Geisel Library

The Geisel Library is the main library building on the University of California, San Diego campus and contains four of the five libraries located on campus. It is home to the Arts Library (newly merged in July 2008 from the Art & Architecture and Music, Film & Video Libraries) (ARTS), the Mandeville Special Collections Library (SPEC), the Science & Engineering Library (S&E), and the Social Sciences & Humanities Library (SSHL). The Biomedical Library is the other library building on campus. There are 3 off-site locations: The Scripps Archives and Library Annex (available by appointment), the Annex (collections available by request), and the UC Southern Regional Library Facility (collections available by request).

The building is named in honor of Audrey and Theodor Seuss Geisel (better known as Dr. Seuss) for the generous contributions they have made to the library and their devotion to improving literacy. The Geisels were long-time residents of La Jolla, where UC San Diego is located.

The building is featured in the UCSD logo and is the most recognizable building on campus. It is located in the center of the campus with Library Walk to its south, Thurgood Marshall College to its West and Earl Warren College to its East.

The library first opened in 1970. It was simply called the Central Library until a renovation was completed in 1993, when it was rededicated as the University Library Building. It was renamed "Geisel Library" in 1995.

The distinctive original building was designed in the late 1960s by William Pereira to sit at the head of a canyon. William Pereira & Associates prepared a detailed report in 1969. Considering the location, Pereira originally conceived of a spherical building resting atop a pedestal, with the structural elements on the inside. After several drafts of this ball-shaped design, the structural elements were deemed as being too space-consuming, and they were moved to the outside of the structure, essentially resulting in the current "lantern" design. Pereira envisioned that future additions to the original building would form terraced levels around the tower base descending into the canyon. The tower is a prime example of brutalist architecture. It rises 8 stories to a height of 110 ft (33.5 m). The four upper stories of the tower itself house the SSHL and East Asia collections.

A photo of the building taken by Julius Shulman was used as the cover image for James Steele's chronicle of Pereira's career, called simply William Pereira.

The Library Addition, designed by Gunnar Birkerts in the early 1990s, was "deliberately designed to be subordinated to the strong, geometrical form of the existing library." Within its two subterranean levels are the other library sections as well as study spaces and computer labs.

Source: Wikipedia.org

Under Pohutukawa Beach House

Under Pohutukawa Beach House by Herbst Architects

The site with which we were presented was extremely challenging in that it was 90% covered in mature pohutukawa trees, the site being a part of a continuous belt of forest that edges the road along the beach front.

The circumstances not so much allowed, but dictated a sensitive poetic response to a building that, in order to exist would require the destruction of a large number of mature trees. To do this we looked to the trees themselves to give us the cues that we needed.

We separated the brief loosely into private and “public” components, giving us smaller individual masses with which to articulate the forms. The private functions of bedrooms and garage are housed in two towers which are construed as freshly sawn stumps of the trees that were removed.

To allude to the bark of the stumps the skins of the towers are clad in black/brown stained rough sawn irregular battens. The interior spaces are then seen as carved out of the freshly cut wood, achieved by detailing all the wall / ceiling and cabinetry elements in the same light timber.

The public space connects the two towers and attempts to engage with the surrounding pohutukawa forest by defining a crossover space between the powerful natural environment and the built form. The plane of the roof form pins off the towers to engage with the continuous tree canopy, disintegrating from a rigid plane to a frayed edge which filters light in a similar way to the leaf canopy.

The primary structure holding up the roof is a series of treeelements which allude to the trunks and branches of trees but are detailed in a rigorous geometric arrangement which suggests an ordering of nature as it enters and forms the building.

The height of the public space with its light glass division responds to the height of the surrounding trees, the roof planeis partially glass to allow the full extent of the trees to be felt as they lean over the building. A walkway links the towers at the upper level allowing engagement with both the natural and man made canopies.

Morris A. Mechanic Theatre.

Morris A. Mechanic Theatre.

The Morris A. Mechanic Theatre is a playhouse at 1 North Charles Street that is part of the Charles Center of Baltimore, Maryland. The theatre was built by and named for owner Morris A. Mechanic who operated a number of theatres in the city.

The Mechanic Theater consists of a square podium that houses retail space and an underground parking garage as part of the Charles Center. The fan-shaped auditorium that seats 1,614 sits on top of the podium and has a street-level entrance on Hopkins Plaza as well as a pedestrian bridge that connects to an elevated walkway leading to other buildings in Charles Center. Balconies are behind the orchestra seats and protrude beyond the exterior walls to give the building the appearance of a ratchet gear when viewed from above.

The exterior of the building is rough concrete that bears the markings from the wooden forms used to create the walls. The street entrance on Hopkins Plaza leads to a stairway that takes patrons to the lobby on the second floor. The exterior lobby wall is glass while interior walls have a faux wood finish or are covered with burnt-orange vinyl. The plaza-level entrance is framed by towers holding stairs and elevators to access the balcony. The stage house is clearly defined as a separate element attached to the auditorium.

In November 2009, the British newspaper Daily Mail reported that Virtual Tourist.com named the Mechanic Theatre as number one in its list of the Top Ten ugliest buildings.

The Water Cube

The National Aquatics Center, a major venue for the 2008 Beijing Olympic Games, also called the Water Cube, was completed on the morning of January 28, 2009.

The Beijing National Aquatics Center (simplified Chinese: 北京国家游泳中心; traditional Chinese: 北京國家游泳中心), also officially known as the National Aquatics Center, and colloquially known as the Water Cube (Chinese: 水立方), is an aquatics center that was built alongside Beijing National Stadium in the Olympic Green for the swimming competitions of the 2008 Summer Olympics. Despite its nickname, the building is not an actual cube, but a cuboid (a rectangular box). Ground was broken on December 24, 2003, and the Center was completed and handed over for use on January 28, 2008. Swimmers at the Water Cube broke 25 world records during the 2008 Olympics.

After the Olympics, the building underwent a 200 million Yuan revamp to turn half of its interior into a water park. The building officially reopened on August 8, 2010.

In July 2003, the Water Cube design was chosen from 10 proposals in an international architectural competition for the aquatic center project. The Water Cube was specially designed and built by a consortium made up of PTW Architects (an Australian architecture firm), Arupinternational engineering group, CSCEC (China State Construction Engineering Corporation), and CCDI (China Construction Design International) of Shanghai. The Water Cube's design was initiated by a team effort: the Chinese partners felt a square was more symbolic to Chinese culture and its relationship to the Bird's Nest stadium, while the Sydney based partners came up with the idea of covering the 'cube' with bubbles, symbolising water. Contextually the cube symbolises earth whilst the circle (represented by the stadium) represents heaven. Hence symbolically the water cube references Chinese symbolic architecture.

Comprising a steel space frame, it is the largest ETFE clad structure in the world with over 100,000 m² of ETFE pillows that are only 0.2 mm (1/125 of an inch) in total thickness. The ETFE cladding allows more light and heat penetration than traditional glass, resulting in a 30% decrease in energy costs.

The outer wall is based on the Weaire–Phelan structure, a structure devised from the natural pattern of bubbles in soap lather. In the true Weaire-Phelan structure the edge of each cell is curved in order to maintain 109.5 degree angles at each vertex (satisfying Plateau's rules), but of course as a structural support system each beam was required to be straight so as to better resist axial compression. The complex Weaire–Phelan pattern was developed by slicing through bubbles in soap foam, resulting in more irregular, organic patterns than foam bubble structures proposed earlier by the scientist Kelvin. Using the Weaire–Phelan geometry, the Water Cube's exterior cladding is made of 4,000 ETFE bubbles, some as large as 9.14 metres (30.0 ft) across, with seven different sizes for the roof and 15 for the walls.

The structure had a capacity of 17,000 during the games that is being reduced to 7,000. It also has a total land surface of 65,000 square meters and will cover a total of 32,000 square metres (7.9 acres). Although called the Water Cube, the aquatic center is really a rectangular box (cuboid) 178 metres (584 ft) square and 31 metres (102 ft) high.

It cost £75 million (10.2 billion yuan). The facade of the water cube became so popular that there is now a one-to-one copy near the ferry terminal in Macau – the Casino Oceanus by Paul Steelman.

Source: wikipedia.org

Hemispheric Theater

Santiago Calatrava's Hemispheric Theater from Valencia, Spain, an Imax cinema, Planetarium and Laserium.

• L'Hemisfèric — an Imax Cinema, Planetarium and Laserium. The building is meant to resemble a giant eye, and has an approximate surface of 13,000 m². The Hemesferic also known as the planetarium or the “eye of knowledge,” is the centerpiece of the City of Arts and Sciences. It was the first building completed in 1998. Its design resembles an eyelid that opens to access the surrounding water pool. The bottom of the pool is glass, creating the illusion of the eye as a whole. This planetarium is a half-sphere composed of concrete 110 meters long and 55.5 meters wide. The shutter is built of elongated aluminum awnings that fold upward collectively to form a brise soleil roof that opens along the curved axis of the eye. It opens to reveal the dome, the pupil of the eye, which is the Ominax theater. The City of Arts and Sciences is divided in half by a set of stairs that descend into the vaulted concrete lobby. The underground spaces are illuminated with the use of translucent glass panels within the walking path. The transparent roof is supported by concrete arches that connect to the sunken gallery. There is a miraculous echo inside of the building and if two people stay on the two opposite pillars inside of the eye they can seamlessly speak with each other.

Source: wikipedia.org

OCT Museum in Shenzhen

OCT Museum in Shenzhen, China by Studio Pei-Zhu.
(Source: archinect.com)

Led by chinese architect zhu pei, designboom received a tour through the construction site for the 'OCT design museum' by beijing-based practice studio pei zhu while in shenzhen, china. Positioned within a cultural, recreation and entertainment development along the gulf, the spheroidal exterior evokes the imagery of a water droplet captured in time. its unique shape attracts visitors through 
the encompassing public plaza. The shell inclines outward from a constrained footprint to form an integrated overhang while a cantilever extends to encourage circulation below, guiding visitors around the building towards the entrance.
The lustrous metal cladding of the curved facade mirrors surrounding activity while triangulated windows and skylights mimic the scattered illuminated reflections found on the water's surface. The array of penetrations similarly introduce dappled streams of daylight within the internal atrium.

Dar al-Hajar, the Rock Palace

Dar al-Hajar stands atop a protruding rock formation in Wadi Dhahr, a fertile and pleasant valley of small villages and clay-walled orchards. Pictured in many books about Yemen, it has become a symbol of the country itself.

Imam Yahya (1911-48) built the five-storey palace in the 1930s as a summer residence. Building a palace in such an extraordinary place was not his idea; there were already ruins of a prehistoric building on top of the hill. The well penetrating the rocks next to the house is said to date from then. This summer palace of Imam Yahya is actually a group of palaces famous for its delightful location and its beautiful gypsum ornamentation in the Sana'a style.

(Source: wikimapia.org)

Dar Al-Hajar – is a historical monument, considered one of the symbols of Yemen. It is located in the village of Souk Al Wadi, and often referred to as the Palace of Islam. The exact date of the original construction of the castle is unknown. However, there is a perception that the first buildings appeared long before the advent of Islam. In the Middle Ages the castle was completely destroyed by the Turks, and only in the eighteenth century, partially restored.

(Source: freeyork.org)

Europaallee Zurich

Europaallee Zurich by Max Dudler Architekt

Eurogate Zurich – originally HB-Südwest, later Stadtraum HB, and today under construction as Europaallee (Europaallee Zurich) – is one of the urban developments on the southwest side of the Zurich Central Station, otherwise known as Zurich Hauptbahnhof, or Zurich HB. For decades, various commercial uses were discussed for above and next to this central-Zurich site owned by the Swiss Federal Railways (SBB/CFF/FFC).

The previous developments under the name HB-Südwest changed to the Eurogate projects with the entrance of a new investor in October 1996 - the major Swiss bank, UBS (UBS Fund Management AG, Basel).

Also at this time, the corporation HB-Südwest, which had been founded in March of 1995 with the task of working through the overall project for HB-Südwest and the residential development for the Lagerstrasse in Zurich until start of construction, was renamed as Eurogate Zürich AG. With this change, the tasks were expanded to include the developing the entire project until completion.

Eurogate/HB-Südwest includes two major projects in Zurich:

• Development along Railway Tracks, Eurogate Zurich (Cost ca. 1.5billion Swiss Francs, planned since 1980)
• Residential Development along Lagerstrasse (Study 2000, 350 der 500 Wohnungen sowie Büro-, Gewerbe-, Freizeitflächen und Ersatzflächen für SBB-Anlagen)

The competition for the urban planning was won by the Zurich architectural office Ralph Bänziger Architekten. In the 1970s, Luigi Snozzi and Mario Botta had participated in the original competition with a design for a slender bridge-construction over the tracks, but their project was not further developed. Ralph Bänziger proposed a massive construction along the tracks.

The work on both designs and the many changes to the project lasted from 1980 until 2001.

Currently, various parts of the project, Europaallee, are under construction in central Zurich.

(Source: wikipedia.org)

Protestant Temple

Protestant Temple by Ciel Rouge

Architects: Ciel Rouge
Location: Tokyo, Japan
Project area: 1100 sqm
Project year: 2006
Photographs: Henri Gueydan

The architecture for this Protestant Church is centered by a wide nave arranged with six arches and a bell tower that symbolically lay importance on the seven elements, the seven days of creation, the seven churches of the Orient… We create the impression of a biblical open sky image from which the light amid the Holy Spirit descends upon the followers and worshippers.

The softly curved arches specifically designed for fine acoustics also remind of a hand overwhelming the crowd. For the use as an authentic concert hall facility the temple displays the comfort of lodges discreetly positioned right from within the arches.

(Source: archdaily.com)

Kunsthaus Graz

Kunsthaus Graz by Sir Peter Cook and Colin Fournier

The Kunsthaus was built in order to celebrate Graz’s designation as the Cultural Capital of Europe for 2003, on a budget that is comparatively small for similarly focal cultural venues in large(ish) cities. Graz is the second largest city in Austria, a sprawl that can be appreciated from atop the castle in the center of town. From this location the Kunsthaus stands out like a rather blue, sore thumb. It is difficult to pass judgment on the aesthetic qualities of such a building; it definitely is there, and it definitely is blue and blob-shaped, but it also seems very much a part of the city.

You want to hate it, because of what it is: a symbol of the new modernism which has been pioneered by these architects since the 1960s and recently by the likes of architects Future Systems in Birmingham. But it is impossible to ignore how well the building works as a space to display art; and besides which, when up close, or even inside, the building becomes cute and actually quite lovable. Indeed, it has been nick-named ‘the Friendly Alien’. Built primarily of reinforced concrete and covered in translucent warm-blue plastic panelling with white plaster and metal mesh on the interior, the Kunsthaus feels very well constructed despite the low budget.

(Source: galinsky.com

The Kunsthaus provides 2,500 square meters of generously arranged space for changing contemporary art exhibitions, functions, and events. The amorphous form of the blue bubble blends in the heritage-protected part of the building 1,288 semitransparent acrylic glass panels have been used to create the bubble. While the glazed outer skin takes an important mediating role, it also generates power through integrated photovoltaic units. The Berlin designers realities:united used 930 computer­con­ trolled light sources located under the acrylic skin to create a display forty­five meters wide and twenty meters high that enables the museum to communicate with its environment. 

(Source: ignant.de)