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  1. desMena added a topic in Projects   

    Workshop with Delugan Meissl at Ajman University of Science and Technology

    Image  of performing arts centre in amman, courtesy of Delugan Meissl Associated Architects; © by Delugan Meissl
    Delugan Meissl will hold a public lecture and open an exhibition of their acclaimed work.

    Four-day workshop will run from 18 - 22 Feb. 2012 attended by Mrs. Elke Delugan-Meissl and Mr. Roman Delugan.


    There will be a four-day workshop by the architects Mrs. Elke Delugan-Meissl and Mr. Roman Delugan (Delugan Meissl Associated Architects - DMAA) at Ajman University of Science & Technology (AUST), UAE, during the period 18 - 22 Feb. 2012.
    In addition, Delugan Meissl will hold a public lecture and open an exhibition for their work during the period of the workshop at AUST.
    Fore more information and registration, please contact workshop coordinator Dr. Jihad Awad:
    j.awad@ajman.ac.ae

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  2. desMena added a topic in Projects   

    LAN Architecture designed the 486 Mina El Hosn, The tower that looks at Beirut
    The 486 Mina El Hosn project conceived by LAN Architecture will offer the city of Beirut a new vision of itself.


    <p style="text-align: center;">All information, images and plans courtesy of LAN Architecture; © by LAN Architecture; detailed credits at the end of this post LAN Architecture, Paris have sent us their latest project in Lebanon - we share it with you on desMena:


    486 Mina El Hosn, Beirut
    The starting point of the project was to imagine Beirut in all its complexity. We have imagined the city as na ‘un-finished’ superposition of histories, contexts, architectures and situations;
    Our project was conceived as an interface, an algorithm that generates new connections and that creates new view axis, ways of observing the history, the present and the future.



    This wish has been traduced in three different approaches, corresponding to the program demands as to the diverse scale units of the project.




    1. The topographical / territorial and spatial scenery: the BASIS
    The project is located in proximity of the Marina and Solidere district, alongside Omar Daouk and Fakhreddine Street, a zone marked by its high-rise buildings.
    The study and analyse of the urban adjoining context showed us the importance of the existing green character of our plot. It is the exclamation point of an important green belt originating at the International College of Beirut. The lack of public spaces and more over green open spaces in Beirut inspired us to sublime the green character through our project.



    Our answer consists in resolving different conflicting elements being the pedestrian flow coming from the port and the significant car traffic on Fakhreddine Street, this on top of the height difference of the plot, 8 meters approximately.
    The BASIS is a direct result of the existing topography of the plot, creating a banded pattern from east to west. By connecting the different altimetry boarding the plot, several green strips are created which shelter three levels of retail, corresponding to the levels 00.00, 04.00 and 08.00 m connected to the north, east and west plot limit respectively.
    The three levels of the BASIS are composed of 10 000 m² commercial area, consisting in 9 different retail units with a variable surface from 300 up to 1200 m².



    Combining public roof garden, retail gallery and pedestrian passage, the various spatial answers add up to an entity at the scale of the pedestrian inspired by existing urban morphologies of Beirut.

    The levels are vertically connected by voids and skylights incorporated in the green strips and passageways, permitting light and views to cross.

    The BASIS is a genuine interface between the different elements composing the project.

    The CLUSTER HOUSES, sheltering 35.000 m² of residential area, are anchored in the BASIS hatched according to its banded pattern. Their volumetry and position is axed on three elements, light, views and scale. The higher part of the cluster shifts backwards to adapt to the scale of the BASIS and building restrictions.

    From the CLUSTER HOUSES the BASIS is seen as a green carpet, an important quality in terms of view especially for the residences situated on the lower floors of the cluster houses.


    2. The continuity of housing typology: the CLUSTER HOUSES
    The residential part is the most important program unit and without a doubt the most fundamental event of our reasoning. We wanted to realise a continuity of typology as to the traditional oriental patio house, with its rich relation between interior and exterior, and this in a vertical type of building.


    We have applied this concept on two levels, the interior / scale of the apartment, and the exterior / building scale.



    This housing type, structured around a central patio assuring a natural ventilation and distribution of the different living units, and so this indoor-outdoor succession has been the starting point for the CLUSTER HOUSES.
    Each apartment (one, max. two per floor) is entered through an exterior space, the lobby in direct contact with the core’s noble access, dividing the floor in day and night program units. The day units, living and dining area are again separated by a patio.

    A particular attention has been paid to these special indoor-outdoor sequences, permitting the apartment to morph from winter to summer by a double skin.


    The interior glazing draws the inner perimeter of the apartment shaping patio and lobby. The glazed walls of these in-between spaces open unconventionally by revolving against the ceiling, this way opening the day zone completely to the exterior.



    The exterior skin realised in Ductal, includes the structure permitting the interior to be free of any columns and therefore even more generous. This skin is at times completely open, at times perforated by different patterns, permitting light to cross and draw beautiful shadows.


    The structural mineral envelope is separated by a corridor in perimeter of the apartment of the inner glazed façade.

    These CLUSTER HOUSES materialize the contextual and typological concept, by their very mineral look, literally a continuity of the city of Beirut.




    3. Hyper-contextuality and meta-territory: the TOUR
    The tower represents the central element of the project, and was envisioned as the most literally translation of the idea of a connecting interface.



    The project is to be more than a formal object, it has to override its specificities and become bearer of a new meaning. We therefore decided to make use of the primary idea of meta-territory. The notion of ‘look’ and ‘perception’ has helped us to go even further…
    Looking at Beirut city and connecting several elements, beyond their physical proximity, directed our conceptual approach.



    The materiality of the tower consists in Beirut itself, its light, its images, its districts, its future. We replaced the idea of the monument by its antonym, the anti-monument that changes, transforms, and is renewed according to the very fragile equilibrium between object and ‘regardeur’.
    The tower becomes a ‘Miroir de Lacan letting Beirut find its language by contemplating itself.



    The tower shows as a catalyser of the city, it restores the concentration of history, culture and spaces.
    This direction leads us to the emergence of an immaterial, changing object, an architecture made of weightlessness, glass and finely hatched steel.
    The building envelope reflects its surroundings, the changes of seasons and light. A story is told, through structured sequences in a cinematographically way.
    The choice of 14 points in the city loaded with history and revealing public spaces, become components of a journey in the heart of Beirut. Strolling around the tower becomes an urban experience, a promenade through the diversity and richness of Beirut.



    The architecture of the tower translates in successive layers the complexity of the dichotomy materiel - immaterial - disappearance.The building is structured along a cross-shaped volume, its envelope is a solar protection based on a square plan of 25×25m. The outer envelope consists of sliding panels made of perforated sheet metal with mirror polish finishing. It reflects, protects and lets views and light pass all at the same time. The terraces of the apartments (duplex and triplex) occupy at one floor out of four the voids in the angles of the cross plan.

    The tower becomes phantom, shows or doesn’t shows its faces, it will be understood in different ways depending on the light shining on it, the angle from which it’s perceived. The rest is architecture.







    Level +00.00Level +04.00

    Level +08.00
    Level +12.00
    PROGRAMME: Housing - Offices - Retail Area
    CLIENT: HAR Etudes - BANK MED
    LOCATION: Beirut
    COST: 120 000 M €
    NET PLAN AREA: 125 000 msq
    PHASE: preliminary project
    TEAM: LAN Architecture (lead architect), Agence Frank Boutté (HEQ consultant), Batiserf Ingénierie (structure)
    3D IMAGES: Rsi-studio.com



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  3. desMena added a topic in Projects   

    Oppenheim Architecture + Design unveils future primitive lodges in Wadi Rum, Jordan
    Minimal yet powerful gestures of architecture serve to create harmony and balance while framing and amplifying the surroundings.


    All images and information courtesy of Oppenheim Architecture + Design; © by  Oppenheim Architecture + Design
    Oppenheim’s design takes advantage of the natural cooling effect of the rocks with careful choice of location to provide maximum comfort with minimum energy and water consumption.
    International “green” architect Chad Oppenheim sets a new benchmark for design and ecological sensitivity with the Wadi Resort-located in Wadi Rum, Jordan, set for completion in 2014. Oppenheim Architecture + Design (OAD) beat out a global competition and will execute an unprecedented project comprised of 47 desert lodges, setting forth a future primitive experience for the avid globetrotter, an hour and a half outside of Petra, the ancient city of the Nebataeans carved into the desert rock.

    Oppenheim’s winning proposal set out to reinterpret the way society deals with surrounding nature by taking full advantage of the mystical valley where desert sand meets desert stone. The project merges silently with its wondrous setting, exploiting and enhancing the natural beauty of the desert to establish accommodations that are uniquely elemental and luxurious. Dramatically situated, the lodges and villas in their various incarnations; are all about a visceral connection to culture and place. The resulting experience is a revolutionary notion of opulence that is intentionally reduced to what is essential.

    The structure of the lodges will be carved into the sandstone cliffs, utilizing the existing geological geometries of the rock to devise the form. Other structures are comprised of rammed earth and cement mixed with the local red sand. The minimal yet powerful gestures of the architecture, both built and carved serves to create harmony, and balance while framing and amplifying the surroundings. The interior and exterior are deliberately blurred establishing maximum impact with minimum effort. Inspired by the primordial, Oppenheim used his expertise in sustainable design to create passive means of cross ventilation, taking full advantage of the natural cooling effect of the rocks, and proper positioning allowing the project to minimize energy consumption and maximize comfortable healthy living.

    “We have trained and heightened our senses to see, smell, taste, hear, and touch the mystical beauty of Wadi Rum. We tapped the inherent power of the desert through primal and instinctual design moves, informed by the forces, rhythms and patterns of nature- past, present, and future,” says Oppenheim about his creative process for the project.

    The strategies employed are those that have been proven over the last thousands of years. We have learned a great deal from the civilizations that have lived in the beautiful and magical desert for millennia. Great care has been given to utilizing local materials as well as various water conservation measures for both human and site irrigation to establish a relatively closed system of harvesting rain water in subterranean cisterns and re-harvesting grey/black water though a living machine of botanical and biological nature. All systems and services will be completely integral to the design.

    The 80,000-square-foot architectonic form responds directly to the rich regional cues: an evolutionary process that has established, over millennia, a clear and appropriate identity found in the Middle East.



































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  4. desMena added a topic in Projects   

    Charles Hostler Student Center, Beirut by VJAA
    Vincent James Associates Architects designed the new center for social and academic activities on the Lower Campus of the American University of Beirut
    All images, plans and information courtesy of Vincent James Associated Architects (VJAA); © by VJAA; Images by Paul Crosby
    The design for the new Hostler Center uses a non-hierarchical synthesis of architecture and landscape to create a set of richly varied and environmentally diverse spaces for people to gather in throughout the day and evening.

    Introduction
    In 2002, the American University of Beirut held a competition to design the Charles W. Hostler Student Center and Corniche Frontage. An internationally recognized jury awarded VJAA first place from a shortlist of six international design firms.



    The new Charles Hostler Student Center incorporates a comprehensive collegiate sports facility with recreational amenities and a new gateway to the campus along the Mediterranean Sea.



    The building complex, which includes a competition swimming and diving pool, gymnasium, squash courts, exercise and weight training, locker rooms, 300-seat auditorium, outdoor amphitheatre, a cafe, administration spaces, underground parking, and outdoor courtyard and garden spaces, was completed in 2008.



    The completion of the Charles Hostler Center initiated an ambitious sustainable design agenda for the American University of Beirut and provided infrastructure for the further development of the Lower Campus. The project introduced a wide range of environmental strategies to reduce energy consumption, conserve water and provide spaces that take maximum advantage of Beirut’s Mediterranean climate.


    Charles Hostler Student Center
    Sited on the Corniche, the important public boulevard of Beirut, the design developed as a response to this unique context and the University’s goal to create a new center for social and academic activities on the Lower Campus. Challenging the original idea of a single large-scale building, the design employs multiple building volumes to create an ensemble of outdoor spaces connecting the various sports programs. In this way, the design emulates the scale and diversity of spaces found in the original, and much loved, Upper Campus.



    The site plan is organized around a series of radial “streets” oriented toward the sea, using circulation to weave together sporting activities, performance space, courtyards, gardens, and spectator areas. At the center of the project, a café and outdoor dining acts as a catalyst for social activities. The project synthesizes architecture and landscape to create a set of richly varied and environmentally diverse spaces for people to gather in throughout the day and evening.




    Site and Program
    Located on a dense 73-acre urban campus at the edge of the Mediterranean Sea, the American University of Beirut (AUB) is at the center of the Ras-Beirut district. The AUB campus has been described as the Garden of Beirut, because the density of plant material stands out in contrast with much of the city.


    The 204,000 square foot recreation center includes competitive athletic facilities for swimming, basketball, handball, volleyball, squash, exercise and weight training, an auditorium and amphitheater, a café, and underground parking for 200 cars. In addition to its role as a center for student life, AUB also sees the new Student Center as providing a model for environmentally responsive design in the overall development of the lower campus.


    The design for the new Hostler Center uses a non-hierarchical synthesis of architecture and landscape to create a set of richly varied and environmentally diverse spaces for people to gather in throughout the day and evening.



    “Everytime I look through my office window in College
    Hall and see the Charles Hostler Center silhouette
    over the Green Field, it seems to me that it had
    always been there. Then I realize that it’s only my
    love for AUB that makes me feel that everything that
    is beautiful on campus had always existed there.”
    Samer Maamari, Vice President for Facilities
    Buildings Shading Spaces,Walls Shading Buildings
    The orientations of the buildings for the Charles Hostler Student Center follow a north/south axis with the primary masonry facades facing east and west. The fanning nature of the Center’s plan places the buildings in close proximity to one another, achieving a substantial degree of self-shading while shading adjacent spaces.



    The original AUB Campus Master Plan required that buildings follow the standard east/west rule to minimize surfaces oriented toward the sun. A more careful analysis of the shading properties of rectangles demonstrated that north/south courtyards actually provided more shade throughout the year. Moreover, the north/south orientation also enables the courtyards to open up to sea breezes.


    Aluminum louver systems shade each building to the south, and the deep sections of the east and west walls provide shading for windows and doors. Significant landscaping provides a permanent level of shading for the buildings, gathering spaces and circulation areas between buildings.




    Climate and Ventilation
    The regional climate could be described as semi-arid and strongly influenced by the Mediterranean Sea. In
    Beirut, the summers are typically hot and dry. Winter brings cooler temperatures and rain, mostly during the months of December and January. The average daily temperature range is narrow.
    Topographical variations between lowland and highland areas create a distinct microclimate along the Lebanese coast. The interaction of topography, local urban form, and prevailing wind patterns significantly affect the AUB Campus and cause very specific environmental conditions.


    The plan for the Hostler Center locates each programmed building to follow the north/south prevailing wind and local airflow conditions. By taking advantage of seasonal wind conditions and the cycle of onshore breezes during the day and offshore breezes at night, the buildings will have constant air movement to cool and ventilate the interior spaces. Cross ventilation in the summer months is through multiple openings in the east-west walls.


    Radiant Cooling: Geothermal and Waterwalls
    In addition to the emphasis on air movement, the project relies on radiant cooling techniques for select areas of the building where larger gatherings occur on a regular basis. Human comfort is more rapidly improved through radiation rather than air movement.
    Radiant cooling and heating also achieve equivalent comfort levels at higher temperatures (30C) and lower temperatures (18C). This allows for an efficiency that is more suitable for the utilization of renewable energies. The heating and cooling system uses 33% radiation and only 66% ventilation and air.
    The gymnasium, pool, theater, squash courts, and café all utilize seawater as a cooling agent to reduce ambient temperatures. Seawater from 30 meters below the surface is piped into a central plant that provides chilled water. This water is used for radiant cooling in the indoor spaces and for evaporative and radiant cooling through the outdoor courtyard water-walls.



    “This project uses elements in a thoughtful way to
    create a rich urban place. Smart use of its surfaces
    and resources and in keeping with the local
    conditions. The outdoor spaces are more comfortable
    because every piece of the building is leveraged to its
    best advantage. This could have been a monolithic
    program but instead the architects created an
    enlivened urban quarters connecting the campus to
    the water.”
    Jury Comments, 2009 National AIA Honor Awards PLANS:



    Courtyard Level
    1 Gymnasium
    2 Yoga
    3 Locker Room
    4 Fitness
    5 Squash
    6 Reception
    7 Café
    8 Breakout Room
    9 Conference Room
    10 Auditorium
    11 Green Field



    Terrace Level

    5 Squash
    10 Auditorium
    12 Gymnasium Seating
    13 Pool
    14 Gallery
    15 Internet Café
    16 Green Field Seating



    Roof Terrace Level
    17 Open Office
    18 Sea Garden
    19 Pool Seating
    20 Amphitheater
    21 Outdoor Café

    SECTIONS:


    Environmental Section: West East

    Daylighting
    Large north- and south-facing windows in the gymnasium and pool pavilion provide views, daylight, and natural ventilation. Solar gain through the southern windows is controlled through horizontal aluminium louvers and vertical fins integrated into the curtain wall system. These vertical fins also block the early morning and late afternoon summer sun on the large north windows. Precast concrete louvers on the east and west walls shade windows and doors.

    Shading
    The north-south orientation of the main building volumes shades courtyards throughout the year and opens the courtyards to prevailing sea breezes. With the primary masonry facades facing east and west, the fanning nature of the plan places the buildings in close proximity to one another, achieving a substantial degree of self-shading and reducing solar gain.

    Radiant Surfaces
    Given the substantial building mass from the concrete structure, an integrated system provides radiant surfaces used for cooling and heating to the majority of the program areas. Only radiant heat is provided at the swimming pavilion pool deck due to the substantial amount of natural ventilation provided. Exterior water walls provide evaporative and radiant cooling zones in the courtyard spaces.

    Displacement Cooling
    Dehumidified fresh air is supplied low, at the level of building occupants. Warm air is pushed up from this layer of cooled air and exhausted through the rooftop skylights or returned into the ventilation system.

    Solar
    Solar panels on the roof of the gymnasium and pool pavilion heat water for the pool, showers, and other domestic hot water needs in the facility.



    Environmental Section: South North

    Natural Ventilation
    The steep hillside topography of the AUB campus faces north and is densely planted. Air cooled by these shaded portions of the campus drops toward the sea during the day, creating a constant cooling and flushing of the air. At night, the site’s prevailing winds are redirected toward the land by its proximity to the Mediterranean Sea. The building and courtyard orientations and operable windows optimize the use of these naturally occurring breezes.

    Sectional Migration and Microclimates
    Building volumes and circulation are woven together by a series of intimate social spaces emphasizing lush and aromatic foliage, cool shade, and the sound of moving water. Three levels of gardens and terraces provide a diversity of gathering spaces and microclimates. In addition to an amphitheater for evening concerts, the theater, café, and gymnasium connect directly to terraces for social gathering.

    Roof Gardens and Green Courtyards
    Green spaces visually integrate with the upper campus, provide usable rooftop areas for activities, and insulate the roof from its direct exposure to the sun. Many of the existing native trees were preserved, non-native plant species removed, and new native sea and drought tolerant species planted throughout the complex.

    Water Collection and Gray Water Reuse
    Storm water is collected through appropriately placed site drains and rooftop landscape surfaces and reused for irrigation. Potable tap water is dedicated for indoor use only - kitchen, lavatories, and showers. Gray water from showers and lavatories is collected within a separate piping network and treated for use in toilets.

    Seawater/Geothermal Cooling
    Chilled water is provided by an advanced seawater-cooled centrifugal, absorption chiller and heat exchanger. Since heat rejection uses seawater, no additional cooling tower make-up water is required.

    Environmental Section:
    Gymnasium



    1 Daylighting
    2 Precast Concrete Shading Louvers
    3 Radiantly Cooled Surfaces
    4 Displacement Cooling
    5 Solar Panels
    6 Cross Ventilation
    7 Stack Ventilation
    8 Skylights for Ventilation and Daylighting
    9 Operable Doors and Windows for Ventilation

    CREDITS:
    Client
    American University of Beirut
    Architect
    VJAA
    Climate Engineer
    Transsolar Energietechnik
    Landscape Architect
    Hargreaves Associates
    Associate Architect & Structural Engineer
    Samir Khairallah & Partners
    Mechanical and Electrical Engineer
    Barbanel Liban S.A.L.
    Civil Engineer
    Wael Kayyali
    Area
    204,000 Square Feet
    Status
    Completed 2008

    AWARDS:
    2009 National AIA Honor Award
    2009 AIA/COTE Top Ten Environmental Buildings
    2008 AIA Minnesota Honor Award
    2006 Progressive Architecture Award



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  5. desMena added a topic in Projects   

    New Pictures of Woods Bagot’s QSTP by Nelson Garrido
    Qatar Science & Technology Park in Doha designed by Woods Bagot


    All images courtesy of Nelson Garrido; © by Nelson Garrido; design of QSTP by Woods Bagot

    QSTP through the lens of photographer Nelson Garrido
    Nelson Garrido has sent us these new images of the Qatar Science & Technology Park which we featured earlier on desMena.

    The complete album can be seen on his website.





    image by Nelson Garrido; © by Nelson Garrido

    image by Nelson Garrido; © by Nelson Garrido

    image by Nelson Garrido; © by Nelson Garrido

    image by Nelson Garrido; © by Nelson Garrido

    image by Nelson Garrido; © by Nelson Garrido

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  6. desMena added a topic in Projects   

    Star House in Bnaider, Kuwait by AGi architects
    Approached from the desert and situated on the coastline this beach house is designed to maximize sea views while blending into the topography.


    All images, plans and information courtesy of AGi Architects; © by AGi Architects; Images by Nelson Garrido
    Star House
    Nestled into the landscape, this beach house blends with the natural topography of the coastline of Kuwait. It slowly unfolds itself to the visitor, as it is approached from the desert.

    Upon entry, one gets glimpses of the sea whilst going down to the public space of the chalet. On this lower level, the house extends into the landscape and the sea, accentuated by an infinity pool in the garden. The private side of the house, located at the entry level, is concealed from the visitors by a bamboo wall. Bedrooms and private living spaces remain isolated from daily activities. A three-way stair, placed at the center of building, organizes the different flows of family, friends and guests.

    The organizational and formal structure of the beach house is dictated by the ability to maximize views to the sea.
    The initial design was master planned for three detached dwellings, each with extensive sea views while simultaneously achieving privacy from one another. The client, instead, opted for a single house, two bungalows and a boathouse, with possible plans for expansion in the future.





























    key areas


    site plan


    ground floor


    first floor
    Project Name: Star House
    Type: Housing | 5000 sqm
    Location: Bnaider, Kuwait
    Date: 2007/2009
    Client: Private

    Design Team

    Dr. Nasser B. Abulhasan
    Joaquin Perez-Goicoechea

    Georg Thesing
    Bruno Martins Afonso Gomes
    Daniel Muñoz Medranda
    Robert A. Varghese
    Abdul Hafiz Mohammed
    Moyra Montoya Moyano



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    MOP CAP 2011 Shortlist Exhibition at Traffic, Dubai
    Between 14-19 March 2011 Traffic will host the MOP CAP 2011 Shortlist Exhibition.


    Image and information courtesy of Traffic; Image of  “feminine sensors” a video animation projection by Niyazi Azadikhah
    MOP CAP (Magic of Persia Contemporary Art Prize), launched in 2009, has become the world’s leading art prize for Iranian artists.

    Monday 14th March - Saturday 19th March 2011 at Traffic Gallery, Dubai
    Launched in 2009, the Magic of Persia Contemporary Art Prize (MOP CAP) has become the world’s leading art prize for Iranian artists. Iranian art continues to command the attention of institutions, art collectors and the press worldwide. Last year’s winner, Mahmoud Bakhshi, was awarded a solo exhibition at the Tate Modern, London, as part of their permanent collection.

    This year MOP CAP 2011 will exhibit the works of the shortlisted artists at Traffic, Dubai on Monday 14th March. The exhibition will be inaugurated by HE Sheihk Nahayan Mubarak Al Nahayan at the private view at 6pm. The exhibition will remain open to the public until Saturday 19th March 2011. Selected from over 90 nominees the 24 shortlisted artists are:

    Morteza Ahmadvand, Parastoo Ahovan, Hojat Amani, Hossein Azadi , Niyaz Azadikhah, Navid Azimi Sajadi, Reza Azimian, Behroo Bagheri, Shahrzad Changalvaee, Alireza Dayani, Shima Esfandiyari, Mehdi Farhadian, Arash Fayez, Babak Golkar, Rodin Hamidi, Ghazaleh Hedayat, Babak Kazemi, Raymar Manouchehrzadeh and Ali Nadjian, Dana Nehdaran, Dariush Nehdaran, Hesam Rahmanian, Shirin Sabahi, Mamali Shafahi, Najaf Shokri.

    The 2011 Shortlist was selected by a jury which consists of leading figures from the international art world: Zaha Hadid, Ramin and Rokni Haerizadeh, Shirazeh Houshiary, Idris Khan, Abaseh Mirvali, Mohammed Mottahedan, Hans Ulrich Orbist and chaired by Ali Khadra.

    Following deliberations, the chair of the judges, Ali Khadra, will announce the 5-10 Finalists’ names at 4pm on Monday 14th March at Traffic.

    Magic of Persia has also organised a panel discussion taking place on Monday 14th March 2011 following the announcements of the MOP CAP 2011 Finalists at 4pm. The panel discussion entitles ‘Cultural Brokering: Location Allegiance and Transnational Identity’, will be led by curator Vali Mahlouji and its participants comprise of a selection of the MOP CAP 2011 Judges will include Hans Ulrich Orbist, Mohammed Mottahedan, Abaseh Mirvali, Idris Khan and Ali Khadra. The panel discussion aims to broach the relevance of national identity not only within international art prizes, but within the global art scene as a whole.

    A catalogue will be published to accompany the exhibition. This exhibition is generously hosted by Traffic.

    MOP CAP is a global search to identify the most talented emerging Iranian artists and provide an international platform for their career.


    Magic of Persia
    Magic of Persia (MOP) is a non-profit, non-political, non-religious charity registered in the UK, working with leading institutions of the world to enable a deeper appreciation for the art, culture and history of Iran.

    MOP is at the frontline of pioneering efforts to identify Iranian art as an essential form of international communication. Global in impact, MOP believes that this cross-cultural exchange is both necessary and vital to fostering a dialogue of hope and progress for future generations.
    www.magicofpersia.com



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    From a poetic vision towards a programmed reality
    Construction of a 6 meter large Light-Test Model of Jean Nouvel’s Louvre Abu Dhabi


    image © by Jens Kaestler All information courtesy of 1:One| Computational Geometry and Georg Ackermann GmbH;  please note individual credits for the images.<p style="text-align: left;">
    3 specialist companies collaborate for design and construction of a light-test model for the complex Louvre dome structure
    German company One-to-One have sent us this report about their joint interdisciplinary effort to accomplish Jean Nouvel’s poetic vision of the “rain of light”. The following text is from One-to-One:Jean Nouvel has a subtle and ingenious vision for the planned branch of the Louvre museum in Abu Dhabi: a gigantic dome, 180 meters in diameter, perforated by layers of superimposed cladding patterns, will filter the blazing desert sun onto the white museum gallery buildings below. The architect calls this virtuoso effect his „rain of light”. Realizing a poetic vision such as this one necessitates a targeted approach, requiring to test the lighting conditions on a large-scale, architectural model beforehand.

    Building a replica of this seemingly clear, primary geometric shape of a spherical segment at scale 1:33 has an intrinsic complexity which is not apparent from the outset: 9988 aluminium bars, 4316 laser-cut stainless steel knots and 976 layers of aluminium sheet cladding had to be planned, produced and assembled at the highest quality, all within a timeframe of less than 6 month. Achieving such a feat necessitates a rational approach, and the development of efficient geometric optimization algorithms are indispensable, which is why the German company One-to-One GmbH, Frankfurt/Main, which specialized in the development and deployment of custom-made software-tools in design-related fields, had thus been entrusted with handling the complex data.

    © byAteliers Jean NouvelWorking closely with Ateliers Jean Nouvel and their guidelines, the company One-to-One coordinated the construction of the model. The model was built within an interdisciplinary collaboration: In symbiosis with the company Georg Ackermann GmbH, Wiesenbronn, whose competence in fabrication consists of an outstanding mixture of technical innovation and traditional craftsmanship, as well as with the experienced model-makers of honkahe interior+furniture, Nuremberg, the model was planned, assembled and brought to completion. The three companies have collaborated on similar projects before, building, for example, large-scale acoustical models for Herzog & de Meuron’s Elbphilharmonic and Ateliers Jean Nouvel’s Philharmonie de Paris.
    The model was manufactured and constructed in Germany and transported by air to the United Arab Emirates. In the presence of the press in November of 2009, Jean Nouvel was first able to successfully test the subtle interplay of light in Abu Dhabi, at the very same location on Saadiyat Island, the “island of happiness” which will also be home to buildings planned by Frank O. Gehry and Tadao Ando, at which the completed Louvre Abu Dhabi will be opened, in a few years from now.

    Computeranimation of the programmed and geometrically optimized parts of the Louvre model
    left side - the light-filtering cladding, right side - structure of the model at scale 1:33
    © by One-to-One GmbH© by One-to-One GmbH © by Benjamin Koren Computeranimation of Nouvel’s Design: Louvre Abu Dhabi
    © by Ateliers Jean Nouvel © by Benjamin Koren The structure of the Louvre model at scale 1:33
    © by Benjamin Koren The finalized, fully clad model
    © by Manfred Weid The architect Jean Nouvel examines
    the Louvre model
    © by Jens Kestler


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    Medical housing compound in Sudan designed by Tamassociati
    Italian architects Tamassociati design a sustainable housing compound for Emergency NGO using discarded containers


    All images and information courtesy of Tamassociati; © by Tamassociati Although Sudan is not typically considered part of the Mena region we’d like to draw your attention to this project to show how simple socially responsible and sustainable design can be if architects take on the challenge. The following description has been provided by Tamassociati:


    In the Salam Centre for Cardiac Surgery - Emergency NGO
    Looking at the amount of discarded containers laying around the building site of the Salam Centre we had this simple idea: to use them again in order to realize the required international staff housing compound.
    The Compound placed besides the Hospital, in the surroundings of the Nile river, is realized around a great courtyard full of wonderful mango trees. It consists of 95 20ft-containers for housing and 7 40ft-containers for the cafeteria. Every lodging is 20 sqm and is realized with one and a half containers; the lodging is composed of bedroom, bathroom and a small veranda on the court side.
    Peculiar care has been dedicated to insulation and energy saving. The containers are insulated with a “layer system”. Inside the container 5 cm insulating panels have been placed. The outside “skin” is realized with a second insulated roof and a bamboo brise-soleil panel system. In this way the sunrays never hit the containers. This system involves a huge energy saving. Solar panels also supply hot water for the entire compound.















































    Location and date:Soba, Khartoum (Sudan), 2008-09

    Client:Emergency ngo

    Dimension:Area: 8.663 sq. metres. Covered surface: 1668 sq. metres.

    Design team:Program coordinator: Emergency Technical Office,Pietro Parrino;
    Project: Studio tamassociati Raul Pantaleo, Massimo Lepore, Simone Sfriso, con Pietro Parrino e Gino Strada;
    Structural engineering: Francesco Steffinlongo;
    Mechanical/services engineering: Nicola Zoppi;
    Site engineer: Roberto Crestan, Alessandro Tamai, Claudio Gatti;
    Builder: ISNAD Sudan.





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    AA Visiting School: German University of Technology Oman 31 January–11 February
    All images and information courtesy of Omid Kamvari, course director for the AA Tehran and Muscat visiting school.Images displayed show the work of last year’s workshop in Tehran.
    Every year the Architectural Association School of Architecture collaborates with selected universities around the globe to conduct workshops. The AA Visiting School has become a worldwide network with events in Beijing, Madrid, San Francisco, Santiago, Sao Paulo, Singapore and Tehran among others. This time, from January 31 to February 11 they will visit the German University of Technology Oman with a methodological focus on patterns.


    Oman: German University of Technology Oman

    Pattern
    31 January-11 February
    Oman has been careful and farsighted in its approach to development. With regard to recent events in the region this approach has proven to be a successful model. Massive increase in population, decrease of fossil resources, climate change, change of life-styles, change of economic foundations, extended tourism - are all part of an increasing set of parameters set to challenge Oman’s approach to development. Urbanisation sits at the centre of these parameters. In this scenario the search for an environmentally and culturally appropriate architecture and urbanism is one of the most important ventures in Oman.

    <p style="text-align: left;">Images of last year’s workshop in Tehran:

    In order to develop theoretical as well as practical contributions for this discourse the workshop will have a methodological focus on patterns. Patterns are seen as a means of translating the performance and the appearance of historical structures into new concepts. Heuristic and algorithmic thinking as well as advanced computational methods will be introduced as a means of investigating patterns and developing new solutions. These solutions will also take into consideration aspects relating to manufacturing, assembly and constructability. The aim here is to apply these solution to various scales from facades and buildings to cities and regions.

    The Muscat Visiting School 2011 is the first of three workshops held in collaboration between the AA and the German University of Technology in Oman.

    <p style="text-align: left;">
    Deadline for applications is 10 January 2011.
    A late deadline of 24 January is also in effect, but this will incur a £50 surcharge. Applications can be submitted to: visitingschool@aaschool.ac.uk

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    Accommodation & Costs
    Accommodation during the workshop is not provided, but advice will be given for nearby affordable hotels.
    The AA Visiting School requires a fee of £650 per participant, which includes a £50 Visiting Student Membership, made payable to the AA School of Architecture. Fees do not include flights. Participants are encouraged to bring their own laptops, digital cameras and any other tools they may wish to use during the workshop.



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    Benetton HQ Tehran by AquiliAlberg
    Competition entry by Milanese Architects AquiliAlberg


    All images and information courtesy of AquiliAlberg; © by AquiliAlberg Architects The designers of AquiliAlberg have sent us their design for the Benetton headquarters competition - we share it with you on desMena:


    An office design that receives its identity from interweaving form and structure
    In Persia, language has a powerful symbolic narrative function, that not only explains the power of charm, but also the typical, the recurrence of certain symbols which are dotted legend, poetry, textiles, the thumbnails until you arrive to architecture. Symbolism in Persian, with its repertoire of typical and recurring images, the flight between analog and fantastic image and meaning, seems to almost always be the work not of an individual but of an entire group, in a symbol that expresses their cultural identity, a collective religious sensitivity, under the penalty of continued foreign domination. Dance illuminated daily narrated thousand stories and the understanding of symbolic language is collective, popular.

    The language has come to Europe preserved, delicate casket, narrating symbol: symbols tell who traveled for millennia, on the scrolls of the books but also on damask fabrics and arabesques carpets.

    section All spoke from town to town and all were included: a true story handed down a collective culture and millennial. The planning process that we pursued is rooted in this tradition, repeating a process already seen and tested in the historical monuments of the city of Tehran, where the two-dimensional symbol is evolving in a third-dimensional volume.

    After all what process could be better adapted to the new headquarters of Benetton if not the evolution of the texture of a fabric in a building, representative for the group itself? The theme of the contest is then interpreted through the inclusion of three new volumes that are identical to each other, rotated and merged into a single volume. The pattern chosen from a Persian fabric is used in its two-dimensional element as a basic skin coating or paving, to evolve and shape the morphology. The positive (the mass) and the negative parts of the texture (the opening) complementing each other, creating both, a solid volume and a trasparent volume which allows natural light to enter the space, enriching the internal space by creating a play between shadow and light.
    The dynamic pattern wraps the form at all levels of scale in a single rotating gesture, following the morphological evolution.
    Its upward momentum reveals the rotation as a design consequence for interacting with the whole city surrounding.
    The skin is a double skin technology designed to incorporate sun shading as small photovoltaic panels for the exploitation of solar energy, ensuring energy independence in part of the building.



    ground floor plan <p style="text-align: left;"> <p style="text-align: left;">6th floor plan
    7th floor planThe outer casing adjusts and optimizes the thermal dispersion, defining a new physical body and merging several functions in one building. A showcase of the city, a thing intended to settle in ones mind and become its own image of the city.
    The ground floor allows the various accesses to divide the different functions. Large windows characterize the volumes of commercial spaces, connected by escalators the ground floor with the upper floors and with the lower storage areas. The plans for the offices are divided into several units and accessible from a single core that also incorporates the emergency exits.
    The top floor apartments, (as required by the notice), have been made flexible through the particular plan and the vertical structure, with the exception of the internal core.

    The particular plant has been designed to enable all areas to benefit from natural light and panoramic views. A split-level layout of the interior has the capacity to mutate and reconfigure repeatedly over time. The logic of “Open Space, and column free structure (thanks to the thickness of the floors and construction technology), provides a variety of different spatial configurations through a system of movable walls that will dialogue with the presence of discontinuous mesh that in turn assumes the role of, connector, separator, and part of furniture or a simple visual separation. An integral part of the project is the search of an identity between the form and the structure, obtained by the interweaving of the two, JUST LIKE A FABRIC.

    <p style="text-align: left;">

    <p style="text-align: left;"><p style="text-align: left;">

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    <p style="text-align: left;">Location: Teheran_IranClient: Benetton GroupPhase: First phase competitionSite area: 11.000 sqmProgramm: commercial, offices, storages, apartments, parkingYear: 2009Architects: AquiliAlbergDesign team: Ergian Alberg, Laura Aquili, Alessio Pucci, Alexandros Franzolini, Christian Ronchi
    <p style="text-align: center;"><p style="text-align: center;">

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    Tripoli Congress Center designed by Tabanlıoğlu Architects
    A building that is in harmony with its “place” in terms of natural resources and cultural heritage


    All images and information courtesy of Tabanlıoğlu Architects; © by Tabanlıoğlu Architects; see detailed credits at the end of this post
    Strong but humble this structure finds its expression in clarity and sincerity
    Presidential Representative

    Following the economic revival, an intensive urban and architectural movement began in Libya; new innovative and prestigious buildings in Tripoli started to signify the development, power and contemporary style.



    Open to the world cultures and where diverse languages meet up, the Congress Center is a strong element of high representation and welcome presidents of the world in the texture of the natural environment and as a source of pride for the nation it represents.



    Corresponding contemporary needs and architectural values, the building is in harmony with its “place” in terms of natural resources and cultural heritage.

    The Center signifies the spirit of its homeland and claims to establish a physical relation with the global community.



    The Tripoli metropolitan area has a population of 1,065,405 (2006 census). The city is located in the northwest of the country on the edge of the desert, on a point of rocky land projecting into the Mediterranean Sea and forming a bay. Tripoli is the largest city, the principal sea port, and the largest commercial and manufacturing center in Libya. Tripoli is the leading center of banking, finance, communications and also international relations relatively. Due to the city’s long history, archaeological sites attract tourist to Tripoli where the climate is typical Mediterranean, with hot, dry summers, cool winters and some modest rainfall. After the lifting of UN sanctions against Libya in 2003 increased traffic through the Port of Tripoli and have a positive impact on the city’s economy.



    site plan
    The building site is located next to the Zoo Park and the woods in continuity. The Center being the lead construction the zone will be transforming into a Congress Valley; as a step forward, Rixos Hotel is recently built to meet the accommodation functions of the development plan, parallel to the process, private villas are under construction in close vicinity.



    section
    Surrounded by the woods, the rectangular two-storey ‘block’ is nested in a metal envelop that opens up to the external landscape with a wide portico that defines the main entrance.



    section
    A semi-transparent perimeter “shield” of designed bronze mesh application flows around the building, protecting the inner glass walls; an 8 meter corridor encircles all three sides; the main building is flanked by a 4-meter wide reflection pool and another 4 meter is left as a semi-open shady circulation area. The water elements provide a cooling effect before the building, in addition to its esthetic contribution. The semi-open corridors create a sound waft in the circulation zone. The metal mesh walls carry incise patterns that are inspired by the trees that surround the site, permitting controlled daylight to diffuse into the central space.



    ground floor plan
    The facade texture is to change in every direction with the orientation of the building and depending on its relation with the exterior and preserve the harmony with the adjacent grove. The texture is visually an extension of the tree branches as a complementary of the woodland. When the building interior is lighted at night, permeating through the façade, the oozing beams through the slits integrate with the wood at the background.



    first floor plan
    As well as the balances of light and shadow, transparency of a communal space and confidentiality of affairs of state is carefully practiced in the physical existence of the project.

    Glass wall systems allow for the maximum viewing area with no horizontal or vertical mullions to obstruct the vision. By transparency, the interiors benefit the optimum daylight in a controlled manner also by the mesh installation around the alleys surrounding the building.
    For a state building welcoming the presidents of the world, the use of ‘glass wall’ is also a metaphor symbolizing directness and openness.



    Entering the main lobby which is double space atrium with mezzanines that house meeting rooms connected by bridges passing over the atrium space, the building grants a feeling of spaciousness. The main conference hall is a rectangular space at the ground floor, with a circular seating design, accessed through the lobby. 4 lounge/meeting rooms accompany the main hall at the ground floor. Situated as a back row, VIP launches, press halls and private rooms are designed at the ground floor which also has a VIP entrance. Two other medium size conference halls located at the first floor where a restaurant and administrative offices are also placed.



    An understanding of contemporary architecture is proposed for the building which is supported by all means of technological infrastructure. Align with its function as a meeting place for the presidents of the world, the building is strong yet symbolizes to be humble; it is simple but functional and finds its expression in clarity and sincerity. It is in harmony with the environment and makes optimum use of natural resources such as daylight, the greenery and water elements.
    Site Area : 9.000 m²
    Construction Area : 25.000 m²

    Client & Main Contractor : SYSTEM Construction
    Architect : Tabanlıoğlu Architects - Melkan Gürsel & Murat Tabanlıoğlu

    Architectural Project Team : Salih Yılgörür, Ali Çalışkan, Emre Özberk, Oktay Murat, Zeynep Eker, Merve Demirbaş, Elif Akçakaya, Salih Çıkman, Işıl Taşkın, Başak Uysal

    Structural Engineer : EMİR MÜHENDİSLİK
    Mechanical Engineer : GN MÜHENDİSLİK
    Electrical Engineer : HB TEKNİKMÜHENDİSLİK

    Commission: 05/2009
    Design: 05/2009 - 11/2009
    Construction: 11/2009- 04/2010



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    Darat King Abdullah II, by Delugan Meissl Associated Architects
    A performing arts centre for the Jordanian capital Amman, designed by Austrian architects Delugan Meissl.


    All images and information courtesy of Delugan Meissl Associated Architects; © by Delugan Meissl; See project details below for detailed credits. Delugan Meissl architects have sent us some information on their performing arts centre project in Amman, Jordan and we are delighted to share it with you on desMena.


    An open gesture that adapts to its special context
    Proposed at a prime location in the heart of the Jordanian capital, the complex is planned to house all types of performing arts. Conceived as a place to rehearse, discuss, teach, study and perform, the complex is to become the premier venue for theatre, music and dance performances and education - a vital element of the cultural life and identity of Amman and all of Jordan.



    The goal of the design is to conceive an open building that is effective as an inviting and yet powerful symbol in all directions while being permeated by generosity and openness. It adapts to its special context, reflects the very specific topographic and urban planning features of the site and bundles these into a striking gesture.



    The building embodies a living statement for the music and people of Amman - communication and openness, concentration and calmness are united beneath the “roof of music”, becoming guiding themes for designs leading to the creation of an inspiring place for the new generation in Amman.



    The differentiated but interconnected spatial sequences of public spaces, foyers and theater halls turn the Darat King Abdullah II into a lively, discussion-rich platform for conversations, performances and societal action and at the same time permit the creation of a site that can just as well offer the quiet and concentration that is desirable for the enjoyment of music.







    section - click to enlarge utilization concept and programmatic overview - click to enlarge
    Project Details:
    Category: Cultural
    Address: GAM Stripe, Amman, Jordan

    Competition 04/2008 [1st prize ex aequo]
    Data
    Gross surface area 26.835m²
    Net floor plan area 23.064m²
    Gross volume 163.000m³
    Partner
    Martin Josst
    Project Team
    Sebastian Brunke, Jörg Rasmussen, Kai Riedesser, Peter Pichler, Jan Saggau, Thomas Theilig,
    Marina Kolloch, Oana Maria Nituica, Claudiu Barsan-Pipu
    Consultants
    Acoustic Müller BBM Int. GmbH, Munich, Germany
    Stage design Kunkel Consulting Int. GmbH, Bürstadt, Germany
    Landscape Rajek Barosch Landschaftsarchitekten, Vienna, Austria
    HVAC SCHOLZE Technische Gebäudeausrüstung GmbH, Vienna, Austria
    Modelling a2-prix.com, Vienna, Austria
    BS Modelshop Vienna, Austria
    Client
    [phase eins].
    Hossbach + Lehmhaus Architeken BDA VBI
    www.phase1.de



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    Jellyfish House in Adailiya, Kuwait designed by AGi Architects
    Quietness and delicacy of form and movement designed by the Spanish-Kuwaitian design firm


    All images, plans and information courtesy of AGi Architects; © by AGi Architects


    The playful essence of the tentacles mediates a smooth transition between the various spaces
    The driving forces behind the design of the jellyfish house are its restricted site situation and the clients’ habit of living. The house is enclosed by three adjacent plots freeing only one street facing façade. There is one large park located in front that constitutes a buffer zone in between the plot and the house opposite.
    The ideal response to such site conditions would be to construct a U-shaped building that opens towards the street, however such form would provide complete exposure, and since the client is of a reserved nature a modified alternative was advocated.
    The transformed proposition resembles the anatomy of a jellyfish, in which the head containing the services and private rooms is located in the back, anchoring the building to the site and providing protection. The tentacles accommodating a mixture of private and public living spaces drift spontaneously towards the front, and turn to face the street. This layout frees the center to create a courtyard space permitting inner views that provide a visual connection between the various rooms across all floors. The resulting perception of the form stems from a hypnotic slow and rapid movement mimicking the dynamism of the flexible jellyfish, and the overall composition frames a frozen moment captured during one of these spasmodic reflexes.


    The body of the jellyfish is often camouflaged and clear to a point of near invisibility, the play of transparency is achieved in this residence at various degrees to enable crossed views. The rooms on the ground floor are introverted looking into the courtyard, whereas the rooms on the first floor are extroverted looking out towards the street, the public garden, and further continue to catch glimpses of the city skyline from afar.


    Split levels are adopted for utilizing maximum views into the front from the different sections of the residence; the rooms located in the head, at the back of the house are elevated in order for disrupted sighting, therefore the ground floor is increased allowing for it to extend throughout the site.


    The playful essence of the tentacles mediates a smooth transition between the various spaces .The movement throughout the residence is flowing with a continuous unity, resembling the soft consistency of the gelatinous body form, without any abrupt changes connecting the bedrooms, living spaces, and circulation stairs together. The public passage and entrance into the house is subtly indicated by slipping underneath a shifted tentacle above comprising of private rooms. This quietness and delicacy of form and movement is a reflection of the clients’ private and conservative character and it highlights the close connection between the parents and offspring.











    ground floor first floor second floor
    Consultants: AMJT
    Size: 2,000 sqm
    Project Team:

    Nasser Abulhasan, Joaquin Perez-Goicoechea, Daniel Muñoz Medranda, Fabio de Carolis, Maria Eugenia Diaz, Gwenola Kergall, Monica Marquez, Robert A. Varghese, Soomin Yang, Mi-il Lee, Babu Abraham
    Date: 2008 - 2011






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    Skywalks in King Abdullah Financial District, Riyadh by Henning Larsen Architects
    A network of footbridges envisioned by Henning Larsen Architects to minimize private motoring in the new King Abdullah Financial District.


    All images and information courtesy of Henning Larsen Architects; © by Henning Larsen Architects


    Winning design of an international competition by Danish Architects Henning Larsen

    Skywalks in King Abdullah Financial District
    The vision behind Henning Larsen Architects’ masterplan for the new financial district in Riyadh is to create a modern, sustainable city based on a minimum of private motoring.

    From the decentralised parking garages, a monorail brings people to six different stations in the new district. A network of footbridges - so-called Skywalks - departs from the stations and connects the various buildings in the area.
    The footbridges are placed at an elevated level separated from the street traffic. Due to the hot climate in Riyadh, it is expected that most people will use the secured, ventilated bridges with a floor width of four to six metres. Here, business people will meet to interact and the cafes and shops of the towers will contribute to create a vibrant and attractive environment in the area. A visual connection from the Skywalks to the streets and plazas of the city will help pedestrians to find their way on the elevated bridges.
    The footbridges are built of separate geometric modules, which can be pieced together in different lengths and whose flexible construction can easily be adapted to the various building facades of the city.



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    Project facts
    Location: Riyadh, Saudi Arabia
    Client: RIC
    Year of design: 2009 - 2010
    Type of assignment: Winner of international competition
    Number of bridges: 61 (to be extended to 97)

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