Márcio Ferreira

Eu falo por mim, não me importo de conhecer a obra, acho que é no local que se percebe bem o projecto, e ouvir as explicações do arquitecto enquanto se observa... Ver as plantas e alçados e renders, só nos dá uma pequena ideia do projecto, poder interagir com ele é que conseguimos assimilar-lo bem... Se não for nenhum incómodo, por não, uma visita à obra...

Para quando uma visita guiada pelo arquitecto????

Por acaso, era interessante comparar estas imagens (o edifício vazio) com as imagens daqui a uns anos, para perceber como as pessoas se adaptaram ao edifício....

Energy Seed Lamp Powered by Recycled Batteries by Mike Chino Although consumer electronics are tending towards rechargeable batteries these days, those ubiquitous alkaline disposables continue to present an environmental problem. Now Sungwoo Park and Sunhee Kim have designed the Energy Seed, an illuminating way to encourage battery recycling. The street lamp is powered by the residual energy left in spent batteries, establishing an immediate visual connection with the act of recycling. Simply deposit your dead batteries in the cylindrical storage compartment and their energy is pooled to power a luminescent LED halo. Disposable alkaline batteries present a particularly charged environmental conundrum. Manufactured metaphors for a consumer culture gone awry, their hazardous composition and single-use life cycles reap grave environmental repercussions if they are simply tossed in the trash. Their composition includes heavy metals such as mercury, lead, cadmium, and nickel, all of which can seep out and contaminate the earth unless they are properly disposed. The Energy Seed encourages battery recycling while making use of the minute levels of energy left in “dead” battery cells. The functional street lamp consists of a ring of LEDs stemming from a cylindrical battery storage compartment. The lamp’s base features slots for almost every size battery and once deposited each cell’s energy is pooled to power the energy-efficient light. Once the compartment has been filled to capacity the batteries can be easily collected and recycled. + Sung Woo Park Via Yanko Design

Realmente, o principal problema da globalização na arquitectura é o facto de os arquitectos não perceberem a cultura e o local onde projectam, e depois, fazem projectos sem pés nem cabeça...

Por acaso, dá a sensação que daqui a uns anos estará cheio de graffitis e degradado, não apresenta uma imagem aberta, pacifica, mas um conjunto de becos e muros de betão que encurralam o campo visual, dando a sensação de aperto... pelo menos é o que as imagens transmitem...

Morphosis Madrid Social Housing Madrid, Spain In a suburban Madrid neighborhood of conventional, anonymous housing blocks, Morphosis devised a typology of porosity to suit the social ideals of this project type. As an alternative to towering blocks of faceless units, this project explores a radically different social model that integrates landscape and village topologies. By grafting properties commonly found in detached villas onto this low-income housing project the architects achieved a multi-family living complex with amenities such as loggias, green spaces, and domestically scaled massing that are not normally found in public housing in Spain. The basic parti is an extruded “J”: a low-rise “village” building, flanked by a tall, slender bar to the North and a lower multi-level bar building to the South. Ler todo o artigo... Site area: 1.05 hectares Project size: 22,200 gross square meters 141 two-, three- and four-bedroom units Completed: 2007 Client: Empresa Municipal de la Vivienda, City of Madrid Architects: Morphosis Project Manager: Paul Gonzales Project Architect: Pavel Getov Project Team: Simon Demeuese Chris Warren Project Assistants: Ed Hatcher Eui Yeob Jeong Joachim Reiter Kurt West Associate Architect: B+ DU Estudio de Arquitectura Principal: Leon Benacerraf, Begoña Diaz-Urgorri Project Manager: Alicia Berenguer Project Team: Borja Herrero Begoña Iglesias Rocio Olano Agustin Sanchez Esther Vidal Project Assistants: Delfin Alvarez Jaime Astor Sergio Calvo Javier Castillo Elena Diaz Monica Hernandez Structural Engineer: Carlos Pintor, Roberto Vargas Surveyor: Gerardo Berrocal, Borja Herrero Landscape Architect: Ana Luengo Facilities: Rafael Urculo General Contractor: UICESA Photographed by Roland Halbe and Nic Lehoux Ler todo o artigo...

Casa Hemeroscopium, Las Rozas- Madrid (España) Hemeroscopium es el lugar para los griegos donde se pone el sol. Es una alusión a un lugar que no existe más que en los sentidos, que se mueve y sin embargo es un lugar real. Se acota por las referencias del horizonte, por los límites físicos, se define por la luz y ocurre en el tiempo. La casa Hemeroscopium atrapa un espacio domestico, y un horizonte lejano. Y lo hace con un ejercicio de equilibrio inestable de estructuras que envuelve el recinto de habitación permitiendo que la visión escape. Y lo hace con estructuras pesadas, a grandes trazos, para que su disposición provoque la acción gravitatoria que mueve el espacio, y así define el lugar. El orden de apilamientos estructurales genera un helicoide que parte de un apoyo estable, la viga madre, para ir desarrollándose en sentido ascendente con estructuras cada vez mas ligeras hasta cerrar la secuencia con un punto que culmina el sistema de equilibrio. Son siete elementos cuyos encuentros responden a su naturaleza constructiva, a sus solicitaciones, y sus esfuerzos expresan su condición estructural. Con ello la casa se torna aérea, ligera, transparente, y el espacio que ha llenado su interior gira con la vida. La aparente simplicidad de sus encuentros exige una compleja ingeniería gracias al armado, y al pretensado y postensado de los aceros que cosen el alma de las vigas. Un año de ingeniería para construir la estructura en siete días, gracias a una total prefabricación de las partes y una cadencia de montaje perfectamente coordinada por un guión técnico. Todo nuestro esfuerzo para desarrollar la técnica en busca de un espacio concreto. Y así surge un lenguaje sorprendente, donde la forma desaparece dejando paso al espacio desnudo. La casa Hemeroscopium materializa el cúlmen de su equilibrio con lo que en Ensamble Studio llamamos con ironía el punto G, veinte toneladas de granito, expresión de la fuerza de la gravedad y contrapeso físico de toda su estructura. Antón García- Abril Ficha técnica Proyecto: Casa Hemeroscopium Localización: Las Rozas- Madrid Fecha del proyecto: Diciembre 2005 Fecha de finalización de la obra: Junio 2008 Autor del proyecto: Antón García- Abril Arquitectos colaboradores: Elena Pérez, Débora Mesa - Ensamble Studio: Jorge Consuegra, Marina Otero, Ricardo Sanz Arquitecto técnico: Javier Cuesta Promotor: Hemeroscopium Empresa constructora: Materia Inorgánica Superficie: 400 m² Imágenes gentileza > Ensamble Studio / Fotos: Débora Mesa hacer click en las imágenes para ampliarlas Links > Ensamble Studio

Accordia wins Stirling Prize October 11th, 2008 Accordia, a housing development by architects Feilden Clegg Bradley Studios, Alison Brooks Architects and Macreanor Lavington, has won the RIBA Stirling Prize 2008 for the best building by a British architect. Accordia, a development at Cambridge, England, beat five other shorlisted schemes by architects Grimshaw, Denton Corker Marshall, Zaha Hadid Architects, Allies & Morrison and Allford Hall Monaghan Morris to the £20,000 prize. See all the shortlisted projects in our earlier story. All above images are copyright Tim Crocker. Above image is copyright Peter Cook. Here’s some info about the Stirling Prize winner and the winners of other RIBA awards: – Accordia wins prestigious RIBA Stirling Prize 2008 Accordia in Cambridge designed by Feilden Clegg Bradley Studios, Alison Brooks Architects and Macreanor Lavington has won the 13th RIBA Stirling Prize in association with The Architects’ Journal. The presentation of the UK’s premier architectural award took place at a glittering award ceremony this evening (Saturday 11 October) at the Arena and Convention Centre, Liverpool, and was televised live on Channel 4 at 9pm. The judges commented: “This is high density housing at its very best, demonstrating that volume house-builders can deliver high quality architecture – and that as a result they can improve their own bottom line. The whole scheme is about relationships: between architect and developer/contractor/client; between three very different firms of architects – Feilden Clegg Bradley, Maccreanor Lavington and Alison Brooks Architects; and between private and public external spaces, providing a new model for outside-inside life with interior rooftop spaces, internal courtyards and large semi-public community gardens.” On a brownfield site in Cambridge – formerly owned by the military - beautifully thought-through houses at a density of 47 homes to the hectare (65 if you discount the generous amenity spaces). The site is organized straddling a broad avenue with just the one entrance for residents allowed to the site by the planners. In this they bowed to the wishes of local residents for whom objection appears to be a full time occupation. In other matters, the planners led by the remarkable Peter Studdert have been imaginative and firm with objectors. How often do planners use their powers to withhold permission unless the developers use good architects to produce fine architecture? What other authority would have allowed terraces at first and second floor level, instead of banning them on grounds of over-looking? Where else would house-builders have been dissuaded from bowing to the supposed need of homeowners for a minimum 15 metre strip of garden behind the house? Here several busy residents spoke to judges about their sense of liberation from the demands of gardening. Instead there is common land where children safely play as if in some idyllic throwback to the 1950s. Houses and flats have good-sized, well-proportioned rooms with views out ranging from urban to rural pasture. There is plenty of variety in the house-plans too, from the understated simplicity of the FCBS layouts, to the highly complex plans of Maccreanor Lavington with their two staircases and their ambiguous inside-outside spaces; and the scissor plan stairs in some of the Alison Brooks houses. The detailing too varies with the architect, producing a different aesthetic in each. These are traditional houses but with a twist. Much of the construction was fabricated off site to increase speed of construction, reduce waste, and to improve site safety and environmental performance. The judges were asked to consider Phase 1 of the scheme – filling the northern and western parts of the site – since then Countryside have sold on to Redeham Homes to complete the scheme and to date at least the new developers and their architects have remained faithful both to the Feilden Clegg Bradley masterplan and to their detailed design guidelines. One row of mews houses by the new architects was indistinguishable, from the FCBS original on the other side of the exquisitely planted landscaping. This is a Span-type housing for the 21st century, a post-Thatcherite development that is not afraid of communal aspirations and aesthetics. There is plenty of individuality in the flexible house plans (mews garages have often been turned into studios or offices, even granny annexes); there is privacy on (most of) the terraces and balconies; but there are village greens and strips of common land, cars are tamed not banned – this is architecture that treats adults as grown-ups and children as people with different needs: for stimuli for play which does not involved sitting into front of a screen or a games console, and which involves interaction with other young people, not with Bill Gates and his protégés. The development proves that good modern housing sells, that a committed local authority can have a very positive influence on the design, that a masterplan with a range of architects can be successful and that the very best architecture does not need to rely on gimmicks. It has already won numerous awards: Housing Design Awards – overall winner (2006); Building for Life Awards: Gold Standard (2006); National Homebuilder Design Awards (2006); Civic Trust (2007). It is a project that will be much referred to and used a future case study. It is architecture which gives hope for us all for the future.” Sunand Prasad, RIBA President, announced the winner and Kieran Long, Editor of The Architects’ Journal presented with the prize and a cheque for £20,000. Accordia beat off stiff competition from five other outstanding contenders: Amsterdam Bijlmer Arena Station, Amsterdam, Netherlands – Grimshaw and ARCADIS Architecten; Manchester Civil Justice Centre, Manchester - Denton Corker Marshall; Nord Park Cable Railway, Innsbruck, Austria – Zaha Hadid Architects; Royal Festival Hall, London - Allies and Morrison and Westminster Academy at the Naim Dangoor Centre, London - Allford Hall Monaghan Morris. The RIBA Stirling Prize jury, comprising architecture specialists and lay judges visited all six shortlisted buildings and then met for a final time this afternoon to pick the winner. The judges were Eva Jiricna architect, Eva Jiricna Architects; Gordon Murray – architect, Murray Dunlop Architects; Shelley McNamara – architect, Grafton Architects; Kieran Long – Editor, The Architects’ Journal and Diarmuid Gavin – garden designer, Diarmuid Gavin Designs. This is the 13th year the RIBA Stirling Prize has been presented. Last year’s winner was the Museum of Modern Literature by David Chipperfield Architects.. The previous winners are: Barajas Airport in Madrid by Richard Rogers Partnership, The Scottish Parliament, designed by EMBT / RMJM, 30 St. Mary Axe by Foster and Partners; the Laban Centre, London by Herzog & de Meuron; Gateshead Millennium Bridge by Wilkinson Eyre; Magna, Rotherham by Wilkinson Eyre; Peckham Library and Media Centre by Alsop and Störmer; the NatWest Media Centre at Lord’s Cricket Ground by Future Systems; the American Air Museum at Duxford by Foster and Partners; The Music School, Stuttgart by Michael Wilford and Partners; and the Centenary Building, University of Salford, by Hodder Associates. The RIBA Special Awards honour the best buildings with special emphasis on: sustainable and inclusive design; conservation; exemplary school design, a one-off home and a project working within a smaller budget. The following winners of the RIBA Special Awards were also announced and presented at the ceremony this evening: Oxley Woods, in Milton Keynes, won the Manser Medal sponsored by the Rooflight Company for the best one-off house or housing scheme designed by an architect in the UK. The Sackler Crossing in Kew by David Sheppard Architects won the Stephen Lawrence Prize sponsored by the Marco Goldschmied Foundation, for the best example of a building with a construction budget of less than £1 million. The Old Market Square, Nottingham by Gustafson Porter won the inaugural RIBA CABE Public Space Award which celebrates publicly accessible external space. St Pancras International by Alastair Lansley (for Union Railways) won The Crown Estate Conservation Award. The prize is awarded to the best work of conservation which demonstrates successful restoration or adaptation of an architecturally significant building. The Manchester Civil Justice Centre, Manchester by Denton Corker Marshall won the RIBA Sustainability Award sponsored by English Partnerships. The prize is given to the building that demonstrates most elegantly and durably the principles of sustainable architecture. Westminster Academy at the Naim Dangoor Centre by Allford Hall Monaghan Morris won the Sorrell Foundation Schools Award, was presented to the architects of the best RIBA award-winning school - primary or secondary - with the aim of raising the standards of design in all new school building. – Posted by Marcus Fairs Fonte: http://www.dezeen.com/2008/10/11/accordia-wins-stirling-prize/

http://ads.workmedia.pt/www/delivery/lg.php?bannerid=178&campaignid=99&zoneid=12&loc=http%3A%2F%2Fwww.construir.pt%2F2008%2F10%2F14%2Fbeto-orgnico-apresentado-na-sede-da-ordem-dos-arquitectos%2F&referer=http%3A%2F%2Fwww.construir.pt%2Fcategory%2Farquitectura%2F&cb=3717d7c3f8 http://ads.workmedia.pt/www/delivery/avw.php?zoneid=12&cb=348576&n=acc5fca5 “Betão Orgânico” apresentado na sede da Ordem dos Arquitectos Ana Rita Sevilha 14 de Outubro de 2008 A Ordem dos Arquitectos vai dar início a um ciclo de investigações que pretende apresentar trabalhos de pesquisa. O "Betão Orgânico" criado pelo atelier e-studio abre este ciclo numa apresentação que decorre no próximo dia 15 de Outubro, quarta-feira, no Auditório da sede da Ordem dos Arquitectos. De acordo com uma nota da Ordem dos Arquitectos, o material foi criado "aproveitando a capacidade de retenção de humidade do betão, e funciona como uma pilha, em que a água é libertada durante os períodos secos. Aplicado como superfície, o betão orgânico permite obter superfícies vivas permeáveis, devolvendo uma componente natural aos espaços públicos urbanos". Esta ideia é um trabalho conjunto de João Ferrão, João Costa Ribeiro em colaboração com Sónia Oliveira, apresentado em 2005 e realizado para a ExperimentaDesign. Este trabalho, dizem os autores, "surge na sequência de uma série de projectos em que a diferenciação entre materiais naturais e artificiais se tornou cada vez mais questionável". Este Ciclo de Investigações tem como objectivo divulgar trabalhos de investigação, teses de mestrados e de doutoramento, elaborados ou não por arquitectos. A selecção das teses a apresentar pode ser feita através de candidaturas dos interessados ou por convite da Secção Regional Sul. Fonte: www.construir.pt

ExperimentaDesign lança programa de visitas guiadas à exposição de Peter Zumthor Ana Rita Sevilha 14 de Outubro de 2008 Durante o mês de Outubro, a ExperimentaDesign vai lançar um conjunto de visitas guiadas à exposição "Peter Zumthor: Edifícios e Projectos 1986-2007", patente ao público até ao próximo dia 2 de Novembro, na LX Factory, em Lisboa. De acordo com uma nota de imprensa da ExperimentaDesign, partindo do desafio "Peter Zumthor visto por…", Ana Vaz Milheiro, Ricardo Carvalho, Diogo Seixas Lopes e Gonçalo Byrne são convidados a partilhar com o público o seu olhar e perspectivas individuais sobre a obra emblemática do arquitecto suiço Peter Zumthor. Fonte: www.construir.pt

Giulio Cappellini: We Have To Make People Less Afraid Of Design Images: Blaga Bancheva Giulio Cappellini is a well-known name in the design world. If there is someone who hasn’t heard it yet, I will just say that he is the man who turned the Italian company Cappellini into one of the biggest trend setters in the world. I met Mr. Cappellini at the Abitare il Tempo 2008 fair in Verona, Italy. Here he presented an amazing selection of design pieces that have a great impact on design development in the last 50 years. Read more about the Design Mix exhibition and Giulio Cappellini’s opinion on hot design issues in my interview with him! “The biggest provocation today is to be normal!” ShareThis You have presented a fantastic exhibition of designers’ pieces at Abitare il Tempo fair. What is the general idea behind your approach? Too often, we only see a lot of products in the sparkling windows of beautiful shops or on display in museums of contemporary art, where we can appreciate their quality, but feel that they are rather distant from us. In this exhibition, I wanted to think about a journey in an imaginary fairytale landscape, where we can meet, touch, and try out products for our homes, designed by various designers. Which are the common characteristics that unite all the products in the exhibition? I have made a very free choice, not determined by any preconceived ideas, mixing products from different cultures. I felt myself free to choose what I like, what, in my opinion, represents research, innovation, thought and design. I chose about 180 different products, produced by 70 different companies from different part of the world. Most of the companies are Italian but there are companies also from USA, Spain, France, etc.. When they were first seen, all the products on show represented a small “revolution” in type, form or technology. After that I chose different kinds of products. These are unique products either in limited editions or in mass production. This is the main concept of the exhibition – products with innovation. For sure the innovation from yesterday is not the same as the innovation 50 ago. You often say that long-sellers not best sellers are more important for you. Are there any hints which product will be a long-seller? People are often a little bit afraid of design. They say, “If we buy a design product, which is fashionable and good today, in 5 years it may not be still good”. Many people prefer to buy a copy of old furniture because of the same fear of design. They don’t want to spent money for something that will be old-fashioned in 2-3 years any more. I think that the attitude to design is different from the attitude to the fashion also if the attitude to fashion is totally changed. People that buy design products spent a lot of money. So, I strongly believe that they prefer to buy products that will be good not only for tomorrow but for the future. That’s why I think that good design can produce bestsellers, very good design can produce long-sellers. For me it is very important to try to make products that will be good for many years. We have to make people less afraid of design! What is your attitude toward the oppositiondesigners’ products – mass production? I think that a good designer can create products either for a mass production or for a limited edition. In this way the same end consumer can buy very exclusive product or a very base mass-produced product. The real new word of the end consumer is “freedom”. The end consumers are now free to choose. They like to mix different products in their homes. People don’t need something that is totally exclusive or totally simple but like to mix different things together. I think that the designer and the producer have to take care of this new attitude, the new freedom of the end consumer. When we think to the limited edition, we are more close to the art. People buy it like they buy a sculpture or a painting. When we make mass products, we have to try to do honest products and also useful but beautiful products. Once you said that Cappellini has to do the modern classics in the furniture’s field. How do you define classics in terms of the diversity that surrounds us? It is very difficult to name the trend today. In the past it was possible to define a certain trend for a period. Today we are surrounded by many different products in terms of shapes, materials, used technologies and so on. But there are some products that just for the sensibility of the design, for the quality of the production are really ready to become the new classics. For me, to become a product classic means to become a long-seller. We still have much to do. It is not true that everything has been done in design. May be only in the terms of shapes it is a little bit difficult to invent something new today. We have the possibility to work on the beautiful shapes of the 50s and 60s but with totally new materials and technologies. This is for me the new classic. The way to create a new classical product is to work constantly on the innovation. Which particular product (not only by Cappellini but in general|) expresses the best the spirit of our contemporary life? I like particularly the products by Jasper Morrison. His works are normal but fantastically normal and very contemporary. In my opinion they are modern classics. I like his concepts. He doesn’t move from his idea, he is not doing lots of things even if he has a list of companies that want products by him. Every day designers and architects compete to impress the customers with their new works… It depends. The idea that we have necessity to shock people with strange projects is really finished. If you have to create the most provocative product, how it would look like? What provokes you? Provocative for me is not to be provocative. The biggest provocation today is to be normal and to use the material in the best way. What was the last thing in the design world that impressed you? Normally, when I see a product and when a desire appears to have it the Cappellini’s collection or in my home, it is because I really love that product. The last product of this kind was the Slow chair by Bouroullec for Vitra. It is again a new classic. In the recent years the product design passed through the Minimalism and Neo Baroque. What follows – another interpretation of a well-known style or a totally different direction? The new trend doesn’t kill the previous one. The good products of Minimalism and Neo Baroque are still good. Today there is a great attention to the new proportions of the objects and the natural, raw materials. The wood again looks like wood. Sustainable design and architecture are such a hot topic today. What is your attitude towards the issue and does it have a place in the Cappellini’s policy? Today it is very important to respect the sustainability. Sustainability doesn’t only mean to use interesting sustainable materials but work on a global project in the company, to try to work in a better way inside the company. In many countries and especially in North Europe the end consumers are paying a great attention to the sustainability of the products. We have to take this into consideration. How a young designer can impress you and become one of your designers? I have more or less 300 young designers per month that are sending me drawings. Do you examine all of them? My assistant does the first selection. I do the second personally. But I travel a lot and this gives me the opportunity to meet many people and to see new products. Sometimes I teach in different design schools and universities. In this way I am in touch with the young designers. But I don’t have a formula to discover new talents. It is a matter of establishing good relations between the company, the designer and me. Then we start to work together step by step. Sometimes it takes 6 months from the first “Yes” to the final product. Sometimes it can take 6 years. Sometimes we start to work together and we arrive to nothing. For me every new product for Cappellini is a new baby. So I like to work in a team with the designer, to discuss together all the details of the prototype. What you usually say to young designers who are impatient to become stars? I say, “Do few things but good things! Try to work without looking what has been already done!” For sure they have to know the history of design but they have to speak with their own language. It is not so easy to become the new Bouroullec or Morrison. Anyway, the Cappellini’s doors are always open for young designers. Copying design is such a big problem nowadays. How do you fight with it? The only way is to make products with lots of investments. These are products that can be copied in 80% but not in 100%. Sometimes the end consumer that buys a copy doesn’t know that this is a copy of the original. So, the only possibility for us as a company is to invest in research and innovations. What is the most difficult decision that you have taken as a manager of Cappellini? It was very hard to say “NO!” when people were telling me, “We have to make products that the market is asking from us!”. We had to follow our own way. It was also a very difficult decision to enter in the Poltrona Frau group. I was considering this step for more than a year. On one side, as an independent company we could do whatever we want. On the other side, in order to grow in the international market we needed more power. At the end I decided that for the future of the company it is better to enter in a bigger group maintaining our independence and personality. Today I am sure that I have taken the right decision. How do you evaluate Cappellini’s position in the East European market? In the last years we grow in the USA and in the Far East. Now we start to pay attention on the East European market. I think we have a lot of possibilities and we will try to push that market. For many years Italian design is an institution. Is there any national design that can be your competitor today? Italian design is a very known phenomenon. In the 50s there was a small group of that time young designers like Achille Castiglioni and Gio Ponti and a small group of entrepreneurs like Mr. Cassina, Mr. Gandini from Flos, Mr. Castelli from Kartell and a few other that strongly believed in design like a business. Today the Italian design is really a mix. I remember when I start working with foreign designers many people in Italy said, “Why? You want to kill Italian design?!” I wasn’t against the Italian designers. For me the most important thing is the person to be a good designer. I don’t care if he or she was born in London, Sydney or Milan. This happened 20 years ago. Today, when you look to a catalogue of an Italian company, foreign designers created 50% of the products in it. Good designers can be found everywhere in the world. In the world there are not countries but companies that are very good and unique - like Vitra (I always say that Vitra is a Swiss company that work like an Italian company J) or Established & Son in England. Now we all play on the global stage. If the Italian industry wants to defend its leading position, we have constantly to invest in innovation. author: Blaga Bancheva date: 09 October, 2008 category: EXHIBITIONS , EXHIBITIONS , INTERVIEW

Ora aí está um desafio interessante, o local tem uma paisagem bem agradável... Fico a espera do resultado... Boa sorte...

Prefiro o do forum arquitectura.. eheheh

Acredito que sim, o dinheiro atraí as pessoas, e dinheiro é o que não falta nesses países... Gostava de saber como se sentem as pessoas desses países do petróleo a olhar para a crise financeira no ocidente e Japão...

E já me esquecia, do famoso rio este, que simplesmente é ignorado no desenho urbano...

Por acaso, Braga é daquelas cidades que se foi perdendo ao longos dos anos... infelizmente... Falta o parque da ponte, que infelizmente está ao abandono... Falta o canudo, no bom jesus... a famosa frase de braga, "ver braga pelo canudo"

Permitting Manager – Dubai KDO/SS/HQ00001133 Location: Dubai, United Arab Emirates KEO International Consultants is a world ranked and leading Design, Civil Engineering, and Project and Construction Management Consulting Firm with offices in Abu Dhabi, Al Ain, Bahrain, Dubai, Kuwait, Qatar and Oman. KEO offers long term career opportunities, generous expatriate salary packages and dynamic career development opportunities. In addition, KEO provides full assistance in relocation from A-Z with a team of experienced HR professionals trained to support you through the expatriation process. The Permitting Manager will be responsible for handling all permits related to various projects. Preference will be given to qualified candidates who can demonstrate progressive experience in the following: Preparing various permit submittal packages. Maintaining ongoing knowledge of permit requirements for area jurisdictions. Submitting and monitoring the progress of various permits submitted to area jurisdictions. Organising and maintaining files relating to permit processes. Researching jurisdictional permits and planning filing requirements. Maintaining a database of critical jurisdictional decision makers. Ability to analyze complex codes and ordinances. Ability to read architectural and engineering plans. Qualification: College degree in an architectural or engineering related field, or a minimum of three years work experience or Technical School training. Fluency in Arabic and English is required for this role. Experience in the Gulf Region is considered essential. All applications will be treated confidentially. For a complete listing of Positions, visit www.keoic.com Please send your cover letter and resume with the “Position” and your name in the subject line to: resumes@keoic.com

É sem dúvida um tema interessante e pertinente.

OVERVIEW For over sixty years, this dynamic multi-disciplinary firm has been recognized internationally for contributions to the built environment that have elevated human culture and revolutionized the principles of sustainability. The firm promotes a unique method of collaboration, leveraging its diverse resources across multiple markets and all offices. Given their planned growth and success, they are adding talent at all levels nationally and internationally. RESPONSIBILITIES The Principal of Commercial Interiors will take a lead role in the firm and have a company-wide impact as the practice grows. The Principal will bring an extensive portfolio within the commercial interiors market, and positively impact the firm’s strategic interiors initiative. He/She will be responsible for project oversight, communication with clients & consultants, and the studio’s financial performance. In collaboration with the firm’s leadership, the Commercial Interiors Principal will market the firm through the development of relationships with existing and potential clients, consultants and related industry professionals. As a mentor, he/she will provide guidance to the commercial interiors team and make decisions regarding staff evaluations and hiring. The Principal of Commercial Interiors is a key role within the firm’s strategic plan. SKILLS AND REQUIREMENTS Bachelor or Master of Architecture required Registered Architect preferred LEED AP preferred 10+ years of leadership in the Commercial market Strong presentation techniques including written, oral, and graphic skills Experience with 2D and 3D design and illustration Familiarity with AutoCAD, 3D MAX, Adobe Photoshop and Illustrator Knowledge of BIM and Revit a plus Contact Greg Silk at 646.522.6202 or send resume to greg@apipartners.com

Project Coordinator / Architect / Interior Designer / New York / Dubai Medium sized NY based architectural company seeking a talented and organized individual with great focus and energy to work on prestigious interiors project in Dubai. Project is fast track, team based and the goal is to transcend expectations. Responsibilities include coordination between all the various consultants, strategic thinking of how to improve process to obtain single objective. Must be able to work with moving deadlines but stay focused and provide unity / stability to the various team components. Project duration: 3 years (one year intensive in NYC and traveling to Dubai) + 2 years with some involvement in Contract Administration phase. Applicant must have exceptional and relevant architectural experience, be able to travel at short notice, and be a great team player. Please send a letter stating your enthusiasm for the position, a resume listing all relevant experience, and samples of your drawing and work to kevin@davidhowell.net

LEONE DESIGN STUDIO, a growing design firm in DUMBO, is seeking a Junior Architect with a BArch or MArch and 3-5 years experience on residential and commercial projects. Candidates should have experience in design, architectural detail development and the production of well coordinated and accurate construction documents. Hands-on interest and experience in construction is preferred. Communication, organization, drafting and graphic presentation skills are all essential. Competency in CAD, Word, Excel, 3D Modeling required. LDS offers growth potential, benefits, and salary to meet experience. See our website at www.leonedesignstudio.com for information. Please EMAIL resumes and work samples (2 MB max, PDF preferred) to info@leonedesignstudio.com

Design Manager Looking to make a change? Do you enjoy working in a relaxed, casual atmosphere where the emphasis is on the quality of your performance? If so, we want to talk to you! Our client is seeking innovative individuals specializing in the creation of world class retail design to fill an immediate opening in their Northern CA corporate office. The ideal candidate will have experience with a top rated architectural firm and possess a passion for integrating local surroundings with the brand to create and execute high quality, unique store environments. Requirements: Must possess College degree specializing in one of the following: architecture, engineering, construction management or related areas. Innovative approach Strong communication skills, both written and verbal High ethical standards Creative problem solving skills Intense work ethic Compensation: Base plus bonus Relocation is available. Please submit your resume to j_coyne@bellsouth.net for immediate consideration.

Renzo Piano Building Workshop California Academy of Sciences San Francisco, California "With the new Academy, we have created a museum that is visually and functionally linked to its natural surroundings, metaphorically lifting up a piece of the park and putting a building underneath." Renzo Piano Photo © Tim Griffith. The new California Academy of Sciences houses the Kimball Natural History Museum, Steinhart Aquarium and Morrison Planetarium, along with eight scientific research departments and over 20 million scientific specimens. The design unifies the Academy's original array of twelve buildings, which were built over eight decades, into a single modern landmark that places a visual and intellectual emphasis on the natural world. Topped with a 2.5-acre living roof the new California Academy of Sciences employs a wide range of energy-saving materials and technologies. Photo: © Tim Griffith. Piano’s design was inspired by the concept of metaphorically lifting up a piece of the park and sliding the museum underneath. Only one difference would exist between the plants on the roof and the surrounding vegetation: the roof plants would all be native to the northern California coast. To select the species for the new Academy roof, Academy botanist Frank Almeda worked with a team of architects and living roof experts. Photo: © Tim Griffith. Steep undulations in the roofline roll over the Academy’s domed planetarium, rainforest, and aquarium exhibits, echoing the topography of the building’s setting and evoking the interdependence of biological and earth systems. Photo: © Tim Griffith The iconic hills on the roof were designed not only for visual impact but also for energy conservation. These hills, which feature slopes in excess of 60 degrees, will draw cool air into the open piazza at the center of the building, naturally ventilating the surrounding exhibit spaces. Photo: © Tim Griffith Photo: © Tim Griffith Strategically placed skylights will automatically open and close to allow heat to escape through the tops of the domes. These skylights will also allow sunlight to reach the living rainforest and coral reef exhibits below, reducing the energy requirements for artificial lighting. The dramatic four-story “Rainforests of the World" exhibit will offer a vertical journey through four different rainforest habitats. Photo: © Tim Griffith Photo: © Tim Griffith Padded with six inches of soil, the roof will provide excellent insulation, keeping interior temperatures about 10 degrees cooler than a standard roof and reducing low frequency noise by 40 decibels. It will also decrease the urban heat island effect, staying about 40 degrees cooler than a standard roof. Moreover, it will absorb about 98% of all storm water, preventing up to 3.6 million gallons of runoff from carrying pollutants into the ecosystem each year. The roof is bordered by a glass canopy containing nearly 60,000 photo voltaic cells, which will produce over 5 percent of the Academy's annual energy needs and prevent the release of over 405,000 pounds of greenhouse gas emissions each year. These photo voltaic cells, clearly visible in the glass canopy, provide both shade and visual interest for the visitors below. Photo: © Tim Griffith Photo: © Tim Griffith Piano's goal was to create a sense of transparency and connectedness between the building and the park through both a careful selection of materials and a thoughtful arrangement of space. Glass is used extensively in the exterior walls, allowing visitors to look through the museum to the surrounding green space of the park along both the east-west axis and the north-south axis of the building. The glass, which is manufactured in Germany, is famous for its especially clear composition. Photo: © Tim Griffith To enhance the open, airy feeling created by the glass, Piano designed the central support columns to be extremely slender. A series of carefully configured cables will prevent these slim columns from bending. The concrete for the walls and floors is untreated, continuing the emphasis on natural materials. Photo: © Tim Griffith Photo: © Tim Griffith "Museums are not usually transparent, they are opaque, they are closed. They are like a kingdom of darkness, and you are trapped inside. You don't see where you are. But here we are in the middle of a beautiful park, Golden Gate Park, so you want to look out and know where you are." Renzo Piano The site is located directly across from the new de Young museum, which opened in October 2005 and was designed by Swiss architects Herzog & de Meuron. The architectural dialogue between the two buildings and their unique responses to the environment of Golden Gate Park furthers San Francisco's growing role in supporting groundbreaking architecture and design. Photo: © Tim Griffith Artist Maya Lin was selected by the Academy and the San Francisco Arts Commission to create two public art installations within or around the new Academy in a publicly-accessible space. Photo: © Tim Griffith The new Academy is one of ten pilot "green building" projects of the San Francisco Department of the Environment, part of a vanguard initiative to develop models for workable, sustainable public architecture. The new Academy will optimize use of resources, minimize environmental impacts, and serve as an educational model by demonstrating how humans can live and work in environmentally-responsible ways. Sketch courtesy Renzo Piano Building Workshop Rendering courtesy Renzo Piano Building Workshop Rendering illustrates the seven hills on the new Academy’s living roof. Rendering courtesy Renzo Piano Building Workshop Rainforest Schematic Rendering courtesy Renzo Piano Building Workshop Piazza airflow Rendering courtesy Renzo Piano Building Workshop Section Total area: 410,000 square feet Total public space: 100,000 square feet Completed: 2008 Client: California Academy of Sciences Architects: Renzo Piano Building Workshop Stantec Architecture Engineering and Sustainability Consulting: Arup Living Roof: Rana Creek Landscape Architecture: SWA Group General Contractor: Webcor Builders Photographed by Tim Griffith Fonte: http://www.arcspace.com/architects/piano/cas/cas.html

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