The Golden Horn Library will be located in Galata, a historic neighborhood at the crossroads of Istanbul, Turkey’s cultural and visual memories.

The Galata District was once the Genoese quarter of the city and was surrounded by its own city walls and towers. Today, nearly all the walls are gone, but the iconic Galata Tower remains and provides the district with its identity.

The Golden Horn Library looks across the waters of the Golden Horn to the Historical Peninsula, overlooking the seven hills of Istanbul, each hill crowned with its own monument. Views include Hagia Sophia, Nuruosmaniye Mosque, Suleymaniye Mosque, The Cistern of Mocius, Fatih Mosque, and Yavuz Selim Mosque to the southeast, and Mihrimah Sultan Mosque to the northwest. These seven hills represent the history of old Constantinople, surrounded by historic city walls. Views of the dancing domes of the seven hills, and the iconic Galata Tower, provide a silhouette of the city over the Golden Horn.

Alper Aytac states: “The Golden Horn Library was conceived as almost a “Turkish Flying Carpet”, woven by the culture and the context”. The profiles of the monuments and the axiality of the seven hills pointing towards the Galata Tower form the main roofscape, with the three closest hills inspiring the roofscape housing the functions of the library and learning center. The remaining hills, set further away, provide a smooth transition between the building and the landscape, functioning as a sort of plinth of public space between interior and exterior.

Sectionally and proportionally, the nearby Azapkapi Sokullu Mosque, designed by the great architect, Sinan, sets the precedent, with its elevated prayer hall almost floating over the city to protect the interior against bustling city noise. This strategy was duplicated in order to insulate the library and learning center from noise. Beneath, the ground level houses the busier and noisier activities of the auditorium, a spiraling children’s library, and a restaurant.

Alper Aytac states: “The Golden Horn Library is a beacon of knowledge in the city of Istanbul, and it aims to be an instrument of connectivity between symbols of the city on both sides of the Golden Horn. It radiates energy that is injected into the city, rather than funneling energy out of the city for itself.”

Aytaç Architects

The post Golden Horn Library was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The new Manufacturing, Technology and Engineering Center (MTEC) at Daley College is an addition to the Richard J. Daley campus. The MTEC sets the framework for a wider master plan. The project unifies the existing complex by creating a campus environment with engaging pathways and collaborative spaces throughout.

Rising from the transformed parking lot, the MTEC project speaks to issues larger than architecture; it seeks to revitalize a Chicago southwest neighborhood by creating a connective message that all are significant and welcome. Daley College tasked JGMA with removing the negative stereotypes that exist in the workforce when pertaining to manufacturing careers. Often suggesting these careers as devoid of dignity and reserved typically for minority populations. The project reverses the misconception through a design focused on celebrating state-of-the-art manufacturing spaces and proves careers in this industry require tech and skills as advanced as any other.

The design strategy utilizes building transparency to showcase machines, equipment, and products integral to the learning objectives of the colleges as well as provide a visual connection to the surrounding West Lawn community. The seamless fluidity to the building’s form was inspired by the constant and linear flow of the manufacturing process. The building spans the main thoroughfare with a strong industrial bridge that links the south and north campus of Daley College.

The new building celebrates the manufacturing industry through the expression of materials such as metal panels, glass, and exposed steel. In addition, the underside of the elevated bridge is intentionally painted caution yellow, bringing the manufacturing expression to the exterior.

The transparency of the building provides a similar experience for even the casual passerby, by providing a look into the advanced technical nature of manufacturing today.

The project challenges the latent stereotypes of a community college and alters the psychology of simply crossing the street to go to class. Through dynamic spatial organizations and site responsive architecture, the MTEC provides students and staff a unique experience from the moment they walk into the building. The circulation spaces inside the building intentionally collide with seating areas, platforms, and alcoves to encourage students to congregate and participate in incidental learning between peers. There is a combination of exterior and interior terraces for users to enjoy in the warm weather months. These green areas facilitate the students’ and faculty’s interaction providing connections with nature and lead to increased cognitive function and wellness, as well as creating a more unified campus.

As the MTEC is now the front door to the campus, thorough analysis was conducted to the user experience with regards to security, wayfinding, and new learning opportunities. It was imperative that the new addition set-up a framework for further transformation of the existing building while still celebrating its current legacy. The unique exterior façade of the MTEC building is phase one in a masterplan to completely rebrand and re-clad the existing facilities to create one new energized campus.

The new building will not only be a catalyst for growth and change within City Colleges of Chicago, but also inspire the pursuit of manufacturing careers as a sophisticated and high-tech learning path.

JGMA

The post Daley College was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

He Art Museum (HEM), totaling 16,000m², is designed by architect Tadao Ando. The exhibition area of HEM is approximately 8,000m². Ando’s design presents his signature with the use of slick concrete, while cooperating various natural elements including light, water and wind into the context of Lingnan Architectural Culture within the design.

The design of the building takes “harmony” as the theme. From the architectural design to the very details, a variety of circles is presented. It attempts to create a new arts and cultural center infused with the Lingnan architectural culture. These circles constructed the space of the building through ripple-like expansion: from top to bottom, with the overlapping of four circles. With each area’s clear-cut periphery, an enriched variation effect is created through the interaction between spaces.

Anient Chinese cosmology and philosophy believed the sky was round and divine; the earth was flat and square – this has had a profound influence on ancient architectural theories and design, and it is still preserved by some of the architectures today in Lingnan region. To address these contradicting elements, the visual contrast between “round” and “square” emphasized in the museum creates a sense of conflict with spatial differences, which has given more characteristics to HEM.

The double-helix staircase and the courtyard corresponds to the overlapping circles. This structure is called “variable truncated hyperboloid staircase” in architecture, commonly known as “DNA staircase”. It creates a sense of temple when audiences look up to the roof in the central atrium with the natural light shining from the sky.

Ando’s architectural design challenges the “dynamic geometry”. This dynamic presents the rich layers of the spaces that can only be achieved by the dual-spiral design, with different sizes of circles expanding to the outside, creating a sense of tension and rhythm. This design pursues a dynamic balance among the stable structure, which has become a highlight within HEM’s architecture.

Tadao Ando

The post He Art Museum was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Moving Dunes is inspired by the early arts. It is an extension of the temporary exhibit From Africa to the Americas: Face-to-face Picasso, Past and Present, at the Montreal Museum of Fine Arts (MMFA). The plastic approach of cubist painters questions the role of perspective in visual representation. Anamorphosis, which is the distortion of the subject reconfiguring itself according to the position of the body in space, is one of the methods used. Through this process, Moving Dunes introduces the public to the essence of this approach in a playful way.

 By manipulating the street surface, large ripples are generated, recalling the features of a body or a face. Reflective spheres and geometric shapes amplify patterns and multiply points of view. As the observer moves, the street transforms, shapes are reversed, the ground comes alive and destabilizes. Moving Dunes is an experiential mirage in the heart of Downtown Montreal. Along the way, the passer-by discovers the presence of spheres reflecting the different buildings of the Montreal Museum of Fine Arts, all unique in their architecture and history. Moving Dunes brings together the real and the virtual worlds and awakens the senses.

The MMFA animated the pedestrian area of ​​avenue Du Musée, which has become a must-see for citizens and tourists alike. The goal was to pedestrianize the street and to create a temporary signature layout. Among the challenges encountered were the development of a concept in relation to the theme of the exhibition, the activation of a pedestrian public space while allowing the passage of emergency vehicles, and the creation of an experience with high media impact on a limited budget.

NÓS

Alex Lesage-Threefold

Raphaël Thibodeau

The post Moving Dunes was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Located in the center of the historical area, the site of the Museum is adjacent to the Imperial Kiln ruins surrounding many ancient kiln complexes.

Jingdezhen is known as the “Porcelain Capital” in the world because it has been producing pottery for 1,700 years. In the Ming and Qing dynasties, Jingdezhen exported a huge amount of porcelains to Europe.

Jingdezhen was growing naturally fitting in the valleys surrounding rivers, hills, and mountains because of the porcelain industry. The early settlements of the city developed around kiln complexes which included kiln, workshops, and housing. The street pattern was generated by nature and the porcelain industry. Most of the small alleys in between kiln complexes have always approached the Chang river in order to transport porcelain products to the river. The main streets have always been along with Chang river to bring all businesses and commerces together.

Situated on a fairly restricted historical area adjacent to the east side of the Imperial Kiln ruins, the plan of the Imperial Kiln Museum was aligned with the north-south street grid of Jingdezhen. With its entry, water pools, and bridge facing west, embracing the open file of Imperial Kiln Ruins to welcome visitors from Imperial Kiln Relic Park. Public pedestrians can wander through the forest under the green canopy, going through the bridge, flowing into the foyer of the museum.

The Imperial Kiln Museum comprises more than half a dozen brick vaults base on the traditional form of the kiln, each of the vaults is of a different size, curvature, and length. They were naturally applied to the site, carefully integrated with many existing ruins including a few ruins that were found after the construction.

The unparalleled, liner, and arched structures of the museum, like old kilns, reach below the level of the street to not only give the flexibility to adapt itself into the complicated site, but also to achieve the intimate scale of interior space. This strategy – in part also as a response to the height of surrounding historical buildings – leads to productive ambiguity in relation to the building’s horizontal datum. The “insertion” of the building into the ground of the site produces a series of public spaces at street level. More importantly, it allows for the design of a number of more intimate open vaults, and courtyards within the museum. Most of those public spaces are covered under shaded and are protected from the rain because it is hot and it rains a lot during summer in Jingdezhen. One of those open spaces, two open vaults sited in both ends, will also reveal the traces of the historic fabric on the site.

When one walks on the bridge, enters the foyer, and turns left, he will pass a series of arched exhibition spaces lightly varied in size and with contradicting openness (enclosed or open to the sky) to encounter a gentle stair, in the end, flowing down to the underground level with five sunken courtyards. Meanwhile, people can obtain a three-in-one (kilns-porcelains-people) museum experience when they see those porcelain, ruins, and sunken courtyards which create manifold layers’ experiences with ancient bricks on the façade. As someone turns right at the foyer, he will respectively pass the bookstore, cafe, tea room, and finally reach a semi-outdoor area under the arch, witnessing a picturesque scene. When daytime surfaces, these arches reflect the waves of water while low horizontal gaps tempt people to sit down on the floor to see the long horizon of the Imperial kiln ruins. A similar surprise would be created when someone sees the Longzhu Pavilion of the Imperial kiln ruins through the vertical seams when he is on the way to the auditorium before accessing the foyer.

Five sunken courtyards varied in size have a different theme: gold, wood, water, fire, soil. Those five themes not only reflect old Chinese thinking about the earth but also associate with porcelain making techniques.

The overall experience of the museum tries to rediscover the roots of Jingdezhen, to recreate the past experience among kiln, porcelain, and human being.

The architect was fascinated by local ancient kiln tectonic and material. Looking in the past, craftsmen built the brick kiln without scaffolding in a very special way. Thin and light brick kiln achieved a maximum interior space with minimum materials, the brick kilns appeared in organic forms reflecting heat flow from one end to another.

The basic structure of the museum is an arch structure system, it is made up of concrete poured in between two layers of masonry brick walls. There is a small arch to be layout perpendicularly to connect two arches.

Using recycled kiln bricks to build houses and all kinds of buildings is a significant character in Jingdezhen because brick kilns have to be demolished every two or three years in order to keep a certain thermal performance of the kilns. The entire city was covered by recycled kiln bricks. Those bricks record warmth and are inseparable from the lifeblood of the city. In the past, the children would take a warm brick from the firing kilns to place in their schoolbags to keep themselves warm the whole day during freezing winter.

The materials of the museum are dominated by bricks, recycled old kiln bricks are mixed with new bricks to reflect the local culture of construction.

This interweaving of two different historical phases proposed by the combination of new and old bricks must arouse interest, curiosity, create new questions, and give new answers. These create interaction with people’s minds who inevitably evoke memories and enjoy a unique experience. The past cannot be erased but can be rewritten by recounting a new awareness and maturity, a sort of contemporary archeology.

The visitors can have a 360-degree sensory experience through the repeated contact between exterior and interior that stimulates the touch, smell, hearing, and sight and transports them into a sort of trip between past, present, and nature.

Even the light evokes active and tangible memories and is the proof of how ancient techniques can be reinterpreted and reread in a contemporary key.

The interior natural light is achieved by both skylight and sunken courtyard and is inspired by smoke holes of the ancient brick kiln. The skylight in the hollow cylinder shape is distributed on the top part of the arch to provide natural light during daytime and artificial light at night time.

Studio Zhu-Pei

schranimage

Tian Fangfang

Zhang Qinquan

The post Jingdezhen Imperial Kiln Museum was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

In a beachside residential area of Herzliya, TEO (the Theodor Herzl Center for culture, art, and content) comes into view as a distinct single-story building, eminently lower than the neighborhood’s enclosed private mansions. The freestanding TEO opens up a wide panorama toward the west—the horizon over the ocean—thus rupturing the visual and social narrative of walled luxury villas this area of Herzliya is known for. The insertion of a fully exposed public cultural center as an event in the surrounding urbanscape was key to the design strategy.

TEO provides a unique functional facility to the city’s art-practicing and culture-seeking residents. The plan is designed within a 50 by 50 m² square around an offset central patio surrounded by the various programs: a music conservatory, a dance school, art and ceramics studios, a gallery, a senior recreation center, and a cafeteria. An upper partial floor houses a library complemented by a 300 m² open deck.

The uniqueness of the design lies in the coherence of a precise geometric module that is strictly enforced throughout; Concrete (on-site casts & precast units), textured glass, and metal flow seamlessly from exterior to interior surfaces. Cutting-edge sealing techniques were used to protect the building from the rain while maintaining its flat roof silhouette and tight proportions.  

The patio (292 m²) makes available a space of quiet and welcoming scale. The floated, draining floor provides a pleasing horizontal surface from which a single mature oak tree rises. Direct sunlight from above dynamically projects its presence across the patio’s surfaces, creating ever-changing visual compositions of organic against geometrical form.

A.Lerman Architects Ltd.

Amit Geron, Nimrod Levy

The post TEO Center for Culture, Art and Content was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Junshan Cultural Center is located just outside of Beijing, in the midst of the undulating mountain ranges and meandering rivers near the Miyun Reservoir. Originally this was just a typical two-story sales building on the outskirts of Beijing; Neri&Hu was asked to transform this donut-shaped building into an iconic clubhouse and sales center. Neri&Hu took advantage of the existing courtyard typology by crafting two sequences of interlocking journeys, one for clubhouse members, and one for sales center guests. All programmed spaces are designed so that they are in proximity to nature. The layering of the primary courtyard and smaller gardens allow the architecture to merge harmoniously with nature.

Drawing inspiration from its context, the architecture combines traditional northern features with contemporary architectural language and is transformed into a new interpretation of architectural expression. The building quietly rises out of the water as a brick mass with carved out spaces for programs interlocked with gardens that blur the boundary between inside and outside. On the façade, warm-toned wood- patterned aluminum panels form a veil that softens the heaviness of the brick facade. Moments of the screen connects with each interior space, creating a façade that is spontaneous and different on every face. In terms of materiality, traditional gold brick tiles form the foundation of the building mass, extending from exterior landscape into the interior “in-between” spaces. With brick and wood panels as the primary backdrop for the interior, a common theme throughout the interior is the sculpted ceiling.

Programmatically, the cultural center provides a number of luxurious and spacious amenities for its members. It includes a 100-person multi-purpose hall for events, a spacious business lounge and bar, a feature library, children’s reading room, private function room, family media room, a red-wine and cigar lounge bar and a rooftop deck. Part of the cultural center is functioning as a sales center. A double-height reception welcomes potential buyers to embark on a journey through the media room, winter garden, then upstairs across a bridge over the courtyard to a generous sales presentation lounge complete with VIP rooms, bar and children’s playroom. One of the most prominent spaces in the clubhouse is an art gallery, equipped with a series of hanging moveable walls for a flexible display system. The sculpted ceiling above gives some visual connection to the upper level, while a large glass picture window allows the space to extend into the courtyard. On the second floor, a generous yet inviting private dining room, complete with a bar and show-kitchen allows members to rent out the space for special functions. The red-wine and cigar lounge bar and rooftop deck on the third floor has an uninterrupted view of the surrounding mountainous landscape to west. Space comes alive with the many different geometric cuts carved out to interact with the sky and daylight such that each space is ever-changing when light is reflected off of the rich texture of Venetian plaster. The layering of customized furniture, refined brass metal detail, natural veins of stone accents, softness of fabric, and delicate lighting elements work together to compose a sense of understated luxury.

Neri&Hu Design and Research Office

Pedro Pegenaute, Xia Zhi

The post Junshan Cultural Center was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Shou County Culture and Art Center, located in Central China, was built in a new city southeast of the old town, on what used to be empty, flat farmland with a lack of landscape features. Many new tall, generic buildings surround the area and fail to reflect the local climate and local culture. The county government did not insist on specific design requirements but demanded the project to “be built quickly and completed next year.” The building needed to include an art gallery, cultural center, library, and archive.

Zhu Pei investigated the cultural roots of Shou County, observing old dwellings and ruins, and identifying how ancestors sought a balance between the primal force of nature and active construction without modern technologies. The inward-oriented living patterns of the vertical courtyard houses, and the narrow lanes extending out in all directions connecting houses to one another, reflect the local way of life and hint at the rules of construction for local climate conditions. Zhu Pei reimagined this living and spatial experience to help embed Shou County Culture and Art Center in the local community.

Multiple courtyards of different sizes are placed in a relatively enclosed rectangular block. They are connected by a winding, undulating public walkway, which is a public loop protected from the sun and rain. The public loop guides people over the bridge, crossing the moat into the building. The extensive front yard at the main entrance forms a public square that represents the tang wu (central room) of typical Shou County residences, while the backyard resembles the back garden of local folk houses. Each program of the building has two or three inner courtyards. From the front yard, visitors can wander all the inner courtyards without interrupting the continuity of the rooms. Walking along the protected public loop, visitors can find themselves at times on the first floor, second floor or third floor. The space is unpredictable, and light and shadow continually shift to surprise visitors, allowing them to feel the artistic spirit of traditional Chinese architecture expressed by the principles of “hide, breathe, cultivate and wander.”

The introverted concept of Shou County Culture and Art Center is a sensible choice for the unpredictable future development of the surrounding area. It also reflects the grace, inclusiveness, and vitality of the ancient city of Shou County, which has withstood the test of time.

Studio Zhu-Pei

Schran Images

The post Shou County Culture and Art Center was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.