers will be built from 2014. “I think this thing will be stunning,” said Lord Smith. “It will be like the Sydney Opera House. People will come just to see the building and then say, ‘Hey, there’s a wonderful transport collection inside’.” He believes that the museum’s new location, where the River Kelvin meets the Clyde, will reinforce Glasgow’s maritime heritage. “I remember as a wee boy I saw the QE2 being built, but there may be youngsters now who look around and say, ‘What shipbuilding? What engineering?’ It’s important that they know we built a huge amount of railway carriages — some still running in countries like India — ships and trams.” To donate to the project log on to www.riversideappeal.org in http://www.timesonline.co.uk/tol/news/uk/scotland/article7119586.ece

Starchitects are all over New York, giving an extra value to new condos in Manhattan. A few months ago i visted the Herzog & de Meuron and Bernard Tschumi projects on the lower east side, and they looked quite impressive. While most people didn’t liked the Tschumi’s Blu Condo, despite it’s iconic image, i had mixed feelings with HdM’s 40 Bond St. But on West Chelsea a new 9 unit condo is under construction, designed by japanese Shigeru Ban. The project is located on the south side of West 19th Street, between 10th and 11th Avenues in West Chelsea’s art gallery district, right next to the High Line, the Hudson River Park, Ghery´s IAC Building and Jean Nouvel´s 100 11th. On this building, Shigeru Ban once again innovates on the material use by incorporating motorized perforated metal shutters on its -dynamic- facade, which act as light-modulating privacy screen at the outer edge of each residence’s terrace adjacent to the double-height living rooms. From their website: This subtle “removable skin” echoes the neighboring gallery after-hours shutters, subtly contextualizing the building within its site. The building can literally become a uniform minimal cube, or it can open completely (as well as virtually unlimited permutations between). South of the loggia, twenty foot tall, upwardly pivoting glass walls open completely, thus blurring the boundary between the inside and outside – the double height living room and loggia become one. Similarly, a series of interior sliding glass doors create an open “universal floor” in each of the duplex houses – one vast and uninterrupted expanse which transitions seamlessly from inside to outside, or partition the space into private areas. IN http://www.archdaily.com/3102/metal-shutter-houses-shigeru-ban/

AUTOLITH MOCAPE, Museum of Contemporary Art & Planning Exhibition Shenzhen International Competition – Finalist 2007 Site: Shenzhen Client: City of Shenzhen, China Area: 80 000 m2 Cost: 65 000 000 Euros H.T Design Team : SERERO Architects (David Serero, Anthony Cheung, Nordine Chevalier, Alice Sabatier, Fabrice Zaini) Gongshi (or Scholar's Rocks) is the term for stones that were collected by Chinese scholars because they resembled mountains (both famous and imaginary) and similar natural wonders of the world around. They represented a focus for meditation of religious or philosophic principles and served for contemplation prior to writing poems or painting. Chinese learned to admire the rocks for "surfaces that suggest great age, forceful profiles that evoke the grandeur of nature, overlapping layers or planes that impart depth, and hollows or perforations that create rhythmic, harmonious patterns." For over 1,000 years, Chinese literati and Taoist monks often brought these mountains into their studios for meditation and contemplation while they wrote or painted. Our proposal for the MOCAPE aims in similar terms to question the way the people consider an art museum, and its relationship with its urban environment. It is a point of singularity in the master plan of the Shenzhen Civic Centre. The MOCAPE is not a building, it is rather conceived as a rock , which geometry has been sculpted by program and by its surrounding condition. It is wrapped by a continuous surface which integrates strong structural characteristics with ornamental pattern inspired by the traditional Chinese puzzle called the Tangram. PROGRAMMATIC ORGANIZATION The MOCAPE volume is generated from our analysis of the building’s program. The museum is conceived as a set of separate entities, which are interconnected and can function together. The building has a torus shape delimitating an interior courtyard, opened to the rest of the city. It is composed of a base, a main plateau and three vertical protuberances. The base is supported by 5 different feet placed around a reflecting pool of 2500 m2. These feet give access to the 3 interacting entities of the museum: the MOCA program and activities, the Planning and Exhibition department and the shared spaces by these 2 institutions with offices, reception and multipurpose halls. These 3 vertical protuberances of 28, 32 and 40 meters high , are connected together by an elevated plateau, a continuous exhibition hall of 15 000 m2, with 7 meters ceiling height. Each of the floor plates of these entities are reducing in size when they are higher, as they host more private activities. The first underground floor of the museum is a parking garage for 250 cars, with conference halls and technical rooms and the second underground floor ( 5 meters high ceiling) is used for the storage and the maintenance of artworks. “TANGRAM” FAÇADE SYSTEM The MOCAPE façade and rooftop system is a continuous surface with glass and steel cladding, which wraps around the whole building. Like the ancient Chinese puzzle, the Tangram, this surface is composed of triangular and square panels. They are creating at 3 different scale a set of figures (both abstract and figurative) which are endlessly changing the amount of light penetrating in the museum spaces and filtering the views to the surrounding buildings and to the museum interior courtyard. The façade is a structural lattice, which operates at different scale. It combines photovoltaic panels to offset the building energy needs, as well as automatic solar shade systems included in the thickness of the glass to control the museum interior environment. StructurAL PRINCIPLE The museum is a made of concrete slabs with triangulated ribs supported by concrete columns. This large span system allows for greater flexibility of the exhibition halls. The façade anchored to the slabs is structurally participating to the stability of the building. Elevator and staircase shafts as well as atrium perforated concrete envelope are efficient structural and seismic bracing for the whole building. ROCK GARDEN In the central courtyard of the museum, a reflecting pool with “floating” rocks stimulates the visitors to enter in a state of meditation and observation of nature, in the same way that artists traditionally got inspired by these settings. It is a mineral and vegetal garden, which provides both a public space inside of the museum as well as an outdoor extension to the museum activities. in http://www.serero.com/projects/mocape/index.html

Triglavska Residential Neighbourhood is the residential building in Ljubljana, Slovenia, was designed by Groleger arhitekti. After winning the first prize in an invited competition in 2003, the architects where challenged to create a high quality residential accommodation that would be expressive, joyful and respect the qualities of the location. The Triglavska Residential Neighbourhood is integrated in the existing tissue of a city part characterized by residential complexes embedded in green areas. The main urban idea was to create a dynamic exterior, unique in its neighbourhood with generous vegetation making the complex part of the landscape embedded in the green parterre. The architecture articulates an ambition to promote integrity and clarity of design. The complex is divided into three separate entities consisting of two building types: the long building bends in the westen part towards the courtyard giving a playful twist to a basic form of construction avoiding monotony. In the eastern part the form becomes more expressive – the upper part of the building dramatically overleaps the lower. The forms are kept simple yet sculptural. The second type is consisting of two simple towers repeating the square shape of the existing buildings at the south of the building site. The group provides 188 apartements of various sizes with a total area up to 32.000 sqm. The long building with a height ranging from 4 to 6 storeys, contains smaller apartments varying in size from 40 to 70 sqm, the buildings dominant feature – the dynamicly shaped roof floor is reserved for bigger apartements (150 m2) with decks and terraces. The two towers with a height of 7 storeys, provide space for larger apartments (60 -790 sqm) with the advantage of a double aspect orientation. The differently sized apartments are reveiled in the courtyard facades of the two towers creating a puzzle-like 3d game. Variation in the facades gives all three volumes an individual character, unified by the warm tone of the terracotta cladding. The center of the trio is designed as a small park connecting the volumes, serving as a focus of the complex and creating a dynamic interplay within. Lifted on columns, the interior space flows seamlessly into the exterior. in http://www.topboxdesign.com/triglavska-residential-neighbourhood-in-ljubljana-slovenia/

Civil Courts of Justice in Madrid by Zaha Hadid November 14th, 2007 Here is a full set of model photos, renderings and drawings of El Juzgado de lo Civil (Civil Courts of Justice) in Madrid, designed by Zaha Hadid Architects. The competition-winning design was unveiled earlier this month. The building will form part of a spectacular new Campus de la Justicia at Valdebebas in the Spanish capital, which will also feature buildings by Norman Foster, Richard Rogers, IM Pei and others. The city of Madrid has issued a press release (in Spanish). The following text is from the architects: CIVIL COURTS OF JUSTICE, MADRID, SPAIN ZAHA HADID ARCHITECTS URBAN STRATEGY Due to the high demand for office space within the new masterplan that contains the Civil Courts of Justice, public space within the development has shifted from being a potential destination to becoming residual, fragmented and dispersed. In desperate need for refocusing, so as to create a better collective experience, the design for the Civil Courts of Justice inserts public space in its core – integrating it by connecting it with the campus’s public circulation. As a result, the Civil Court of Justice design shifts from being a mere component of the overall system to becoming its pivoting point, serving as a reference that provides structure and organizes the entire urban masterplan complex. ARCHITECTURAL DESIGN The formal language and architectural articulation of the design aims to break the static configuration of the surrounding buildings. The design’s soft and dynamic tectonic turns it into an immediate reference for the masterplan, without the need to exhaust maximum building heights. By way of horizontal shifts of its mass, a sense of elasticity is introduced into the design allowing the building to be grounded at its elevation to the masterplan campus. This elasticity draws visitors into its interior, and permits the building to ‘float ‘above the ground plain. The envelope of the Civil Court of Justice is composed of a double-ventilated façade. The exterior layer of the facade is composed of metallic panels which respond to environmental and program conditions. These panels shift from open to closed and from flat to extended depending on the circumstances affecting them. It is also envisaged for the metallic panels on the rooftop incorporates photovoltaic cells. Inside the building, a spiralling semi-circular atrium is developed around the courtyard where all public space evolves. The atrium overlooks the courtyard, which serves as instant reference point for visitors to move around the building, and extends to the lower ground floor, providing natural light to enter the court rooms at that level. in http://www.dezeen.com/2007/11/14/civil-courts-of-justice-in-madrid-by-zaha-hadid/

Concurso de ideas para el centro de la tercera edad “Sandaru” Barcelona ARCHIKUBIK Marc Chalamanch - Miquel Lacasta - Carmen Santana Según los científicos en diez años la esperanza de vida llegará a la centena. Nuestros mayores hoy tendrán una especie de segunda oportunidad, e ingresarán en lo que ya se llama la cuarta edad. Las terapias génicas permitirán curar la hepatitis C o el Cáncer y en 35 o 40 años según el investigador del Salk Institute Inder Verma las grandes enfermedades hoy conocidas tendrán una terapia evolutiva capaz de librarnos de ellas. Un denominador común de todas las terapias génicas consiste en investigar el proceso de desarrollo de las llamadas Células Madre. Estas células son indiferenciadas y tiene la propiedad de transformarse a lo largo de su crecimiento en células de diferentes tejidos y órganos humanos. Un reciente operación realizada en Barcelona ha consistido en inocular en un tejido necroso del corazón de un paciente, células madre de la médula ósea del mismo. En teoría esas células (alrededor de 20 millones) van a crecer y transformarse en músculo cardíaco en un proceso de REGENERACION de tejidos extraordinario. En tejidos urbanos de avanzada edad como el del ensanche de Barcelona, la operación vivificadora de las células madre es cada vez más necesaria. La estrategia de “regeneración de tejidos” es especialmente asimilable en estructuras poderosas y fuertemente arraigadas en el territorio como el ensanche, descartándose efectos secundarios y sintomatología de rechazo. El ensanche es como uno de esos habitantes entre la tercera y la cuarta edad que van a experimentar una relación colectiva en el Casal SANDARU, gente que está ya hoy, a las puertas de una longevidad insospechada, una segunda oportunidad para aprender, experimentar, volcarse a nuevas sensaciones, re-nacer en cierta medida. Nuestros mayores van a dejar su papel pasivo y con su experiencia van a liderar las exigencias de calidad de vida en nuestras ciudades. Su actitud va a ser reactiva y exigirán una arquitectura, un entorno, una ciudad a la altura vivificadora de sus expectativas. El edificio del Casal Sandaru es como las 20 millones de células madre sobre un tejido avejentado. Nuestro edificio va a vivificar la zona no sólo por su arquitectura sino por que va a ser habitado por gente exigente, con ganas de aprender y relacionarse, gente consciente de su segunda oportunidad, gente que quiere experimentar cada día, a fin de cuentas gente experimental. Dejemos que la experiencia se encuentre en un edificio experimental (pensado y dotado para generar experiencia). Dejemos que una edificio experimental lidere una manzana de equipamientos para la experiencia colectiva de ciudadanos. Dejemos que la experiencia colectiva de un número importante de ciudadanos regenere esta parte del tejido del ensanche, cansado y dolorido por el simple paso del tiempo y un cierto olvido con los tejidos periféricos. Funcionamiento La disposición en plantas responde al programa propuesto. De todas maneras se ha reubicado el programa de la siguiente manera: Planta sótano: bugaderia y espacio disponible para futuros crecimientos Planta baja: zona pública compuesta por vestíbulo, recepción y administración, bar y peluquería unisex, masajista y podólogo. Se ha pretendido así ubicar en planta baja el programa de acceso directo desde la calle. Planta primera: sala de actos, vestuario, almacén, foyer, etc. Es la planta mas “noble” y con mas altura. Se provoca un doble espacio desde el foyer y acceso a una gran terraza al exterior abierta en toda la altura que ilumina el vestíbulo de la planta baja y todo el programa de la planta segunda y tercera de la zona central, allí donde la luz estructural es mas larga (aprox. 20 mts) y donde la luz natural sería mas difícil de hacer llegar. Planta segunda: sala polivalente, vestidors, sala lectura, talleres y gran terraza cubierta. Esta terraza es una de las apuestas del proyecto pues permite a los usuarios estar al aire libre pero sin mojarse. Además sirve como espacio de dilatación para futuros crecimientos. Planta tercera: aulas, despachos para las entidades locales, sala polivalente, almacén, sala reuniones. Esta planta responde al programa del centre de barri. Planta cubiertas: se ha habilitado la planta cubiertas para poder ser usada también como área de esparcimiento de los usuarios del edificio. Se propone una pista de petanca cubierta, para poder usarla todo el año, zona arbolada y pavimento de madera y césped formando todo el conjunto una grada donde sentarse y compartir el tiempo al exterior. En esta planta también se ha previsto la zona de instalaciones (bomba de calor, a.c. etc) forrada con paneles captación solar para un ahorro energético cercano al 30% del consumo total del edificio. Estructura El edificio Casal Sandaru esta basado en anillos estructurales de 5mts. De ancho, compuestos por una estructura metálica formada por IPN-250 y una sub-estructura de tubulares #70.50.10 para recibir los materiales de acabado, piedra filita al exterior y pladur en el interior. Estos anillos son autoportantes y van de la planta baja a la planta cubiertas. A excepción de los dos anillos centrales no es necesario la disposición de pilares pues cubren una luz que va de los 17 a los 5.50 mts. Los forjados son de chapa colaborante 6+8 formados con chapa haircol 59s y armadura de refuerzo sobre subestructura formada por IPN-150. en el sentido longitudinal de la luz el forjado se apoya sobre don UPN-350 que funcionan como jácenas de apoyo para cubrir las luces más desfavorables. El resultado es que los forjados arriostrándolos anillos estructurales obteniéndose una estructura ligera, de rápido montaje y capaz de adaptarse a la forma del edificio. Competition for a community centre for erlderly people in Barcelona According to scientists life expectancy will have reached a hundred years within ten years. Our senior citizens will have a kind of second chance and will form part of what is already called Fourth Age. Genetic therapies will heal hepatite c or cancer and according to a research of the Salk Institute Inder Verma in 35 or 40 years all big diseases we know nowadays will have an evolutive therapy capable of healing us from them. A common denominator of all genetic therapies is researching the developping process of the stem cells. These cells are undifferenciated and their particular nature is to transform into cells of diffenrent human tissues and organs at the end of their growth. A recent operation realised in Barcelona consisted in inoculating stem cells of him ows bone narrow into necrosed tissue in a patient’s heart. Theoretically these stem cells (about 20 millions of them) will grow and transform into heart muscle in an extraordinary process of REGENERATION of the tissue. In old urban tissues like the one of the Ensanche in Barcelona the life-giving operation of the stem cells becomes every time more necessary. The strategy of regeneration of the tissue is especially assimisable in powerfull structures, deeply rooted in the territory like the Ensanche, ruling out secondary effects or rejection symptoms. The Ensanche is like one of these residents between Third and Fourth Age who will experience a collective experience in the Casal SANDRU, people who are now already at the beginning of an unexpected longevity, a second chance to learn, experience, throw themselves into new sensations, be re-born in a certain way. The older people will enjoy their passive life and with their experience they will lead the demands of quality of life in our cities. Their attitude will be reactive and they will demand an architecture, a surrounding, a city at the life-giving height of their expectations. The house of Casal Sandaru is like the 20 millions stem cells in the old tissue. Our edifice will give life to the zone not only with its architecture but also with its demanding inhabitants keen to learn and meet the unknown, people aware of their second chance, people wanting to experiment every day, simply experimental people. We expect experience to be found in an experimental building (thought and equipped in order to generate pexperiences). We expect an experimental building to host a serie of equipment for the collective experience of the city inhabitants. We expect the collective experience of a great number of city inhabitants to regenerate this part of the tissue of the Ensanche, tired and sore simply because of time going by and a certain oversight of the periferic tissues. Functioning The layout in floors responds to the proposed programme. We arranged the programme in the following way: Basement: laundry and space for future extentions. Ground floor: public zone with entrance hall, reception and administration, bar and unisex hairdresser, physiotherapist and chiropodist. on the ground floor we tried to place the programme that is directly acessible from the street. First floor: lecture hall, stores, foyer, etc. It is the most “noble” floor with the heighest ceiling. We created a double height from the foyer and access to a big external terrace open on the total height which lightens the entrance hall on the ground floor and the whole programme of the second and the third floors of the central area, wherever structural span is very large (about 20 m) and where natural light would be very difficult to lead. Second floor: multi-purpose hall, dressing room, reading room, shops and big sheltered terrace. This terrace is one of the propositions of the project and it allows the users to be outdoors without getting wet. Furthermore it serves as dilatation space for future extentions. Third floor: lecture rooms, offices for local companies, multi-purpose hall, stores, meeting rooms. This floor responds to the programme of the neighbourhood centre. Roofs: we fitted the roofs out so that the users of the building they could use them as a recreational area as well. We propose a sheltered petanque alley, to be used all year long, a tree covered area with wooden paving and lawn creating alltogther a terrace where you can sit down and enjoy beeing outside. We also planned the installations on this floor (heat pump, ) covered with solar pannels for energy saving close to 30% of the total energy used by the building. Autores: ARCHIKUBIK Marc Chalamanch - Miquel Lacasta - Carmen Santana - www.archikubik.com Colaboradores: Antonia Genovart, Marcus Blum, Tanja Ebersbach, Gonzalo Elizarraras, Andres Dejanon, Camila de Lima Ferrari, Pedro Cohello IN http://www.noticiasarquitectura.info/especiales/sandaru.htm

archiCentral 24 Mar 10 Athletic Center // Grande Synthe // France // Olgga Architects Olgga Architects‘ Athletic Center in the Basroch neighborhood of Grande Synthe, France is currently under construction. This new recreational infrastructure, which will host rugby, soccer, and cycling and archery clubs, also responds to a strict criteria of sustainability with the inclusion of solar panels for over 40% of hot water heating, 10800sf of photovoltaic membranes on the roof to address peak electricity demands ,a retaining pond and water treatment locale for internal consumption and Utilization of post-consumer and recyclable materials for façades. The Athletic Center includes a “hollowed out” parallelogram to accommodate bleachers and club houses. This sculptural endeavor results in a carved monolithic building, open to specific activities: playing fields and cycling track. The roof, terraces and base are one entity. At the base there are rugby, soccer facilities and administrative offices while the hollowed-out portion boasts a spacious covered terrace. This facetted interstitial zone will allow a large audience to attend sporting events. Within the continuity of the terrace, the clubhouses benefit from a specific architectural language. These two spaces offer panoramic views of the entire recreational complex, allowing one to see without being seen. The clubhouses are protected from the elements by a double skin system, composed of glass panels, interstitial space and stretch-mounted fabrics. It is the hope that in the future, the stretch-mounted surfaces can potentially be adapted for a variety of graphic uses, publicity, urban art, etc… Or the entire screen component could be personalized with team colors or sports graphics by using light and projection technology as the building mutates into a veritable event-canvas. ATHLETIC CENTER / GRANDE SYNTHE (59) / FRANCE MAITRISE D’OUVRAGE : CITY OF GRANDE SYNTHE AREA : 2 433 m2 NET BUDGET : 3 875 745 €HT SCHEDULE : to be complete by 2010 CONSULTANTS : SOGETI engineering / ABE acoustique CREDIT : olgga architects in http://www.archicentral.com/athletic-center-grande-synthe-france-olgga-architects-26079/#more-26079

Vertical Omotesando By Wai Think Tank Wai Think Tank designed this proposal for the Fashion Museum Competition in Omotesando Street in Tokyo, Japan. The challenge consisted in designing a 100 meters high tower-museum, containing exhibition areas of 20th century fashion history and becoming a landmark for Tokyo. A fashion Museum for the 21st century Omotesando Street is recognised nowadays as a powerhouse in the world of fashion. Its particular urban fabric is famous for its conglomeration of iconic, although individual luxurious boutiques. But how to insert a new building able to do both, act as a tribute to this urban context and represent fashion as displayed in Omotesando? How to make the fashion museum an extension of the city? As a programmatic catalyst for its context, the fashion museum is envisioned as a vertical version of Omotesando Street; a Vertical Omotesando. In the 100 meter-high museum tower, the avenue is reinterpreted as a network of shuttling elevators, platforms, escalators and stairs that connect a series of horizontally projected volumes. Acting as floating boutiques, the enclosed nature of those spaces stimulate the environment of exclusivity typical of high fashion and design. In them the main programs are displayed; fashion galleries, administrative offices, a runway area and a skybar on the highest level. While the programmatic volumes seem to float over a void , the remaining space reveals a series of circulation features that make the public interact with the Japanese gardens, and with the multiple wall projections that display fashion related shows and movies. One of the key features used to navigate through the building is an elevating platform or Moving Catwalk. The Moving Catwalk, and the other elements of circulation define an unconvential way to wander through the building without the predictable form of the museum experience. As in an urban context, the individuality of the visitor is highlited; in vertical Omotesando, the visitors can decide their own trajectory through all the building. The moving catwalk receives the people in the main lobby and distributes them through the floating galleries, reaching on its last levels the runway and skybar which overlook the city .Throughout the exhibition spaces, the public acquires a protagonist role as the exhibitions become fully complete only when The Moving Catwalk levels off inside these spaces.. On the runway floor the moving catwalk becomes not only part of the seating area, but also acts as a visual connection with the backstage rooms of the runway, opening a domain of fashion usually inaccessible to visitors. In Vertical Omotesando, by means of a circulation network connecting the floating programs a dynamic relationship between fashion and the public is created, enhancing even farther the participation of the visitors. In this fashion museum for the 21st century, the experience of the visitor moving through the building becomes the fashion show; a contemporary urban spectacle. in http://www.archicentral.com/vertical-omotesando-by-wai-think-tank-26242/#more-26242

Mais imagens. in http://www.archicentral.com/foster-partners-to-remodel-the-camp-nou-stadium-home-of-fc-barcelona-833/comment-page-1/

De Trolha a Engenheiro… - http://detrolhaaengenheiro.wordpress.com

Faltam mais pormenores sobre este projecto. Dúvida: Como é o interior do edificio? O que é que acontece naquele contacto entre os dois volumes?

Lembra a arquitectura holandesa.

Curioso. A Escada não tem guarda. E os cegos correm o risco de bater a cabeça na escada.

Douro 41 Casas no Douro O Douro 41 localiza-se entre as barragens de Crestuma-Lever e Carrapatelo, ao quilómetro 41, na margem esquerda do Rio Douro. Este empreendimento, “ancorado” no Rio Douro, inclui um Hotel de Charme e um conjunto de moradias que se desenvolve nos socalcos do monte em total harmonia com a natureza. Numa paisagem de esmagadora beleza, construímos um complexo que se dilui na envolvência duriense e que integra hotel, marina e villas. Entre socalcos e numa vista que se perde nas encostas talhadas que correm para o rio. Uma simbiose perfeita, que define um estilo de vida, a 41 quilómetros do Porto e onde a arquitectura paisagística se une também, numa mescla, com o traço da edificação, tal como a mão do homem se uniu ao trabalho da natureza. O recurso a coberturas vegetais reforça a perfeita integração do projecto na paisagem telúrica, ponto de harmonia e tranquilidade, entre a marina, o hotel e as suaves villas. Nesta terra, onde os rios se encontram, trazendo paisagens e aromas na corrente e onde o Homem se deixou (co)mover pelo espírito do lugar, nasceu o Douro 41, não apenas para vender estadas ou villas que se dizem únicas, mas principalmente para conceber cenários de conforto e charme, oferecer momentos de verdadeiro bem-estar e enaltecer o luxo que convive com um serviço profundamente personalizado. Cada palavra, cada gesto, todos os detalhes tidos em conta por uma vasta equipa credenciada são pequenos grandes nadas que atestam o genuíno carinho pela sua missão de hospitalidade. Receber é sempre uma honra, oferecer verdadeiras experiências gastronómicas é preparar com carinho e servir com simpatia. No Douro 41 são as pessoas que contam e os momentos querem-se inesquecíveis. No Douro 41 é sempre hora de chegar, o fim nunca vem, como se a porta tivesse um só sentido, o da entrada. Da autoria do Arqt.º. João Pedro Serôdio, um dos mais destacados nomes da nova geração de arquitectos da Escola do Porto, o projecto assenta num conceito assumidamente contemporâneo. Com tipologias T1, T2 e T3, a arquitectura integra as novas construções de piso único na topografia, privilegiando o perfil comum da região duriense, em patamares murados (socalcos), incluindo as bandas de habitação do tipo unifamiliares geminadas. O equilíbrio perfeito, a sintonia com o espaço envolvente, a garantia de qualidade e a solidez da construção da Bascol fazem do Douro 41 um lugar de emoções inesquecíveis. O riquíssimo património cultural e paisagístico da região convida a passeios relaxantes entre os rios Douro e Paiva (o menos poluído da Europa). A marina privativa permitirá realizar actividades náuticas no Douro, como o ski aquático, jet ski e canoagem. O conjunto edificado desenvolve-se junto ao rio, crescendo na encosta de forma a garantir vistas de rio em todos os espaços. O Douro 41 apresenta-se como um projecto único, orientado para o turismo residencial. Assenta num conceito de luxo discreto e contará com um conjunto de 25 villas para habitação e uma unidade hoteleira de charme, quatro estrelas, com 41 quartos, gerida pelo Grupo Lágrimas Hotels & Emotions. A oferta contempla, ainda, um spa e 3 piscinas com vistas para o rio, um restaurante gourmet que será fiel às tradições gastronómicas da região e uma marina com amarração destinada aos proprietários e visitantes. Todos os proprietários poderão usufruir dos serviços do hotel, nomeadamente catering, restauração, spa, piscinas e sala de fitness, para além da marina e dos serviços comuns, como segurança, limpeza, manutenção dos espaços verdes, entre outros. O Hotel, com gestão do Grupo Lágrimas & Emotions, será composto por: - 42 Quartos - 1 SPA - 4 Salas de Estar - 3 Bares: um de apoio à Marina, um junto à Recepção e outro junto ao SPA - 1 Restaurante panorâmico com esplanada - 2 Piscinas: uma ao ar livre junto à esplanada do restaurante e outra coberta e aquecida no SPA - 1 Marina com 19 postos de amarração As Villas serão compostas por: - 25 Habitações Unifamiliares: 5 de tipologia T1, 11 de tipologia T2 e 9 de tipologia T3; - 1 Piscina de adultos; - 1 Piscina de crianças; - 19 Boxes (para arrumação de automóveis e embarcações de pequeno porte). in http://www.empreendimentos-bascol.com/dynamicdata/casas-douro-41.asp

Museu projectado por Oscar Niemeyer nos Açores arranca no próximo ano Autarca de Ponta Delgada discute projecto para a semana no Brasil. São Miguel ficará com dois centros de artes, um do governo regional, na Ribeira Grande, e outro municipal A Câmara de Ponta Delgada tenciona lançar, no final do primeiro semestre de 2011, o concurso para a construção do Museu de Arte Contemporânea. O projecto do edifício está a ser desenvolvido pelo gabinete do arquitecto brasileiro Oscar Niemeyer, com quem a presidente da autarquia de Ponta Delgada, Berta Cabral, se reúne na próxima semana. Berta Cabral revelou ontem ao PÚBLICO que o arranque da obra deverá ocorrer no final do segundo semestre do próximo ano e que a conclusão está prevista para um ano depois, ou seja, por altura das eleições regionais de 2012, às quais a autarca se assume como candidata do PSD. Para analisar o projecto, Berta Cabral vai encontrar-se com Oscar Niemeyer, no Rio de Janeiro, aonde se desloca para receber o prémio Mulher do Ano 2009, atribuído pelo Conselho Nacional das Mulheres do Brasil. O futuro museu será construído junto à Avenida do Mar, na zona nascente da cidade, antes da marina. "Foi entregue um programa e o arquitecto estabeleceu aquilo que lhe parece ser adequado para um Museu de Arte Contemporânea na cidade de Ponta Delgada", afirmou a autarca. É o primeiro projecto concebido para os Açores pelo criador da cidade de Brasília, construída há 50 anos. Para a Madeira, o mesmo arquitecto projectou um conjunto arquitectónico, inaugurado em 1976, composto por um hotel de cinco estrelas, um centro de congressos e um casino, este com traçado conotado com a catedral daquela cidade brasileira. Orçado em cerca de três milhões de euros, a serem financiados pela autarquia e fundos comunitários, o museu projectado por Oscar Niemeyer para Ponta Delgada desenvolve-se em duas unidades de forma circular, unidas por uma passagem pedonal. Na unidade mais pequena, o andar térreo será ocupado com um auditório, enquanto o primeiro piso será integralmente dedicado a ateliers de arte. A unidade maior terá um mezzanine que ocupará metade do espaço superior, permitindo uma visão ampla do piso térreo, onde se encontra o principal espaço de exposições. O estudo prévio prevê ainda um anfiteatro e a possibilidade de a passagem entre as duas unidades ser também utilizada para exposições. Berta Cabral considera que a nova infra-estrutura vai funcionar como "um pólo de dinamização da cultura na cidade", que presentemente é servida apenas por dois museus: o Museu Carlos Machado e o Museu Militar. "Uma cidade do século XXI merece um espaço próprio para os trabalhos dos artistas locais contemporâneos, dos quais já se possui um significativo espólio", frisa a presidente da autarquia. A propósito da polémica levantada pelo investimento na construção de dois novos centros de arte contemporânea numa mesma ilha, a autarca sublinha que não há qualquer conflitualidade ou concorrência, pois "são duas iniciativas complementares". Tal como diz não ter havido com a recuperação do Teatro Micaelense e o novo Coliseu, que, sendo dedicados às artes do palco - um do governo e outro do município -, "ambos contribuem para o enriquecimento cultural da cidade". Também Jorge Paulo Bruno, sucessor de Gabriela Canavilhas na Direcção Regional da Cultura, reconhece que os dois equipamentos se diferenciam nos seus objectivos e âmbito de actividades. O outro espaço é o Centro de Arte Contemporânea dos Açores, a construir na Ribeira Grande, dedicado à dança e audiovisuais, numa dinâmica que ultrapassa o conceito tradicional de museu, aberto a artistas açorianos e de outras regiões, tendo por ponto comum a criação periférica. Público http://jornal.publico.pt/noticia/22-...o-19245650.htm

Gare marítima inaugurada segunda-feira A nova Gare Marítima Internacional do Porto do Funchal será inaugurada oficialmente pelo presidente do Governo Regional da Madeira, Alberto João Jardim, numa cerimónia que se realiza segunda-feira, pelas 18 horas. A empreitada, cujo dono de obra é a APRAM – Administração do Portos da Região Autónoma da Madeira, esteve a cargo da construtora Abrantina e da Lena Engenharia e Construções, S.A, com um valor de adjudicação de 12,8 milhões de euros. O novo edifício, localizado sobre o molhe do cais da Pontinha, é constituído pelo edifício da Gare com dois pisos principais e uma torre de controle, num total de 6.000m2 de área coberta. Uma das características da obra é o passadiço interligado com o cais, com uma extensão de 570mts. Em termos de materiais, destaca-se a cobertura e toda a envolvente do edifício em estrutura metálica revestida a chapa de Alucobond, os revestimentos interiores em granito negro absoluto e as carpintarias em madeiras de wengé e carvalho. A nova Gare Marítima do Porto do Funchal representa desde já uma obra de referência na Madeira e servirá para dar apoio aos milhares de passageiros de cruzeiros que passam anualmente pelo Porto do Funchal. Esta nova gare será uma mais-valia que permitirá criar melhores condições para a recepção e acolhimento dos passageiros dos navios de cruzeiro, garantindo que as operações de embarque e desembarque se processem de forma mais rápida e eficaz, com qualidade, comodidade e segurança. Jornal da Madeira, 29 de Maio de 2010 in http://www.skyscrapercity.com/showthread.php?t=1142197

Três bancadas no Centenário Segundo fontes ligadas ao processo de reconstrução do Estádio dos Barreiros, a obra poderia ficar concluída já este ano, mas tal obrigaria que a equipa de futebol tivesse de jogar os primeiros cinco meses da próxima época (2010/2011) num outro recinto, pois seria necessário utilizar o relvado como suporte para o avanço do projecto. Mas tal significaria, também, encarecer da obra, que está estimada em 46 milhões de euros - será adjudicada por esse valor. Mesmo assim, e tendo em conta o rápido avanço da obra, a cargo da Tecnovia, a 20 de Setembro deste ano, dia em que o Marítimo comemora cem anos de vida, segundo as melhores previsões, a direcção verde-rubra poderá inaugurar três novas bancadas, Norte, Sul (novidade) e Nascente, ficando apenas por concluir a bancada Central, que, nessa altura, já estará em andamento, em obras. Apesar dos atrasos provocados pelo mau tempo que se fez sentir durante quase todo o Inverno na Região, a percepção de quem idealizou o projecto - a equipa técnica que esteve na base da construção do Estádio do Dragão e Alvalade XXI é a mesma que trabalha no Estádio dos Barreiros - é de que a obra poderá ficar concluída mais cedo do que é previsto. O atraso impediu que as bancadas Norte e Nascente fiquem concluídas a tempo da Cerimónia de Abertura do Desporto Escolar, no entanto, ficarão prontas a tempo do Centenário, registando-se ainda que logo após a realização do último jogo do Marítimo em casa - 2 de Maio com o Vit. Setúbal -, a bancada Central deverá entrar em obras, bem como o relvado, que será removido na totalidade, dando lugar a um novo de raiz, por forma a se resolverem de uma vez por todas os problemas de escoamento. Portanto, no dia 20 de Setembro não só os adeptos verde-rubros deverão ver as três bancadas concluídas, como também o novo relvado, para além da estrutura de betão da bancada Central. Área comercial em equação A um outro nível, registe-se que o projecto de reconstrução do Estádio dos Barreiros não prevê nenhuma área comercial, mas estará preparado para o efeito, caso surja algum investidor interessado. Tal como acontece com o Estádio da Luz, se aparecer uma empresa pronta a negociar, como foi o caso da Media Markt, o Marítimo poderá ceder parte dos estacionamentos para uma área comercial. Estão previstos cerca de 700 lugares de estacionamento, mas segundo foi possível apurar poderão não ser necessários tantos e, como os pisos inferiores são altos, parte do estacionamento poderá reverter para um negócio. No entanto, é preciso alertar que tudo não passa de uma mera possibilidade, uma vez que o projecto inicial para a remodelação do 'velhinho caldeirão' não prevê, como foi referido, áreas comerciais. A finalizar, registe-se que o Governo Regional vai ainda celebrar um contrato-programa com o Marítimo, de 31 milhões de euros, para a reconstrução do Estádio dos Barreiros. Mesmo assim, a obra está a avançar a bom ritmo, devido a um acordo de cavalheiros que foi estabelecido entre o a direcção do Marítimo e os patrões da Tecnovia, que para já estão a assumir todos os custos da remodelação. Marítimo defende custos da obra com período de carência O investimento da região na remodelação do Estádio dos Barreiros, tem merecido por parte de alguns quadrantes, algumas críticas, fundamentalmente após o temporal que assolou a Região a 20 de Fevereiro. Contudo, para o Marítimo não era curial nem lógico que, por causa disso, se parasse uma obra que estava em pleno curso. Depois os encargos que a Região terá com as obras nos Barreiros só começarão a ter efeitos cinco anos após a concessão do financiamento bancário de 31 milhões de Euros (o Marítimo suporta os restantes 15 milhões), que é o período de carência que esse mesmo financiamento contém. E, nesse período de cinco anos, os cofres da Região receberão, da obra, cerca de 7 milhões de Euros em impostos directos e outros tantos em indirectos, como seja os custos sociais dos cerca de 300 operários que trabalham na obra. Fonte da direcção revelou-nos, ainda, que, por outro lado, e sendo agora o estádio propriedade do Marítimo, o IDRAM deixou de ter custos, quer com pessoal, quer com a luz, água, relvado, etc. DN Madeira in http://vistadaserra.blogspot.com/ Barreiros- «Estádio será auto-sustentável Importante fonte de receita A Carlos Pereira não duvida que o estádio do Marítimo será uma infra-estrutura auto-sustentável na sua gestão. Alerta que não poderia ser de outra forma e encara o novo recinto como fonte de receitas, decisiva para o futuro próximo, no qual prevê um esvaziamento dos subsídios. «Nós sempre dissemos que o estádio seria comercial. Um estádio comercial não significa dizer que terá lojas. Um estádio comercial poderá ser com espaços que gerem comércio. Há actividades praticadas que são comerciais e não passam, necessariamente, pela abertura de espaços comerciais. Também os terá. O restaurante é, com certeza, um espaço comercial. O próprio espaço do clube e da SAD será comercial que irá gerar receitas a partir do marketing e merchandising. Não haverá é aquele conceito de lojas – não se pense que será uma loja aqui, uma loja ali – mas haverá espaços comerciais. Isto para dizer que sim, que a nossa perspectiva que é seja um estádio que a curto prazo seja auto-sustentável. Nem poderia ser de outra forma». Pormenorizando as suas expectativas, revela que «não seria justo da nossa parte não pensarmos assim. O apoio que vem sendo dado ao desporto da Madeira tem tendência a diminuir cada vez mais. Então, é preciso que as instituições comecem a pensar seriamente que essa diminuição vai obrigar a que os seus dirigentes pensem em alternativas a receitas que não aquelas provenientes dos contratos-programa. Vejamos as dificuldades diárias, as dificuldades nos pagamentos que têm acontecido. Há reduções que em alguns casos já vão quase em 25 por cento. Temos consciência que isto tem uma tendência a acabar... as dificuldades são enormes e se nós não conseguirmos trabalhar de forma a que o estádio seja rentável e auto-sustentável, então mais valia não entrarmos nisto». Carlos Pereira constata ainda que, «infelizmente, muitas instituições deram o passo maior que a sua perna e hoje estão falidas e fechadas. Algumas delas em locais privilegiados para o comércio, habitação... estão ocupadas por infra-estruturas desportivas não rentáveis. Estão literalmente falidas. Porque se fizeram apostas desorçamentadas que não respeitaram os orçamentos e entraram numa corrida que ultrapassou o próprio pé. Uns estão preso, outros estão fugidos... outros estão falidos». Remodelação concluída em 2011 Era vontade do Marítimo que por ocasião das comemorações do centenário, as obras de remodelação do estádio dos Barreiros estivessem já (quase) concluídas. Contudo, tal não será possível e Carlos Pereira explica as razões: «temos que recapitular todo o processo do estádio e a forma como se desenvolveu. Se recuarmos no tempo, temos que fizemos um concurso público que ficou concluído com um atraso substancial. Porque houve reclamações, impugnações, acções e outras situações de ordem burocrática, que resultaram no atraso no início da obra. E como se não bastassem esses atrasos iniciais, no decorrer da obra ainda tivemos a intempérie de 20 de Fevereiro. Aliás, não é só a intempérie, mas todo um acumular de mau tempo que se fez sentir a partir de Setembro/Outubro de 2009 até praticamente esta altura. Por isso não foi permitido trabalhar à velocidade que pretendíamos e perspectiváramos. Como também é público, tivemos que fazer alterações e adaptações ao projecto inicial. Tudo isto fez com que a obra se atrasasse, porque era nossa intenção que em Fevereiro/Março de 2010 a primeira fase estivesse concluída e, logo, a segunda fase estaria terminada em 30 de Dezembro de 2010, fazendo a inauguração e estarmos de pleno direito no estádio remodelado». Assim, «é com alguma tristeza que constato que tal não será possível, dentro desses prazos previstos. Mas, lamentando que a primeira fase não esteja já concluído, digo também que é com muita alegria que vamos quase de certeza iniciar a próxima temporada no espaço já actualizado e com melhores condições, do que vem sucedendo até esta altura». Depois, a conclusão final, ocorrerá em 2011. Jornal da Madeira in http://www.skyscrapercity.com/showpost.php?p=56926779&postcount=281