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Ă rea_interiorisme_escola_art_olot


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Autor: Willem Jan Neutelings, Michiel Riedijk Adreça : Lloydstraat 300 Data : 2005 Superfície : 30000 m2

This seventy metres high tower has a mixed program of educational spaces, offices and public functions. A route of escalators links the different departments from the lobby all the way to the top. The low-rise part of the building contains the special facilities like simulator rooms, restaurants, a media centre, a sports centre, and workshops. The cantilevered conference room overlooks the Port of Rotterdam, while the stepped student restaurant on the ground floor overlooks the Maas river. The meandering building volume forms a vertical icon for this international centre of maritime knowledge.



Autor: 24H Architecture Studio Adre莽a : Data : 2001

Buildings for education are not exactly the first places that spring to mind when you think of innovative interiors. You instinctively expect them to be sturdy and utilitarian in design, detailed to withstand the worst storms that youth can unleash. It is as if designers forsake aesthetic ambition in preference to something altogether more solid. As interiors go, however, schools probably differ little in terms of harsh treatment from that suffered by any publicly accessible building. Some observers might venture that seemingly indestructible environments only throw up a challenge gladly embraced by those blessed with idle minds. Inspiring design pays off in the end because it stimulates the senses and, hence, a sense of responsibility. Although this reasoning may not strike everyone as valid, the thinking behind much school design still seems dominated by a correlation of sorts, preventative or corrective, between design and behaviour. Enter the new Ichthus Business Centre in Rotterdam, the first completed work by Rotterdam-based office 24H Architecture, and an entirely different take on the educational environment presents itself. The variety of shapes, surfaces and colours that greet you suggest one of today's styleconscious showrooms or ad agencies rather than something as mundane as a school for business studies. It boasts its very own showpiece blob near the entrance, meandering partition walls adorned from floor to ceiling with boldly coloured imagery from nature, outer walls veiled by gossamer-thin fabric and custom-fabricated chairs covered in velvet. Even the classrooms are carpeted. This, you have to remind yourself, is a college, something the designers seem to have gone out of their way to conceal. Despite the fact that so many elements were developed specifically for this project, the interior is just a short-term solution. It is only three years since Ichthus College moved into a purpose-built structure designed by Erick van Egeraat on Rotterdam's newly developed Kop van Zuid. But hardly had the students moved in when the college realised that it had outgrown its accommodation - proof that architecture is indeed a slow art. Consolidations with other colleges caused a further increase in the demand for space. In advance of a planned extension by Van Egeraat, still some years away, the college had no option but to temporarily house its department of business studies in another building. While all this was happening, Maartje Lammers and Boris Zeisser left Van Egeraat's office to co-found their own design firm, 24H Architecture. Lammers's extended involvement as project architect on the Ichthus building was enough to secure the commission - their first as an independent team - to design the temporary accommodation. The ensuing search for a suitable venue ended, to the architects' initial disappointment, in a nondescript office complex near the city centre. Hemmed in on all sides by office and residential blocks, the '70s complex clad in garish panels is as faceless as Van Egeraat's cobalt-blue glass building across the river is extrovert. What's more, the indented building envelope encloses a floor plan composed of a series of bays interrupted by a veritable obstacle course of service cores and columns. Not surprisingly, the task of shoehorning the various college spaces into this uninspiring straitjacket was greeted by the architects with something less than enthusiasm. It wasn't the kind of project they had envisioned as an announcement of their arrival on the design scene. A budget of 380 euros per square metre and a tight planning schedule only made the prospect more daunting. But as is so often the case, necessity became the mother of invention. Right from the start the designers managed to convince college authorities that if they were serious about this retreat into anonymity, maximum energy would need to be harnessed to create an inspiring interior - as an antidote, so to speak, for the featureless exterior. Whereas the landmark Ichthus building derives much of its identity from its siting and exterior, this temporary venue could succeed only by being fully internalised.The designers came up with a logical layout of spaces accessed from a generously dimensioned central foyer. Strung along either side of the route from entrance to foyer are reception desk, cloakroom, photocopy room and refreshment dispensers. At its corners the foyer space leaks onto corridors that provide access to five clusters containing classrooms, administration areas and ancillary spaces. Since the bays of the floor plan precluded a straightforward subdivision into usable classrooms, another organisational tool had to be devised. The solution lay in anchoring each cluster to an existing core and arranging the classrooms around it in such a way that almost no two spaces are identical in size or shape. This easy arrangement successfully breaks down the scale of the 1800square-metre space into a series of legible units while at the same time lending unity to the overall plan. Above all, it turns the awkward office floor plan to advantage. This functional layout sits comfortably within the standard shell and results in rich spatial variety. But the real strength of the scheme lies in how the designers have treated the existing walls and, more particularly, the new partitions that define each cluster. More than simple space-dividers or lines of demarcation, these are elevated to the status of installations, emphatically present and bold in character. Unhampered by the existing forest of structure and services, they sweep gracefully throughout the entire floor, pulling one along, inviting exploration. Guiding the eye from the entrance at one end to the central foyer, and separating the public area from the administration and staff rooms, is what the designers call a 'sculptural fish'. Its wickerwork covering fashioned from interwoven, wafer-thin strips of beech recalls Frank Gehry's furniture made of laminated strips of maple. No surprise, therefore, to learn that around the time of the project the architects had been to a Gehry retrospective at the New York Guggenheim. Whereas Gehry uses a single material and technique to fashion both support structure and seats, however, 24H Architecture's wicker simply wraps around a skeleton of timber fins. This, the most voluminous of the additions, looks like some primal water creature washed up on dry land. Hollowed out of its innards are three pouch-like meeting rooms crowned by star-spangled ceilings (a sheet of wood perforated by circles through which a single fluorescent tube casts rays of light). The organism's tail tapers off and turns into a comfortable bench next to the coffee dispenser. To separate the staff room just behind, curved sheets of transparent polycarbonate extend from the top of the bench to the ceiling. More than just pleasing to the eye, the wickerwork installation cleverly integrates meeting rooms, public bench, entrance tunnel to administration spaces, and view from staff room to foyer.Combining various elements of the programme into single objects was a deliberate strategy on the part of the designers. They were thus able to save money wherever possible, thereby freeing up funds for other purposes. In the staff room we see a similar tactic at work. Beech slats shoot upward from the centre of the amorphous tabletop, only to be restrained at their tips by cables fastened tautly to the tabletop. Spotlights at the end of the slats illuminate the individual workstations. Such small details, however, sometimes look over-designed next to the sheer scale and sweep of the larger components. Again and again Lammers and Zeisser succeeded in providing the client with custom solutions superior in quality to what was commercially available without incurring additional costs. Most furniture, fittings and finishes bear the stamp of the designers. Apart from the Vitra office chairs, there is hardly a suggestion of off-theshelf standardisation. Even the existing light fittings and bulky ventilation outlets fixed to the classroom ceilings are neatly integrated into a series of large circular discs. A similar combination of grand gesture and exuberant though decidedly low-tech detailing is also evident on the other side of the foyer. Digital prints depicting colourful natural imagery, blown up almost beyond the point of abstraction, wrap the tilted, ribbon-like outer walls of the four classroom clusters. Circulation space between clusters expands and contracts, their flow broken rhythmically by vertical panels of translucent glass illuminated from behind. Occasionally the harsh light detracts from rather than complements the vivid colours and organic patterns of the smooth wall surface. The colour of each cluster's enclosing walls is repeated in muted tones on the inner surfaces of the classrooms. In successfully weaving the classrooms around the maze of columns and cores, the designers also perform the trick of making the existing shell vanish almost without trace. The sole reminder of the existing office shell is the network of exposed ducts, wiring and pipes running across the ceiling. Here and there you can pick out an angular fragment of an existing core buried within the bulging and bending walls. Even the perimeter wall is shrouded behind a thin fabric draped from ceiling to floor. Printed on the fabric is a photograph of the city's panoramic skyline. More than just compensation for the limited views on offer from the office block, this is a witty reference to the designers' former boss and his Ichthus building. The view printed on the fabric is a manipulation of a 360-degree photograph taken from the Ichthus building. Only those students fortunate enough to enrol for a course soon will have the pleasure of wandering these curvaceous corridors and sitting on the sculpted tail. As soon as the extension to the Ichthus building opens its doors, this temporary layout will have served its purpose. From the outset the designers knew its life span was limited. That didn't discourage them, however, from making the most of their first independently completed work. You can't help wondering just what effect this slick rendering come to life will have on the behaviour of all those earnest business students in the distant future

KUBUSWONINGEN Autor : Piet Blom Adreça: Overblaak 70 3011 MH ROTTERDAM Tel: 010-4142285 Fax: 010-4144797 Website: www.kubuswoning.nl E-mail: kijkkubus@planet.nl

Open: Dagelijks geopend van 11.00-17.00; januari en februari alleen vr., za. en zo.; Eerste kertsdag en nieuwjaarsdag gesloten. Prices: Toegang € 2,00; kind. t/m 12 jr/p65 € 1,50; groepsreductie vanaf 10 personen. Travel info: Metro/Trein N.S. Station Blaak, Tram 21 RET

The kubus or cube homes were designed by Piet Blom. He saw his design as a tree and the entire complex as a forest. Blom’s idea was to design a kind of village within a big city, a safe oasis where various functions could come to fruition. The KijkKubus is the fully furnished museum home in the Blaakse Bos. The interior was specially designed to give visitors an impression of how you can live in a cube home.

RESTAURANT BLITS Autor: MARCEL WANDRES Client: Glyn Stoker Adreรงa: Boompjes 701, Centrum Tel: (010) 282 90 51

The colors of the large unified space for the various narrative episodes are warm and luminous: variants of yellow, orange and red mingle in a concert of precise and diffused lights. Awe and emotion, art and poetry, set design and a taste for the exhibition are the paradigms of a little Gesamtkunstwerk organized in two areas, the zone of the spectacle and that of its observation. Places to relax, to eat, to converse.?The theater is undoubtedly the source of inspiration for this place, which aims to be a sign but not a signal?, Wanders explains. ?In the manner of the 1700s, when the theater was a very popular form, and the audience spent hours and hours in the seats, eating, drinking, singing. Here too everything is aimed at creating a situation of equivalence between actors and spectators?. And to properly conclude the compositional perspective of a space of great dramatic impact, we have the Love Suite, a veritable attraction: a monolithic ?box? perched on inclined pillars, red lacquer on the outside, lined with the same color on the inside like a plush boudoir, with heart-shaped seats and a crystal chandelier. Sufficient to isolate yourselves in a sort of alcove, shielded from prying gazes. Here the theme of ?see and be seen? takes on a whole different tone.

DIGITAL PORT Autor: MECANOO Client: Chamber of Commerce Rotterdam Adreça: Port Rotterdam Data: 2004

Digital Port Rotterdam, an initiative of the Chamber of Commerce Rotterdam and the Council of Rotterdam, is placed as a pavilion inside the stock exchange hall of the World Trade Centre, Rotterdam. Within this pavilion, participants can attend various workshops to learn more about the application of ICT in their businesses. Mecanoo has taken the opportunity with the design of Digital Port Rotterdam to return part of the exchange hall to its original condition. The existing insurance exchange has been demolished and relocated to the new pavilion; this reopens part of the trade hall to the public. Another World The pavilion contains workshop spaces, an auditorium, meeting room, lobby, lounge and office space. The starting point of Mecanoo’s concept is based around a non-standard use of materials, light, sound and vision. The atmosphere and design varies greatly between each unique space. Entering the pavilion transports the visitor into another world. Through a perspex façade made up of varying degrees of transparency, the visitor occasionally catches a glimpse back to the outside world and the exchange hall. The different spaces within the pavilion are connected by a single route which varies in level and which guides the visitor by means of light boxes set into in the floor. Journey The route is the base of the design, connecting all the various spaces. The first space to enter is completely enclosed. The outside wall, covered with fabric wrapped panels, gives an inviting and tactile quality. Once inside the oval shaped room, the visitor is completely immersed by sound and vision. The seating is arranged on two different levels, and with each seat composed of moveable cushions, it is also a very flexible space. Large plasma screens are hung from the ceiling and the seamless oval wall can be sed for projection. Following the journey of the route, the next space contrasts greatly with the previous one. The room has a closed character, but the connection with the outside world has partly been restored with the use ofwhite glass in parts of the wall. All of the walls are white. The circular table surrounded by white leather chairs is sits on a carpet with a large, photo-realistic waterdrop print. The translucent stretched ceiling of white fabric diffuses the slowly changing colours of the lights behind it, changing in time with the workshops progress. In the final two spaces where the visitor can sit down and work out particular solutions for their specific business needs, have a completely open feel. You can literally see the light. The two rooms are constructed entirely of transparent perspex, allowing the original glass brick ceiling of the trade hall above the Digital Port to be seen again. The connection with the outside world is reestablished. The lobby is situated between the various workshop areas and with the use of curtains it can be open or closed in character. The bar located in the lobby is constructed of coloured perspex sheets, serrated in irregular curves and glued together, and provides an exciting composition of colours with form. The lounge with its open quality, provides furniture for all kinds functions: work and play. Twice every week the insurance exchange takes place within the lounge.

KUNSTHAL Autor: OMA REM KOOLHAAS Adreça: Westzeedijk 341, 3015 AA Rotterdam P.O. box 23077, 3001 KB Rotterdam tel: +31(0)10 - 44 00 300 email: communicatie@kunsthal.nl

The compact building designed by the Rotterdam firm of architects OMA (Rem Koolhaas/Fumi Hoshino), contains a surprisingly large exhibition space: 3300 square metres, distributed over three main halls, a design-gallery and a photo-gallery. This means that five or six exhibitions can be held simultaneously in the Kunsthal. A spacious auditorium, a café-restaurant, a bookshop and a VIP room complete the ensemble. The various parts of the building seem to be lightly piled on top of each other; floors slope ans several ramps traverse the structure. The Kunsthal lies between Museumpark and Westzeedijk and functions therefore not only as an exhibition building, but as a traffic intersection as well.. A rising ramp runs straight through the building and bridges the height difference of six metres between the two – whether people enter the Kunsthal or keep on going. The Kunsthal is both the end of the park and an entrance gate. A service road rums beneath it which has been retained.



Autor: UN STUDIO Client: Ontwikkelingsbedrijf Rotterdam, Netherlands Adreรงa: crossing the river Maas, Rotterdam Total lenght bridge: 802 m Alรงada: 139 m Data: realized 1996

Constructed to facilitate the orchestration of traffic flows, the bridge design is inspired by, and in turn reflects, the industrial character of Rotterdam, adding to the narrative of the city. The bridge operates as the last crossing point between the Northern and Southern areas of the city, whilst its structural scale and design articulation has become a distinctive landmark within the surrounding skyline.



Autor: JO COENEN Client: Adreรงa: Alรงada: Data: 1993

The NAI moved into its present premises in 1993. The striking building, is situated at the edge of the Museumpark in the heart of Rotterdam and was designed by Jo Coenen. Seen from the outside, the building consists of four distinct volumes: the lobby with the foyer and the auditorium, the exhibition wing, the archives, and the library with the offices above it.

Urban Design The urban design for the building concentrated on integrating it with the existing structures that surround it. The relatively quiet park is shielded from the busy Rochussenstraat by the curved, inward-looking archives wing. The museum can be entered from the sheltered arcade, which is lit at night by Peter Struycken's dynamic light sculpture. A second entrance is on the Museumpark side of the building and can be reached by crossing a narrow footbridge. The two entrances are linked to either end of the lobby, which thereby becomes part of the route from the city centre to the Museumpark. On the park side, the building is bounded by a narrow pool, which creates more space around the building and separates it from its surroundings.

Materials Different materials were used for the facings of each wing of the building. The outside of the main volume (lobby, library and offices) is made of glass which reveals the underlying concrete structure. The archives wing is covered with steel plates, and the exhibition wing is executed in brick masonry. Coenen designed the building to enter into a relation with the Boymans Van Beuningen Museum opposite. For example, the main volume is surrounded by a tall pergola which echoes the tower of the museum, and the dark bricks of the gallery wing also refer to those of the building opposite.

Traditional and Modern Traditional and modern characteristics intermesh in the NAI building's design. Opposite the traditionally styled Boymans Van Beuningen Museum, there is a series of white-painted modernist villas from the 1930s, examples of the Nieuwe Bouwen style. Coenen's design incorporates varied associations with the surrounding architecture into a single building.



WORLD PORT CENTER Autor: Sir. NORMAN FOSTER Adre莽a: Wilhelminakade (bord Nieuwe Maas, Kop van Zuid, Feijenoord)



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