http://www.jonathanbarzel.com Jonathan Barzel Thu, 16 Feb 2012 22:56:00 +0000 http://www.jonathanbarzel.com en http://www.jonathanbarzel.com/The-One-with-Density http://www.jonathanbarzel.com/following/jonathanbarzel.com/The-One-with-Density Thu, 16 Feb 2012 22:56:00 +0000 Jonathan Barzel 2825809 This is Density // Major Project with Sand Helsel & Dr. Martyn Hook Our contemporary urban environments are being shaped by an agenda of sustainable development and steered by a language of resilience. This is an astonishing shift from the post war industrialized narratives that forged the types of buildings and settlement patterns that are evident in Richmond today. To meet the challenges of population growth in a new era of climate change and ecological limits cities are required not only to encourage new development approaches but also to undergo physical transformation of established urban typologies. This infill project (parallel to Swan street), is an addition built above the residual land used by Melbourne’s metropolitan train network. It is a response to the current population growth and related housing and transport pressures as predicted by Melbourne 2030 report. As a model, the project explores the opportunity for higher density integrated residential development and amenity which can be replicated on similar sites. This will benefit the population by making use of the site’s most attractive selling point – position and proximity – to the Melbourne CBD. Furthermore, this proposal can not only optimise land use but also have a positive impact on the public transport network by reducing the need to travel, making public transportation more profitable and creating urban activity that favours trading and cultural exchanges. Fullscreen <img src="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB1_640.jpg" width="640" height="127" width_o="2048" height_o="407" src_o="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB1_o.jpg" data-mid="14355373" border="0" align="left"/><img src="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB2_640.jpg" width="640" height="237" width_o="2048" height_o="758" src_o="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB2_o.jpg" data-mid="14355414" border="0" align="left"/><img src="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB3_640.jpg" width="640" height="268" width_o="2048" height_o="856" src_o="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB3_o.jpg" data-mid="14355457" border="0" align="left"/><img src="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB4_640.jpg" width="640" height="266" width_o="2048" height_o="852" src_o="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB4_o.jpg" data-mid="14355473" border="0" align="left"/><img src="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB5_640.jpg" width="640" height="187" width_o="2048" height_o="597" src_o="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB5_o.jpg" data-mid="14355493" border="0" align="left"/><img src="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB6_640.jpg" width="640" height="229" width_o="2048" height_o="733" src_o="http://payload26.cargocollective.com/1/2/84881/2825809/Layout_D_WEB6_o.jpg" data-mid="14355499" border="0" align="left"/> This is Density // Major Project with Sand Helsel & Dr. Martyn Hook Our contemporary urban environments are being shaped by an agenda of sustainable development... http://www.jonathanbarzel.com/The-One-with-Mercedes-Benz http://www.jonathanbarzel.com/following/jonathanbarzel.com/The-One-with-Mercedes-Benz Tue, 15 Feb 2011 20:11:27 +0000 Jonathan Barzel 1060618 Introduction Technology course submission detailing a proposal for a Mercedes - Benz dealership in Brighton Fullscreen <img src="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_1_640.jpg" width="640" height="452" width_o="2048" height_o="1446" src_o="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_1_o.jpg" data-mid="5094610" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_2_640.jpg" width="640" height="452" width_o="2048" height_o="1446" src_o="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_2_o.jpg" data-mid="5094615" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_3_640.jpg" width="640" height="452" width_o="2048" height_o="1446" src_o="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_3_o.jpg" data-mid="5094623" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_4_640.jpg" width="640" height="452" width_o="2048" height_o="1446" src_o="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_4_o.jpg" data-mid="5094634" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_5_640.jpg" width="640" height="452" width_o="2048" height_o="1446" src_o="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_5_o.jpg" data-mid="5094651" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/DETAIL_1-2_640.jpg" width="640" height="452" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/2/84881/1060618/DETAIL_1-2_o.jpg" data-mid="5094583" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/DETAILS_GLASS1_640.jpg" width="640" height="452" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/2/84881/1060618/DETAILS_GLASS1_o.jpg" data-mid="5094586" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/DETAILS_GLASS2_640.jpg" width="640" height="452" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/2/84881/1060618/DETAILS_GLASS2_o.jpg" data-mid="5094587" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/ELEVATION_SIDEA_640.jpg" width="640" height="452" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/2/84881/1060618/ELEVATION_SIDEA_o.jpg" data-mid="5094607" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_6_640.jpg" width="640" height="452" width_o="2048" height_o="1446" src_o="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_6_o.jpg" data-mid="5094678" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_7_640.jpg" width="640" height="452" width_o="2048" height_o="1446" src_o="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_7_o.jpg" data-mid="5094688" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_8_640.jpg" width="640" height="452" width_o="2048" height_o="1446" src_o="http://payload.cargocollective.com/1/2/84881/1060618/TECH 4 MID CRIT_Page_8_o.jpg" data-mid="5094693" border="0" align="left"/> Introduction Technology course submission detailing a proposal for a Mercedes - Benz dealership in Brighton http://www.jonathanbarzel.com/The-One-with-20th-Century-History http://www.jonathanbarzel.com/following/jonathanbarzel.com/The-One-with-20th-Century-History Tue, 15 Feb 2011 05:04:57 +0000 Jonathan Barzel 1060404 Essay Question: construct a historical trajectory of projects from the 20th century that are classical and romantic at the same time, and discuss the relationship with their specific local cultures. Discuss the differences and/or the similarities between them. Contention: That the buildings chosen used both romantic and classical ideas in order to mirror people’s culture and aspirations. The term “Classical” in various fields refers to old theories which are concrete and have well established roots. Some consider the term as a testament of the old empires of Greece and Rome, while others might refer to the term as a universal language for an old traditional form of thought used until a new radical innovation is presented. Classical architecture refers to the principles of both Greek and Roman culture. Such cultures are, to this day, considered as examples of the greatest empires the world has ever seen. One might say, the architecture of the time had a lot to do with the growing status of a nation. It is therefore no wonder architects are constantly attempting to redesign or regenerate the building styles of great Greece and Rome. The term “Romantic” is derived from the Latin Romanice meaning “in the roman manner” It demonstrates the use of existing precedents to create a new work without an attempt to break rules and boundaries. Romantic classicism is the term given to a work displaying a romantic response to the antique. “A perfect Greek temple in its pristine condition would be considered a classical building, but a ruined Greek temple, though classical in one sense, cannot be classical in another because it is broken, incomplete, partial and in ruins.” Political leaders encourage the design of buildings which they think will help deliver their political views to that country’s voters. By comparing and contrasting eight different works from Soviet Russia, Germany, Spain and Australia in relation to structure, period and location, one can not only learn to differentiate between the romantic and the classical but also the colossal effect buildings have on the people viewing them. The first example can be taken from Soviet Russia of the 1910’s. In order to fully comprehend the style of architecture, which seemed to have been introduced overnight, one must understand the link between the events of the time and the final outcome. Much has to do with the October revolution of 1917 (also known as Red October). The revolution, led by Vladimir Lenin (1870 – 1924) and the Bolsheviks with the Mensheviks – left socialist revolutionaries and anarchists, was the second phase of the October Revolution of 1917. The revolution overthrew the tsarist regime, in order to bestow power to the majority of Russia, which encompassed workers, soldiers and peasants. The sole aim of the revolution was to return the power to the people, due to the overall concern that the tsarist administration could not function properly following the devastation of World War one. It is therefore no surprise that soviet architecture and town planning of the 1920’s was “the attempt to create an environment for living corresponding to the society that the 1917 October Revolution wanted to build – the correlation between architectural policy and social policy”. This was not inventing the wheel. Charles Fourier (1772 – 1837), a noted utopian, believed that society and its environment must be built simultaneously ; one must feed off the other. If one progresses, so will the other. That concept was applied by Lenin and his followers in an attempt to inspire a whole nation. The first step was the plan for monumental propaganda throughout Soviet Russia which took place in 1918. Following the removal of monuments erected in honor of the tsars and their servants, Lenin introduced sixty six monuments (figure 1.01) to be placed in “suitable corners of the city” as a tribute to people aiding the Russian socialist revolution. In order to understand fi rstly why such statues might be erected and secondly why one might refer to them as both classical and romantic, one must view the social, economical and political diffi culties of the time. The October revolution was the turning point for the Russian constructivist movement, where the building of socialism in one country saw a strong outbreak of the creative community to revolt against the previous bourgeois society - and return artistic experience to the life of the masses. Russia was still however in a state of emergency. The country was in an economic crisis with the population ill – housed, ill – fed and illiterate, making spreading the word of the new socialist ideals diffi cult . In order to do so people started using art as a means of communication. Such as the ROSTA windows (fi gure 1.02) (1919 – 1921) which would illustrate snapshots in time constantly changing to keep people informed. The monuments were another way of teaching citizens about their past in order to progress into the future. These monuments can be seen as classical because they are reminiscent of ancient Rome, having statues around the city glorifying gods and philosophers. What characterizes these monuments as romantic is the way in which they are presented. Giving an illusion of ancient antiquities. Only the head is presented with a hint that once there was a body. Those statues, besides introducing citizens of soviet Russia to their long past, gave the illusion of a strong nation, much like an old empire, which can prevail from its dusty ruins. Another example supporting this argument would be Tatlin’s Monument to the Third International (figure 1.03, 1919). Vladimir Tatlin (1885 – 1953) was commissioned in early 1919 to design a monument for the revolution. His first concerns and thoughts over the monument were presented in an article titled ‘about monuments’, in Art of the Commune on 9 march 1919, whereby he spoke about the impact that a monument must have on the city in which it was built. The article also stressed Tatlin’s issues with who must design the monument, as he stated “contemporary monuments above all must answer the striving for synthesis of different types of art” . Tatlin opposed the ideal of an architect building the structure, a painter painting it and a sculptor decorating it. In order to create the strong impact Tatlin desired, all three had to be engaged in the whole process, whereby the end product had to please them all. Considered the father of the constructivist movement, Tatlin dealt with the relationship between man and machine. The constructivist movement was considered an anti aesthetic, anti art movement. Supposedly pro technology, whereby the machine was a symbol of modernity, a concept able to embody and communicate industrialized ideals. Many constructivists insisted that architecture was simply the means of expressing a structure made using industrial processes and machine made parts, with no hints of craftsmanship. Tatlin’s Monument to the Third International expresses the common ideals of the time, whereby the bourgeois tendencies were suppressed by ‘organized and planned labour’ . The monument is described as a distorted frustum in the form of a diminishing spiral, the four spheres representing: legislation, administration, information and cinematic projection, which was a monument for the constitution and function of the soviet state. The grounds in which leads one to believe this monument can act as both classical and romantic lays in the effect that it had on the people. Making all believe Russia was slowly rescuing itself from the economical disasters the war had caused and redeeming its status as a superpower once again. Other examples of architecture aiding political leaders in conveying their views can be seen in Nazi Germany of the 1930’s. In order for one to understand both the classical and romantic nature of the buildings discussed one must fi rst look at the period the buildings were built. The consequence of World War One was the total destruction of Germany physically, morally, socially and economically. As a result of Germany’s total destruction, when Hitler came to power, he not only needed to rebuild the country physically but also lay the stepping stones in order to reposition Germany as a superpower nation in Europe. Therefore when Adolf Hitler gained power he had to instill a sense of pride and power in people who had felt a deep sense of shame. In order to do that the buildings he had commissioned were reminiscent of a time when a great empire ruled the world. An empire which might remind people of Greece and Rome however affiliate them with Germany. Albert Speer (1905-1981) was an architect and close friend of Hitler’s who had worked in the Nazi period of 1933 – 1945. His interest in archeology is the ones that fueled his design method . Viewing ruins which refl ected a time of glory and supremacy lead his desire to yearn for similar buildings in Germany. The Chancellery for the Third Reich (Figure 1.04, 1938-1939) was his fi rst commission by Hitler, whereby he demonstrated the infl uence architecture had on people. When fi rst asked to design the new chancellery, Hitler commented that the Old Reich Chancellery, dated back to the 1870’s, was “fi t for a soap company” . Speer was asked by Hitler to design grand halls and salons which “would make an impression on people”. Impression was the key word in order to catch people’s undivided attention. Hitler had particularly emphasized the belief that form should follow function. Thus government and state buildings were to be given a sense of detail and authority while social housing, hostels etc. should follow local vernacular traditions. Buildings such as airports, railway stations, factories and autobahn service stations will follow a simple modern appearance with the sole purpose of practicality. Speer’s Party Congress Grounds at Nuremberg (fi gure 1.05, 1934) with a vast grand stand and other structures encompassed the neo classicism, using motifs from Ancient Egyptian Mortuary Temples, Roman architecture and Themes derived from works of Etienne-Louis Boullee(1728 – 1799) and Karl Friedrich Schinkel (1781 – 1841). The grounds were used to hold national rallies and campaigns aiding the ‘brain wash’ culture of a superior nation. One cannot avoid the influence architecture solely had on the progression of Nazi Germany. It was a vital and integral part of a ‘scheme’ to fill a nation with emotions of pride, confidence, glory and most importantly Power. Thus far, we have looked at examples of dictators using classical and romantic architecture during their rein in order to aid their political agenda. The next example, taken from Spain, is most interesting not only for the affect Francisco Franco (1892 – 1975) had during his rein, but for the mark he had left after his death. European architects have always believed “that architecture and urbanism were called to have a vital role in the ensuing social transformations; further they fi rmly believed that the human condition could be improved through architecture” . Throughout the 1920’s and 30’s architects were breaking rules, establishing new movements and emerging with new “modern architectural language[s]” . Such movements as the International Style, which is based on the idea that a “modern building … [can be] distinguished by a few characteristic properties” (such as: sterometric shapes, unitary volumes wrapped up in a skin of glass and lack of detail). Movements such as the International Style had come to a halt when the party led by Francisco Franco came into power in 1939 and had brought the second republic to an end. “The new political situation suddenly interrupted the promising evolution of modern architecture in Spain because Franco’s regime favored more traditional and conservative architecture” . One of the reasons Franco wanted to introduce traditional architecture in Spain was because modern architecture had caused people to ‘think outside the box’ which might fi nally lead to questioning one’s authority. His plan to reintroduce classical elements into buildings during his rein failed due to people’s reluctance to abandon recent modern developments. Buildings such as the Hotel Park (fi gure 1.06, 1950 – 1954), La Marina Apartment Building (1951 – 1955), Civil Government Building (1956 – 1964) and the Walden – 7 Apartment Building (figure 1.07, 1970 – 1975) can demonstrate the disinclination people had to Franco’s government. Although his ideal of a classical resurgence was not manifested during his rein, it did follow after his death. Different examples can be given to demonstrate that both classical and romantic architecture did indeed fl ourish after Franco’s death in 1975.The first example is the National Museum of Roman Art, Merida, Extremadura (fi gure 1.08, 1980 – 1986).Designed by architect Jose Rafael Moneo Valles, the museum “…achieve[s] the character and presence of a roman building” . Merida, the location of the building, is known for it archeological findings. Therefore, it is no surprise the architect’s intention was to create a vessel which is no different then the artifacts displayed within. The nave, being part of the structure, is positioned one whole storey below street level; visitors of the museum feel the depth in which archeologists had to go through to find these artifacts while experiencing the structure as a finding in itself. Furthermore, with its roman brick over concrete structure façade, the museum “takes the form a roman basilica, with reminiscences of other roman building types such as thermal baths and aqueducts” . However, one must mention that it is not its resemblance to previous precedents which marks this building as both classical and romantic. Indeed, the building’s location and structure work in its favor to achieve classicism, but it is the recognition the building has received worldwide which achieves both classicism and romanticism. The second example proving both classical and romantic architecture thrived after Franco’s death is the New Cemetery – Park of Igualada (fi gure 1.09, 1985 – 1992).although built towards the end of the 20th century, at a time when buildings were constructed to make statements and architects sought to create the impossible, this design is a place “…where architecture, landscape, topography and sculpture converge to create a special narrative of undisputable allegorical and emotive character” .articulate detail , narratives and metaphors are used throughout the site. For instance, the whole cemetery is “conceptually buried into the ground” while the site plan of the cemetery resembles a dismembered body. The architect, Enric Miralles (1955 – 2000) uses such tools as he states: “…that is, the ability of architecture to convey meaning by establishing spatial, thematic and/or cultural relationships” . In my opinion, one would employ such ideas in order to provide the site with signifi cance and warmth, Stepping away from a typical modern building which might seem like a cold and sterile environment. Although not intentionally done, the design does comply with Franco’s ideals of classical and reserved architecture. Whereby the design may seem stronger in statement then of a new modern building, as it is connected to a past and reminds people of where they have come from. History tells us that the years that followed Francisco Franco’s death saw a “veritable boom of architectural development” throughout Spain. The design of public spaces and restoration of architectural heritage would occupy Spain’s architectural activity for years to come. The third example, the Ronda Promenade and Bastions (Palma de Majorca, 1983 – 1991) designed by Jose Antonio Martinez and Elias Torres Tur is said to be one of the most interesting public spaces built in recent times. William Curtis in his essays mentions how the design “… [Is] a delicate intervention… [with an] evocative use of polychrome tent structure, palm trees and surreal incidents to intensify the experience of a historical place” . The architect’s strategy consisted of redefi ning the area’s walls and designing a series of spatial fragments. Each one can be read as a single structure or part of a whole. Even when using modern structures throughout the site, it is evident that they do not take away from the original formation, such as the winding staircase climbing along the medieval wall without ever touching it. One can clearly observe that the ideals that Franco hinted at during his reign are becoming more evident towards the end of the century. Even a project such as this not only demonstrates classical and romantic motifs of traditional times but also adapts to modern times. The fourth and fi nal example that can illustrate how Francisco Franco affected the fl ourishing of classical architecture after his death is the Sports Complex and Track and Field stadium of Madrid (Madrid, 1989 – 1994). Popularly known as “La Peineta”, the stadium was designed with intention to hold the 2012 summer Olympic Games. The structure is comprised of three elements: an elevated horizontal platform, a large oval space and a large inclined concrete plane. “Architecturally and urbanistically, the grandstand is the salient member of the built complex” . The large arc, seeming to fl oat over the slightly curved walls has given the building its current name, La Peineta, because of its similarity to a traditional Spanish ornamental shell – comb. The building itself is important because it reflects the “city’s ambitious program of architectural renovation at the end of the 20th century” . By building this stadium, not only does that put Spain ‘on the map’ it also connects Madrid historically as the “sports fi eld brings echoes of the wonderful amphitheaters that still remain in various cities of Spain” . This building is considered both classical and romantic because of its similarity to the coliseum in Rome, not in structure but in essence. Thus far in my argument, I have discussed how architectural style can aid oppressive leadership in order to infl uence people’s opinion. Using Australia as an example, one can see buildings such as Parliament House (figure 1.10, Peter Kerr, 1856 – 1893), Shrine of Remembrance (figure 1.11, Philip Hudson and James Wardop, 1928 – 1935) and the State Library of Victoria (figure 1.12, Joseph Reed, 1854) as possessing characteristics of British architecture, which in itself, constantly reminds us that we are part of the commonwealth. Another example is the Royal Melbourne Exhibition Building (fi gure 1.13, 1880). It is important to stress that the reason behind constructing this building was in order to demonstrate Victoria’s wealth to the rest of humanity, at a time when Melbourne was a thriving city basking in the wealth of the richest gold rush in the world. In 2004, the Melbourne Exhibition Building was renovated. One might say the renovation process is a desperate attempt to hold onto our heritage. Great leaders leave a legacy behind them in order to be remembered. The examples that I have provided above, demonstrate this general notion by returning to classical and romantic architecture. Throughout history there is evidence that changes in architecture can transform the way people lead their lives. The arguments in this essay would suggest that architecture aided political leaders revolutionize their local cultures. Examples such as Soviet Russia’s Tatlin’s Monument to the Third International and Germany’s Chancellery for the Third Reich had helped Lenin and Hitler respectively in manipulating the people of their countries politically, socially and economically. On the other hand, examples such as Spain’s National Museum of Roman Art and Australia’s Royal Melbourne Exhibition building are prime examples of leaders who might have failed to infl uence during their reign but have left a legacy for years to come. All of the projects listed above showcase characteristics of both classical and romantic architecture. They have proven to be both classical and romantic, not only for their structure and importance within their cities but for the historical precedent they set. Bibliography: • Vincent Scully Jr, Modern Architecture, George braziller, New York 1989 • The Encyclopedia of the 20th century architecture, Thames and Hudson, 1986, London. • Dennis sharp, A visual history of twentieth century architecture, New York graphic society ltd., 1972, New York. • Robert A.M. Stern, Modern classicism, Thames and Hudson, 1988, London. • James Stevens Curl, Oxford Dictionary of Architecture and Landscape Architecture, oxford university press, 2006, New York. • Kenneth Frampton, Modern Architecture – a critical history, Thames and Hudson, 2001, New York. • Alejandro Lapunzina, Architecture of Spain, Greenwood Press,2005, London. • Max Gallo, Spain Under Franco-a history, George Allen & Unwin ltd,1973, London. • Kenneth Frampton & Yukio Futagawa, Modern Architecture (1920 – 1945), Rizzoli International Publications Inc., 1983, New York. • David Watkin & Tilman Mellinghoff, German Architecture and the Classical Ideal, The MIT Press, 1987, London. • Franco Borsi, The Monumental Era- European Architecture and Design 1929 – 1939, Rizzoli International Publications Inc., 1987, New York. • William L. Macdonald, The Architecture of the Roman Empire, Yale University Press, 1982, New York. • Christina Lodder, Russian Constructivism, Yale University Press, 1983,New York • Anatole Kopp, Constructivist Architecture in the USSR, St. Martins Press, 1985, London • Dawn Ades, Tim Benton, David Elliot and Iain Boyd Whyte, Art and Power – Europe Under the Dictators 1930 – 1945, Thames and Hudson, 1995, London Essay Question: construct a historical trajectory of projects from the 20th century that are classical and romantic at the same time, and discuss the relationship... http://www.jonathanbarzel.com/The-One-with-Record-Hall http://www.jonathanbarzel.com/following/jonathanbarzel.com/The-One-with-Record-Hall Tue, 15 Feb 2011 04:37:02 +0000 Jonathan Barzel 1060332 Communication Project // Record Hall, John Hejduk (1986) Task: Select a project. Each of these projects is a canonical, but unbuilt, project from the 20th Century. You will need to research this project as you will be presenting your work at the end of this assignment in class. Your first task is to produce a set of 2D documents of this project. Once that task is completed take the project you have drawn in the first assignment into Rhino for modelling. You are to produce an external Rhino Model of the project you will then use for the production of a physical model. You tutor will explain to you the techniques you will use to produce a set of templates from your Rhino model in order to make the physical one (this is called unfolding). The materials you use for the physical model are up to you. As in the first assignment, you are to imagine that you are the architect of this project, what materials would best represent your architecture? Fullscreen <img src="http://payload.cargocollective.com/1/2/84881/1060332/Screen shot 2011-02-15 at 9.09.03 PM.png" width="636" height="506" width_o="636" height_o="506" src_o="http://payload.cargocollective.com/1/2/84881/1060332/Screen shot 2011-02-15 at 9.09.03 PM_o.png" data-mid="5093194" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_6_7_640.jpg" width="640" height="452" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_6_7_o.jpg" data-mid="5093375" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_1_640.jpg" width="640" height="415" width_o="2048" height_o="1328" src_o="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_1_o.jpg" data-mid="5093279" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_2_640.jpg" width="640" height="482" width_o="2048" height_o="1542" src_o="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_2_o.jpg" data-mid="5093282" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_3_640.jpg" width="640" height="482" width_o="2048" height_o="1542" src_o="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_3_o.jpg" data-mid="5093284" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_4_640.jpg" width="640" height="482" width_o="2048" height_o="1542" src_o="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_4_o.jpg" data-mid="5093290" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_5_640.jpg" width="640" height="452" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/2/84881/1060332/Comm3_assign2a_Jonathan_Barzel_Page_5_o.jpg" data-mid="5093293" border="0" align="left"/> Discuss the options with your tutor prior to making final material decisions. Then model the detail selected in the first assignment in Rhino. The object of this task is to look at how you can create detail in a computer model that can then be rendered to give an idea of the experience of the building, not just its form. Finally you are to provide an image based artwork (painting, photograph, print, drawing etc.) produced in the same year as the project that you believe has a relationship to the project. For the final assignment you are bring your rhino model into 3Dstudio MAX in order to produce a short animation of the project in the form of a fly-through. Communication Project // Record Hall, John Hejduk (1986) Task: Select a project. Each of these projects is a canonical, but unbuilt, project from the 20th... http://www.jonathanbarzel.com/The-One-with-the-Ghosted-Chaise http://www.jonathanbarzel.com/following/jonathanbarzel.com/The-One-with-the-Ghosted-Chaise Sat, 12 Feb 2011 03:10:26 +0000 Jonathan Barzel 1049402 Entry into the Shanghai Cumulus Exhibition 2010. The Ghosted Chaise was selected as part of five overall projects to be presented in the prestigious exhibit. GENERAL INTRODUCTION About the CUMULUS 2010 Shanghai Conference: Cumulus Association and Tongji University, Shanghai, China are honored to open the call for works from students of design, architecture and media for CUMULUS 20th ANNIVERSARY EXHIBITION during “CUMULUS Shanghai Conference 2010, “Young Creators for Better City & Better Life”. The conference will explore where and how the young generation of designers can, through their talents and responsibility, improve our environment and life in a creative way. The missions and visions of design education, design research and practice for young creators, together with the economic, political and social impacts will also be discussed during the conference. The conference will be held from September 7-10, 2010 during Shanghai World Expo 2010 and Shanghai Biennale. * Focus on the young generation and its impact on city and human life * Explore the responsibilities and opportunities for change * Cumulus will celebrate its 20th anniversary, Content: Conference/Keynote Speeches/ working groups/Exhibitions/ISE Shanghai Biennale/Summer School/Cumulus Award * A large Cumulus 20th Anniversary Exhibition of Shanghai will be held * Works can be showed at the International Students’ Exhibition of Shanghai Biennale 2010 in October * Cumulus Awards to be announced and Cumulus Green award Fullscreen <img src="http://payload.cargocollective.com/1/2/84881/1049402/Ghost_banner01_640.jpg" width="640" height="213" width_o="2048" height_o="683" src_o="http://payload.cargocollective.com/1/2/84881/1049402/Ghost_banner01_o.jpg" data-mid="5111000" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049402/Ghost_banner02_640.jpg" width="640" height="214" width_o="2048" height_o="684" src_o="http://payload.cargocollective.com/1/2/84881/1049402/Ghost_banner02_o.jpg" data-mid="5111012" border="0" align="left"/> Entry into the Shanghai Cumulus Exhibition 2010. The Ghosted Chaise was selected as part of five overall projects to be presented in the prestigious exhibit. ... http://www.jonathanbarzel.com/The-One-with-Jane http://www.jonathanbarzel.com/following/jonathanbarzel.com/The-One-with-Jane Sat, 12 Feb 2011 03:08:30 +0000 Jonathan Barzel 1049400 http://www.jonathanbarzel.com/The-One-with-Barry-McGee http://www.jonathanbarzel.com/following/jonathanbarzel.com/The-One-with-Barry-McGee Sat, 12 Feb 2011 02:17:00 +0000 Jonathan Barzel 1049355 Barry Mcgee (a.k.a twister) is a well known San Franciscan street artist whose work draws heavily from a pessimistic view of the “urban experience” he describes as “urban ills, overstimulations, frustrations, addictions & trying to maintain a level head under the constant bombardment of advertising”. His works are heavily biased and generally hold a certain tone of mockery, questioning the way some live their lives. An example can be seen in one of his works whereby he painted portraits of street characters on their own empty bottles of liquor. One might see his work as the warning sign we keep missing, the sign warning us from ourselves ! The task at hand was to reproduce an artwork based on the chosen artist. The artwork had to continue the theme of the artist's work and convey an overall cohesive message. Fullscreen <img src="http://payload.cargocollective.com/1/2/84881/1049355/MC_002_640.jpg" width="640" height="480" width_o="1024" height_o="768" src_o="http://payload.cargocollective.com/1/2/84881/1049355/MC_002_o.jpg" data-mid="5072265" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049355/MC_005_640.jpg" width="640" height="428" width_o="1600" height_o="1071" src_o="http://payload.cargocollective.com/1/2/84881/1049355/MC_005_o.jpg" data-mid="5072271" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049355/MC_006_640.jpg" width="640" height="451" width_o="1280" height_o="901" src_o="http://payload.cargocollective.com/1/2/84881/1049355/MC_006_o.jpg" data-mid="5072274" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049355/MC_008_640.jpg" width="640" height="427" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/2/84881/1049355/MC_008_o.jpg" data-mid="5072275" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049355/MC_009.jpg" width="576" height="1080" width_o="576" height_o="1080" src_o="http://payload.cargocollective.com/1/2/84881/1049355/MC_009_o.jpg" data-mid="5072278" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049355/MC_014_640.jpg" width="640" height="862" width_o="1188" height_o="1600" src_o="http://payload.cargocollective.com/1/2/84881/1049355/MC_014_o.jpg" data-mid="5072280" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049355/PB190071_640.jpg" width="640" height="853" width_o="1728" height_o="2304" src_o="http://payload.cargocollective.com/1/2/84881/1049355/PB190071_o.jpg" data-mid="5072515" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049355/PB190072_640.jpg" width="640" height="853" width_o="1728" height_o="2304" src_o="http://payload.cargocollective.com/1/2/84881/1049355/PB190072_o.jpg" data-mid="5072523" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049355/PB190074_640.jpg" width="640" height="480" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/84881/1049355/PB190074_o.jpg" data-mid="5072568" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049355/PB190081_640.jpg" width="640" height="853" width_o="1728" height_o="2304" src_o="http://payload.cargocollective.com/1/2/84881/1049355/PB190081_o.jpg" data-mid="5072577" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049355/PB190082_640.jpg" width="640" height="480" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/84881/1049355/PB190082_o.jpg" data-mid="5072599" border="0" align="left"/> Barry Mcgee (a.k.a twister) is a well known San Franciscan street artist whose work draws heavily from a pessimistic view of the “urban experience” he describes... http://www.jonathanbarzel.com/The-One-with-the-Galata-Bridge http://www.jonathanbarzel.com/following/jonathanbarzel.com/The-One-with-the-Galata-Bridge Sat, 12 Feb 2011 02:14:09 +0000 Jonathan Barzel 1049350 The One with the Galata bridge details a studio by the Ecole Speciale d'Architecture undertaken during my second semester in Paris (Fall // 2009). The site chosen was a 5 km stretch of the Bosphorus river in Istanbul, Turkey. My personal focus was redesigning the controversial Galata bridge at the heart of Istanbul back to its original planning schemes - which were never realized as they were deemed "too modern". History The first recorded bridge over the Golden Horn in Istanbul was built during the reign of Justinian the Great in the 6th century, close to the area near the Theodosian Land Walls at the western end of the city. In 1453, during the Fall of Constantinople, the Turks assembled a mobile bridge by placing their ships side by side across the water, so that their troops could move from one side of the Golden Horn to the other. In the years 1502–1503 there were plans to construct the first bridge at the current location. Sultan Bayezid II solicited a design and Leonardo da Vinci, utilizing three well-known geometrical principles, the pressed-bow, parabolic curve and keystone arch, created an unprecedented single span 240 m long and 24 m wide bridge for the Golden Horn, which would have become the longest bridge in the world of that time if it had been constructed. However, the ambitious design was not approved by the Sultan. A smaller scale version of Leonardo da Vinci's Golden Horn Bridge was brought to life in 2001 near Oslo, Norway by the contemporary artist Vebjørn Sand, the first civil engineering project based on a Leonardo da Vinci sketch to be constructed. The Leonardo Bridge Project hopes to build the design as a practical footbridge around the world, including the Golden Horn in Istanbul, using local materials and collaborating with local artisans as a global public art project. The Wall Street Journal referred to the Project as a "...logo for the nations." Another Italian artist, Michelangelo was also invited to design a bridge for Istanbul. Michelangelo rejected the proposal, and the idea of building a bridge across the Golden Horn was shelved until the 19th century. Fullscreen <img src="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_02_640.jpg" width="640" height="447" width_o="2048" height_o="1429" src_o="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_02_o.jpg" data-mid="5073029" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_03_640.jpg" width="640" height="447" width_o="2048" height_o="1429" src_o="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_03_o.jpg" data-mid="5073031" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_04_640.jpg" width="640" height="453" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_04_o.jpg" data-mid="5073032" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/Screen shot 2011-02-14 at 9.48.59 PM_640.png" width="640" height="451" width_o="1006" height_o="709" src_o="http://payload.cargocollective.com/1/2/84881/1049350/Screen shot 2011-02-14 at 9.48.59 PM_o.png" data-mid="5073161" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/Screen shot 2011-02-14 at 9.51.08 PM_640.png" width="640" height="451" width_o="1003" height_o="707" src_o="http://payload.cargocollective.com/1/2/84881/1049350/Screen shot 2011-02-14 at 9.51.08 PM_o.png" data-mid="5073205" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_16_640.jpg" width="640" height="453" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_16_o.jpg" data-mid="5073034" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_17_640.jpg" width="640" height="449" width_o="2048" height_o="1436" src_o="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_17_o.jpg" data-mid="5073036" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_18_640.jpg" width="640" height="452" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/2/84881/1049350/Presentation_week 7_Page_18_o.jpg" data-mid="5073039" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/plan_site_640.jpg" width="640" height="453" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/2/84881/1049350/plan_site_o.jpg" data-mid="5072865" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/plan_R1_640.jpg" width="640" height="453" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/2/84881/1049350/plan_R1_o.jpg" data-mid="5072953" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/plan_R2_640.jpg" width="640" height="453" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/2/84881/1049350/plan_R2_o.jpg" data-mid="5072982" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/Screen shot 2011-02-14 at 9.02.11 PM_640.png" width="640" height="366" width_o="1177" height_o="674" src_o="http://payload.cargocollective.com/1/2/84881/1049350/Screen shot 2011-02-14 at 9.02.11 PM_o.png" data-mid="5073043" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/coupe_longitudinalle_640.jpg" width="640" height="453" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/2/84881/1049350/coupe_longitudinalle_o.jpg" data-mid="5072910" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/coupe_traverselle_640.jpg" width="640" height="453" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/2/84881/1049350/coupe_traverselle_o.jpg" data-mid="5072914" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049350/elevation_640.jpg" width="640" height="453" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/2/84881/1049350/elevation_o.jpg" data-mid="5072925" border="0" align="left"/> The One with the Galata bridge details a studio by the Ecole Speciale d'Architecture undertaken during my second semester in Paris (Fall // 2009). The site chosen... http://www.jonathanbarzel.com/The-One-with-the-Berlin-Wall http://www.jonathanbarzel.com/following/jonathanbarzel.com/The-One-with-the-Berlin-Wall Sat, 12 Feb 2011 02:11:07 +0000 Jonathan Barzel 1049341 de notre premiere analyse de site avant notre voyage a berlin, nous avons remarque trois types de frontieres: la spree, le mur de berlin et la voie ferre qui sonttres rapproche sur notre site. ces 3 frontieres ont contribue a la separation entre l'est et l'ouest de berlin et ont cree un "no mans land" dans la zone du site. 1. las spree: la ville a evolue autour de la spree. avant, la spree servait a relier berlin avec les autre villes pour le commerce mais elle a cree une separation a l'interieur de la ville. 2.l'ostbanhof: l'hostbanhof a ete construit en 1842 et atait utilises comme gare principale de berlin. elle a connecte berlin avec les autres villes comme le spree mais apres la construction de l'hotbanhof en 1987 beaucoup des lignes one supprime. les rails fonctionnent comme un mur qu'on ne peut pas traversser. 3. le mure de berlin: le mur a separe pendant la guerre froide l'est et l'ouest. aujourd'hui la partie qui reste (1.6 km) montre des expositions grafiti faites par des artistes apres que le mur soit tombe. la visite du site a confirme notre premiere analyse. la zone du site a ete presque deserte sauf le centre O2. le centre O2 contient manifestations culturelle et sportives. il ete construit en 2008 par HOK architects. l'O2 est un des seuls centre culturel construit a berlin-est. la plupart des centres culturels a berlin ont ete construits a berlin-ouest, laissant l'est neglige. donc nous etions heureux que la municipalite aie decide de constuire ce centre dans le cote est. mais, nous sommes arrives a quelques prolems qui empechent le centre O2 de remplir son destin comme un point focal urbain. 1.le centre exploite 8 jours dans le mois. les autres jours il est vide. 2.le centre est seul entoure d'herbes at d'un terrain de staionnement. 3.il n'y a pas de programmes qui supporte le centre. par example: des restaurants, des magasins etc. Fullscreen <img src="http://payload.cargocollective.com/1/2/84881/1049341/Screen shot 2011-02-14 at 10.34.16 PM_640.png" width="640" height="319" width_o="1373" height_o="685" src_o="http://payload.cargocollective.com/1/2/84881/1049341/Screen shot 2011-02-14 at 10.34.16 PM_o.png" data-mid="5073696" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/Screen shot 2011-02-14 at 10.34.35 PM_640.png" width="640" height="320" width_o="1374" height_o="686" src_o="http://payload.cargocollective.com/1/2/84881/1049341/Screen shot 2011-02-14 at 10.34.35 PM_o.png" data-mid="5073701" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/Screen shot 2011-02-14 at 10.34.52 PM_640.png" width="640" height="320" width_o="1374" height_o="686" src_o="http://payload.cargocollective.com/1/2/84881/1049341/Screen shot 2011-02-14 at 10.34.52 PM_o.png" data-mid="5073706" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_04_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_04_o.jpg" data-mid="5073721" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_05_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_05_o.jpg" data-mid="5073726" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_06_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_06_o.jpg" data-mid="5073732" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_07_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_07_o.jpg" data-mid="5073737" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_08_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_08_o.jpg" data-mid="5073745" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_09_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_09_o.jpg" data-mid="5073747" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_10_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_10_o.jpg" data-mid="5073756" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_11_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_11_o.jpg" data-mid="5073760" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_12_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_12_o.jpg" data-mid="5073763" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_13_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_13_o.jpg" data-mid="5073764" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_14_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_14_o.jpg" data-mid="5073767" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_15_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_15_o.jpg" data-mid="5073776" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_16_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_16_o.jpg" data-mid="5073790" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_17_640.jpg" width="640" height="320" width_o="2048" height_o="1023" src_o="http://payload.cargocollective.com/1/2/84881/1049341/presentation_prejury_15.04.09_Page_17_o.jpg" data-mid="5073801" border="0" align="left"/> pendant les 10 derniers annes plus de 90 ponts ont ete construits pour essayer de se connecter et de reunir l'est avec l'ouest. cependant, nous pensons que ces ponts sont seulement une technique de connexion. pour reunir les deux cotes il faut une approche differente. contrairment aux ponts qui ont ete construits nous pensons qu'en ajoutant un nouveau situation n'appartiennent a aucun des deux cotes berlin. sera en messure de les reunir. nous avons examine deux options et sommes arrives a la conclusion que l'option de creer une ile set le solution radicale que nous preferons. nous avons utilise l'ile musee a berlin comme reference. c'est un endroit neutre ou les gens des deux cotes arrive. nous avons voulu utiliser le meme trois frontieres pour reunifier berlin. rendant ainsi l'idee de l'ile pratique et symbolique en meme temps. afin derteminer la dimension de l'ile nous avons utilise l'infrastructure dans la site et les structure importantes que nous voulons dans l'ile. parce que la dimension de projet est enorme nous avons decide de se concentrer sur la station de train qui exist deja. nous pensons que le gare avec de nouveaux programmes comme: un bateau dock, un pont pietonnier et un nouveau u-bahn ligne et d'autres programmes puiss fonctionner comme une porte d'entree sur l'ile. en ce qui concerne l'ile, en raison de la grande echelle nous voulions simplement comprendre quel sera l'atmosphere la bas. nous avons voulu que l'ile soit tres differente pour que l'est et l'ouset paraissent similaire. la premiere schemes que nous avons fait est une analyse des vues des rues les plus proches et comment elles vont affecter l'ile. apres avoir parle avec isabel et adrien nous avons decide de couvrir l'ile avec une foret. pour ca, nous avons utilise l'histoire de henzel et gretel comme reference. dans l'histoire henzel et gretel marche dans une foret jusqu'ils se perdent et apres ils trouvent une maison.... pour creer la foret, nous n'avons pas evie d'utiliser une grille comme celle utilisee dans la ville, donc nous avons decide au hasard d'une propagation de pixels. les pixels vert represntent les arbre et les bruns represntent le teraain. vous pouvez remarquer que pres du centre O2 et pres du lac que nous avons cree il y a plus d'arbres pour les isoler. apres ca nous avons insere la grille que nous avons deja fait dans l'intention de creer des horizons dans la foret qui donnent une visitalite sur la ville a certains moment. la station est l'entree de l'ile dons tous les moyens de transport passent par la station: le bateau dock, le route, le pont pietonnier, le s-bahn et le u-bahn que nous avons ajoute. la premiere idee est que les gens qui arrivent des different points de la ville se refoignent dans cette gare et sortent ensemble sur l'ile. une autr idee est que la station sera un continuite de la ville en meme temp que l'entree de l'ile. les petites maquettes montrant differentes formes et nous ont eiade a modeliser la forme que nous pensons etre la plus adapte. de notre premiere analyse de site avant notre voyage a berlin, nous avons remarque trois types de frontieres: la spree, le mur de berlin et la voie ferre qui... http://www.jonathanbarzel.com/The-One-with-Laminex http://www.jonathanbarzel.com/following/jonathanbarzel.com/The-One-with-Laminex Sat, 12 Feb 2011 02:05:24 +0000 Jonathan Barzel 1049334 Introduction Flexible architecture adapts to new uses; reponds to change rather than rejects it; and is motive rather than static. This particular project, revolving around the 2010 London Festival of Architecture, examines the prinicples of flexible architecture whilst keeping to this years theme of “remake, reuse, remodel”. conventionally, in a learning or working environment, an architect designs a project around a brief and is then influenced by that very design to choose materiality and form. The materiality is a mear represntation of the architects design intentions. This project however, commenced by choosing the materiality, Laminate, thus demonstrating a process where materiality heavily influences the outcome and its possibilities. The One-two-One design studio from RMIT University in Australia aimed bridge the gap between London and Melbourne by producing full-scale installations for "twin" sites across both cities, exhibited as part of the London Festival of Architecture and the State of Design Festival in Melbourne. Using laminate sheets reclaimed from the local waste stream, the projects revisit the post-war “Make Do and Mend” culture of creative reuse and material harvesting, finding alternative applications for a highly discarded architectural product. Designed in Melbourne and shipped overseas, the project devises a way to digitally reprocess the sheets into flat-packable assemblies which conform to standard international luggage dimensions and weights. Fullscreen <img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_01_640.jpg" width="640" height="643" width_o="1753" height_o="1762" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_01_o.jpg" data-mid="5108381" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_02_640.jpg" width="640" height="640" width_o="1305" height_o="1306" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_02_o.jpg" data-mid="5108382" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_03_640.jpg" width="640" height="623" width_o="1208" height_o="1175" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_03_o.jpg" data-mid="5108384" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_04_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_04_o.jpg" data-mid="5108386" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_05_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_05_o.jpg" data-mid="5108389" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_06_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_06_o.jpg" data-mid="5108391" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_07_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_07_o.jpg" data-mid="5108393" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_08_640.jpg" width="640" height="636" width_o="1158" height_o="1150" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_08_o.jpg" data-mid="5108394" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_09_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_09_o.jpg" data-mid="5108396" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_10_640.jpg" width="640" height="640" width_o="1133" height_o="1133" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_10_o.jpg" data-mid="5108398" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_11_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_11_o.jpg" data-mid="5108404" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_12_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_12_o.jpg" data-mid="5108406" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_13_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_13_o.jpg" data-mid="5108407" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_14_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_14_o.jpg" data-mid="5108410" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_15_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_15_o.jpg" data-mid="5108412" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_16_640.jpg" width="640" height="640" width_o="1654" height_o="1654" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_16_o.jpg" data-mid="5108416" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_17_640.jpg" width="640" height="640" width_o="1241" height_o="1241" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_17_o.jpg" data-mid="5108418" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_18_640.jpg" width="640" height="644" width_o="1191" height_o="1199" src_o="http://payload.cargocollective.com/1/2/84881/1049334/Untitled Extract Pages_Page_18_o.jpg" data-mid="5108422" border="0" align="left"/> Introduction Flexible architecture adapts to new uses; reponds to change rather than rejects it; and is motive rather than static. This particular project,...