Posts tagged institutional architecture
International Graphic Design Center / Olgga Architects | ArchDoc
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Courtesy Olgga ArchitectsThe French design team, Olgga Architects, recently placed second in the competition to design the International Graphic Design Center in Chaumont, France. Images of their proposal in addition to a press release narrative from the architects can be viewed after the jump.
Courtesy Olgga ArchitectsThe International Graphic Design Center is part of the framework for urban revitalization set in motion around the Chaumont multimodal station. How does one integrate local amenities while fulfilling National and European objectives? What exactly is a cultural institution dedicated to Graphic Arts ?The scope of the proposal focuses primarily on the renovation of the Banque de France (BdF) and an architectural extension into the Emile Goguenheim Square . Originally constructed in 1871, the edifice is easily identifiable with civic structures from that period, representing political authority and financial autonomy. The building must be a sign, unmistakable in scale, function and in the image it promotes. We opted not to « hold on » to the facades by orchestrating a (contemporary) break from the historic facades. The existing rehashes architectural characteristics of 19th century mansions: symmetry, compositional alignment, and detailed mason work on the facade.
Courtesy Olgga ArchitectsThe protruding component of the addition opens out onto the urban environment and the future « place des Arts ». This monolithic volume is presented uniformly, in polished concrete with no visible joints. Hand-polished facades reveal the expressive qualities of the materials, accentuating the contrast and the play between the building and the Banque de France. The deliberate notches in the monolith create viewing opportunities of the Banque de France and adjacent buildings. Along the continuation of the Place des Arts, passers-by are invited to slip into the interspace formed by the existing building and the new monolith.The signage of the International Center for Graphic Arts connected to the existing building is achieved by a reconfiguration of the ground plane. This anamorphic procedure creates a mutable image, constantly deconstructed, and then from a pre-defined viewpoint, fully recomposed: the public space between the multiplex and the entrance plaza.The space is bathed in light. Interior/exterior boundaries are intentionally blurred. Entering the museum is effortless—this step should not be a threshold of intimidation. The sky is visible through the opalescent glazing. Forms reveal themselves and enliven the space.Whether for technical signage or for educational exhibits tracing about graphic art history, our theoretical point of departure is the same element for composing space: the pixel. The imbedded overlay of the pixel on a grid becomes a matrix for all graphic presentations and signage in the Center. Scattered voxels interrupt the space; these three dimensional pixels become the furniture, essential for experiencing the place.
Courtesy Olgga ArchitectsOur architectural proposal is not graphic art in and of itself; rather it is the armature for the exposition of graphic art. Our scenographic bias consists of creating modular and interchangeable elements and spaces, in terms of museumography and decor.We propose an introductory tour of the practice of graphic arts. This tour begins as soon as the sloped foyer penetrates gracefully into the foundation of the Banque de France . This lower level access takes advantage of creating double height interiors without modifying the purity of the exterior architectural order.This exposition aims to be as didactic as possible so that everyone may discover the graphic profession with ease. The following model is reserved for temporary exhibits. Graphic news is presented from within this contemporary, refined volume of simplified geometry. The history of the profession situates itself, as it should, within the historic building. The proposed urban form increases visual openings and emphasizes the intersecting public spaces.Architect: OLGGA Location: Chaumont, France Team: Bruce Mau design / archimen / scene / atelier ON / alhyange Client: City of Chaumont Area: 3,604 sqm Schedule: March 2011 Mission: Competition, ranked 2nd Sustainability: RT 2012 Image credit: RSI-studio#gallery-1 {margin: auto;}#gallery-1 .gallery-item {float: left;margin-top: 10px;text-align: center;width: 33%;}#gallery-1 img {border: 2px solid #cfcfcf;}#gallery-1 .gallery-caption {margin-left: 0;}
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Red Sea Institute of Cinematic Arts “RSICA” / Symbiosis Designs LTD | ArchDoc
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Courtesy of s y m b i o s i s designs ltdThe Red Sea Institute of Cinematic Arts (RSICA) designed by s y m b i o s i s designs was completed in 2008. It is an architectural and spatial interpretation of the explorative and creative process of film-making and producing, designed specifically to encourage reflection on oneself and observation of the world outside oneself.More on this project after the break.
Courtesy of s y m b i o s i s designs ltdThe architecture of the school is an explorative and didactic ground-scape environment capturing deduced emulations of the layers that make up film. The building stages different conditions that allow the student to understand a great measure of intangibles or often immeasurable notions and conditions that are best understood intuitively through experience.
Courtesy of s y m b i o s i s designs ltdIn order to claim the majority of the property to landscape, many functions were pushed to sub-grade levels, in turn, giving a non abrasive sculptural disposition of buildings above. The landscape theme is a minimalistic one and where oasis are introduced as sub-grade light wells, rocks from the Rum desert are staged as mystical elements and reflective pools capture sun rays and passing clouds above. Sharing the campus with the main RSICA complex is a luxurious boutique concept hotel offering a unique experience about film and film-making with a film museum connecting back to the film school, and state-of-the-art three screen public cinemas on the other side of the campus.
Courtesy of s y m b i o s i s designs ltdLight as a matterNatural light conditions are exploited in the buildings creating ranges between washed out and intense. The lighting is staged to allow students the opportunity to observe the nature of light. Light showers down on many areas and often in intense slices through sculptural skylights. Shadows as matterLike light, shadows are enhanced as a matter in a variety of form; dark areas percolate both still and moving shadows while other forms cast vivid and textured ones.
Courtesy of s y m b i o s i s designs ltdDynamic MotionThe building forms descend into the ground and ascend out and over the ground creating paths and spaces in flux, roaming, and encouraging motion from different unconventional vantage points to allow students to explore spatial paradigm shifts necessary to understanding and planning scenography.Sound as a matterNatural raw sounds of winds and breezes, of still water and the rain, of different footsteps, are captured through basic pipe channels from distant staged points to secluded ones for students to appreciate sound matter even when they are not near its sources.Introspective domainMany smaller areas fold inwardly unto themselves creating places of detachment in the form of dwelled-in niches necessary for students to silently explore their own minds – the introspective domain. Imagination demands many walk-through rehearsals in the mind where reality can be stretched beyond the conventional and towards the magical.Exchange domainGreat films are a byproduct of collaborative and synergetic team effort. Most circulation spaces and open outdoor ones are articulated to become social and celebratory domains where conversations and exchange of ideas are not only welcomed but enhanced and promoted.
Courtesy of s y m b i o s i s designs ltdLayeringLike montage in filming, different spaces and building forms were juxtaposed as single layers; however the student can perceive different compositions from different points depending on their position in space. Long visual axes inlayed with a variety of compositional elements are staged as Forced Perspectives offering the students explorative grounds of visual montage.Studio TectonicsThe entire campus building celebrates the studio building typology as an active production place, and as a generally raw building by exposing most electrical and mechanical elements such as duct work and large lighting fixtures; as well as echoing tools and instruments of the profession such as speakers and hovering steel cat-walks. The building will be a transparent technical blueprint to the students.Film Making ChronologyThe building facilities that entail preparatory and technical works in the pre-production, production and post-production chronology are laid out in plan in a clear sequence. Not only students, but also visitors, will be able to clearly read the sequence of film making in actual plan, especially where some functions are exposed through transparency to circulation areas.Architect: s y m b i o s i s designs ltd. Location: Aqaba, Jordan Project name: Red Sea Institute of Cinematic Arts (RSICA) Program: Film School with 160 seat screening room, media Library, 2 large sound stages, set stage, equipment storage rooms, green room, camera lab, smart classrooms, animation lab, edit and audit suites, hovering Café’, administration building and staff residences, in addition to a luxurious 80 room Boutique Hotel Client: Red Sea Institute of Cinematic Arts (collaboration with The University of Sothern California school of Cinematic Arts and The royal Film Commission) Project team: Khalid Nahhas, Ramiz Ayoub, Faiha Katbi, Lina Asa’d, Dina Hadaddin, Onur Lambaz Structural Engineer: s y m b i o s i s designs ltd., Omega Consulting Off. Electrical & Mechanical Engineer: Spectrum Mep Consulting Engineers Off. Media/Audio/Visual Consulting Services: Sand Hill Media, Berkeley, CA Acoustical Consultant: Newson Brown Acoustics LLC, Santa Monika, CA Land Area: 20,200 sq. m Built-up Area: 30,000 sq. m Project year: 2008 3D images: Courtesy of s y m b i o s i s designs ltd.#gallery-1 {margin: auto;}#gallery-1 .gallery-item {float: left;margin-top: 10px;text-align: center;width: 33%;}#gallery-1 img {border: 2px solid #cfcfcf;}#gallery-1 .gallery-caption {margin-left: 0;}
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* Location to be used only as a reference. It could indicate city/country but not exact address.
Sugamo Shinkin Bank, Tokiwadai Branch / Emmanuelle Moureaux Architecture + Design | ArchDoc
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© Nacasa & Partners Inc.Architects: Emmanuelle Moureaux Architecture + Design Location: Tokyo, Japan Project area: 656 sqm Project year: 2010 Photographs: Nacasa & Partners Inc.

© Nacasa & Partners Inc.Sugamo Shinkin Bank is a credit union that strives to provide first-rate hospitality to its customers in accordance with its motto: “we take pleasure in serving happy customers.” We handled the architectural and interior design for the bank’s newly relocated branch in Tokiwadai.
© Nacasa & Partners Inc.By basing our design around leaf motifs, we sought to create a refreshing space that would welcome customers with a natural, rejuvenative feeling. The façade of the building features silhouettes of trees and an assortment of both large and small windows in 14 different colors arranged in a distinctive, rhythmical pattern that transforms the façade itself into signage.
plan 02ATMs and teller windows are located on the first floor, along with 3 courtyards and an open space laid out with chairs in 14 different colors. The second storey houses the loan section, reception rooms, offices and 4 courtyards, while the third floor is reserved for facilities for staff use, including changing rooms and a cafeteria. Thanks to the 7 light-filled courtyards planted with trees and flowering plants, each of these spaces is loosely connected to all the others. A constellation of leaves in 24 different colors growing on the white branches of the walls and glass windows overlaps with the natural foliage of the real trees in the courtyards, creating the sensation of being in a magical forest.#gallery-1 {margin: auto;}#gallery-1 .gallery-item {float: left;margin-top: 10px;text-align: center;width: 33%;}#gallery-1 img {border: 2px solid #cfcfcf;}#gallery-1 .gallery-caption {margin-left: 0;}
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* Location to be used only as a reference. It could indicate city/country but not exact address.