ILMA of the Week: Peter Eisenman
Posted: July 28, 2013 Filed under: Architecture, ILMA Architect of the Week | Tags: Architect, Architecture, Decon, Deconstructivism, Deconstructivist, Eisenman, Fantastic, ILMA, Modern, New Jersey, New York City, NY Five, Theory 1 Comment
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ILMA of the Week: Eric Owen Moss
Posted: June 13, 2013 Filed under: Architecture, ILMA Architect of the Week, JustArch, More FC3 | Tags: Architect, Architecture, Design, EOM, EOMA, ERIC MOSS, ILMA, Industrial, METAL, POST MODERN, Theory, Urban 1 Comment
Eric Owen Moss (b. 1943 in Los Angeles, California) practices Architecture with his eponymously named LA-based 25-person firm founded in 1973. Throughout his career Moss has worked to revitalize a once defunct industrial tract in Culver City, California. Moss received a Bachelor of Arts from the University of California, Los Angeles in 1965, his Masters of Architecture from the University of California, Berkeley, College of Environmental Design in 1968 and a second Masters of Architecture from Harvard University Graduate School of Design in 1972. Moss taught at Southern California Institute of Architecture (SCI-Arc) in 1974 and was appointed director in 2002. He has held chairs at Yale and Harvard universities, and appointments at the University of Applied Arts in Vienna and the Royal Danish Academy of Fine Arts in Copenhagen.
Moss received a 1998 AIA/LA Medal for his Architectural work as well as the Business Week / Architectural Record Award in 2003 for the design and construction of the Stealth project, Culver City, California. He is a Fellow of the American Institute of Architects and received the Distinguished Alumni Award for the University of California at Berkeley in 2003. Moss received the 2007 Arnold Brunner Memorial Prize from the American Academy of Arts and Letters. In 2011, he was awarded the Jencks Award, given each year to an architect who has made a major contribution to theory and practice of architecture by the Royal Institute of British Architects. Currently, there are ten published monographs on the work of Eric O. Moss’ office.
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My 10 All-Time Favorite Architecture Books by @FrankCunhaIII
Posted: December 26, 2012 Filed under: Architecture, JustArch | Tags: Architects, Architecture, Books, FC3, List, Philosophy, Theory 18 CommentsThese are my top Architecture books to read:
A History of Architecture: Settings and Rituals
By Spiro Kostof
Architecture and Disjunction
By Bernard Tschumi
Delirious New York: A Retroactive Manifesto for Manhattan
By Rem Koolhaas
Intertwining
By Steven Holl
Learning from Las Vegas – Revised Edition: The Forgotten Symbolism of Architectural Form
By Robert Venturi, Steven Izenour, Denise Scott Brown
Mask of Medusa
By John Hejduk
S M L XL
Rem Koolhaas
The Space of Encounter
By Daniel Libeskind
Ten Books on Architecture
By Vitruvius
Towards a New Architecture
By Le Corbusier
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@FC3ARCHITECTURE – Parachute Pavilion (Coney Island, New York)
Posted: July 14, 2012 Filed under: Architecture, JustArch | Tags: Architecture, Coney Island, Design, Design Competition, Event, Exhibit, Multi-use, PARACHUTE PAVILION, Restaurant, Space, Theory 2 Comments
Site
The Parachute Pavilion is located on the boardwalk edge of the former Steeplechase Park site adjacent to “Brooklyn’s Eiffel Tower” (a 262-foot-high Parachute Jump, which is a New York City designated landmark since 1989) and KeySpan Park. The pavilion encompasses the entire 7,800 SF footprint.
Program
The Parachute Pavilion boosts a two-story indoor/ outdoor Restaurant, kitchen, bar, and restrooms accessible from the existing boardwalk. On the lower level is a Multi-use Exhibition/Event Space (a flexible and revenue producing space for private and public exhibits and events) and four offices (for city agencies or local advocacy groups). The store sells Coney Island and Parachute Jump souvenirs, surfing gear, and fishing supplies.
Concept
The form from which this building was developed was inspired by all things American – apple pie, baseball, hotdogs on the boardwalk, the (feeling of) Fourth of July, and Rock-and-Roll. After visiting the site, a 4-minute 14-second video using the still images of the trip was produced. The moving images were accompanied by Jimi Hendrix’s “Star-spangled Banner” (August 17, 1969 recording), which affected the transitions from image-to-image (because a moving photo editing filter was used). The still images from the video were used to create figure-grounds, which were explored using a series photo editing filtering techniques.
The final diagram was placed on the given site to respect the historic Parachute Jump. The building opens itself to “create” and “frame” views much like the “filtering process” used to develop the building form. The occupants of the pavilion will sense the presence (and omnipresence) of the jump structure while flowing through the “filtering” spaces as shadows dance on the floors through the 3-dimensional light wells, from the upper level down to the lower level. Materials and finishes tie new with old. Outside and inside are blurred and intertwined by elegant glass walls.
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Contemporary Philosophy – Postmodernism & Critical Theory – Álvaro Siza Vieira
Posted: April 28, 2012 Filed under: Architecture, JustArch, More FC3 | Tags: Alvaro Siza, Architecture, Álvaro Siza Vieira, Contemporary, Contemporary Philosophy – Postmodernism, Critical Theory, Design, modernism, Philosophy, Postmodernism & Critical, Theory, Vieira Leave a comment
Álvaro Siza Vieira
Broadly and variously defined, Postmodernism refers to a specific period of time that began in the 1940s, a style of literature, architecture, art philosophy, or the plight of Western society in post-capitalist age. This movement encompasses a set of critical and rhetorical practicesemploying concepts such as difference, repetition, and hyperreality to break apart or deconstruct other the structural elements achieved through modernism, including temporality, presence, identity, historical progress, epistemic certainty, and meaning achieved through unity. For more information on Postmodernism, please click here.
Álvaro Joaquim de Melo Siza Vieira, GOSE, GCIH, is a contemporary Portuguese architect, born 25 June 1933 in Matosinhos a small coastal town by Porto. He is internationally known as Álvaro Siza (Portuguese pronunciation: [ˈaɫvɐɾu ˈsizɐ].
He graduated in architecture in 1955, at the former School of Fine Arts from the University of Porto, the current FAUP – Faculdade de Arquitectura da Universidade do Porto. He completed his first built work (four houses in Matosinhos) even before ending his studies in 1954, the same year that he first opened his private practice in Porto. Siza Vieira taught at the school from 1966 to 1969, returning in 1976. In addition to his teaching there, he has been a visiting professor at the Graduate School of Design, Harvard University; the University of Pennsylvania; Los Andes University of Bogota; and the École Polytechnique Fédérale de Lausanne.
Along with Fernando Távora, he is one of the references of the Porto School of Architecture where both were teachers. Both architects worked together between 1955 and 1958. Another architect he has collaborated with is Eduardo Souto de Moura, e.g. on Portugal’s flagship pavilions at Expo 98 in Lisbon and Expo 2000 in Hannover, as well as on the Serpentine Pavillon 2005. Siza’s work is often described as “poetic modernism“; he himself has contributed to publications on Luis Barragán.
Most of his best known works are located in his hometown Porto: the Boa Nova Tea House (1963), the Faculty of Architecture (1987–93), and the Serralves Museum of Contemporary Art (1997). Since the mid-1970s, Siza has been involved in numerous designs for public housing and universities. Most recently, he started coordinating the rehabilitation of the monuments and architectonic heritage of Cidade Velha (Old Village) in Santiago, an island of Cape Verde.
Álvaro Siza Vieira Hompage
Contemporary Philosophy, Critical Theory and Postmodern Thought
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Open Call: Topics for Future Articles
Posted: February 18, 2012 Filed under: Architecture, JustArch | Tags: Architect, Architectue, Collaboration, Design, Ideas, McMansion, Open Call, Palladio, Theory 5 Comments- ARCHITECTURE: FROM THE INSIDE OUT
- I LOVE MY ARCHITECT: I DON’T CARE IF HE/SHE IS INSANE
- ARCHITECTURE ALCHEMY: HOW MATERIALS/TEXTURES AFFECT PERCEPTION OF SPACE
- ARCHITECTURE IN MOTION: HOW TRANSPORTATION IN AMERICA CHANGED THE CITY AND ALTERED OUR ENVIRONMENT
- HOW DO DESIGNERS SEE THE WORLD AROUND THEM: ARTISTIC EXPRESSIONS OF AN ARCHITECT
- LEARNING FROM NATURE: HOW TO APPLY MATHEMATICS, FORMULAS, AND PATTERNS TO ARCHITECTURE
- LEARNING FROM TWITTER: HOW I DESIGN & CARVE SPACE UTILIZING SOCIAL MEDIA
- SIZE MATTERS IN ARCHITECTURE: SMALLER & INTEGRATED DESIGN IS BETTER -OR- HOW I STOPPED TRYING TO MIX ANDREA PALLADIO WITH RONALD MCDONALD FOR MY RICH CLIENTS
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Architecture in Motion
Posted: February 17, 2012 Filed under: Architecture, Isms, JustArch, More FC3 | Tags: Architecture, Design, Flow, isms, Manifesto, Symbolism, Theory, Zaha, ZAHA HADID 2 Comments
Riverside Museum by Zaha Hadid Architects
When I think of the “flow” of a space the first image to come to mind is the motion of the occupant and how he or she experiences the space. Of course the building itself (and/or site) can have a flow as well (visual flow) both outside with the facade (think strong horizontal/vertical features, or curved forms of aluminum panels for example) or inside with the finishes (think flow of flooring material/texture from one space to another), but to me the perception of the space through movement has a greater impact on the occupant’s perception and experience of the space. If the “space” is correctly designed by someone who understands the flows of a particular building type, it will certainly make for a joyous experience for the occupant. When this not the case the occupant will feel uneasy and will not be able to have a pleasant experience. A seasoned designer will be able to work simultaneously in plan and section to develop a design concept that will result in proper flow for the type of function being asked of the space that he/she is creating. When the layout of the space, the material/textures used, the colors used, the use of light, and the flow of movement of are properly executed the space just feels right.
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