Archive for the 'Arquitectura' Category

Winners Open Source House competition

marzo 13, 2011


Open Source House (OS-House) aims to provide better, more sustainable housing in low-income countries. 8 Design principles are utilized by OS-House to guarantee standards of sustainability, and meet the challenge of flexibility, ensuring that all designs can be locally embedded. All designs of the first design competition are now available on the Open Source House platform. Contribute your ideas, improve the designs of others, or adapt and implement a design in your local context.



4th Place


By: Sergio Guzman

Countr of origin: Peru


Fuente: Open Source House


Biblioteca Safe Haven / TYIN Tegnestue

marzo 13, 2011

Arquitectos: TYIN Tegnestue
Ubicación: Ban Tha Song Yang, Tailandia

Fuente: Plataforma arquitectura

Holcim Awards

julio 14, 2010

Innovative technology applied to reduce energy consumption and CO2 emissions is a key element of the sustainable construction approach: the “Autonomous alpine shelter” in close proximity to the iconic Matterhorn in the Swiss Alps is the impressive result of a team of students at the ETH Zurich, led by Andrea Deplazes (Europe Bronze Award 2008).

Recognition of forward-looking projects
The Holcim Awards is an international competition that recognizes innovative projects and future-oriented concepts on regional and global levels. A total of USD 2 million dollars in prize money is awarded in each three-year cycle.

The competition seeks projects that demonstrate an ability to stretch conventional notions about sustainable building and also balance environmental, social and economic performance – while also exemplifying architectural excellence and a high degree of transferability.

Projects and concepts related to: buildings and civil engineering works; landscape, urban design and infrastructure; and materials, products and construction technologies are eligible for entry in the competition.

Two-stage global competition
A regional competition in each of the five world regions: Europe, North America, Latin America, Africa Middle East and Asia Pacific. Independent juries supported by the Holcim Foundation’s partner universities evaluate submissions on the basis of the “target issues” for sustainable construction.
“target issues” for sustainable construction

The 15 projects that receive Holcim Awards Gold, Silver or Bronze in these five regions are then qualified for the competition for the Global Holcim Awards. For information on previous Holcim Awards winners follow the links below:
Global Holcim Awards 2009
Regional Holcim Awards 2008
Global Holcim Awards 2006
Regional Holcim Awards 2005

Holcim Awards (main) and “Next Generation” (student) categories
There are two categories within the competition. The main category of the competition is open to architects, planners, engineers, project owners, builders and construction firms that showcase sustainable responses to technological, environmental, socioeconomic and cultural issues affective contemporary building and construction.

The Holcim Awards also seeks the visions and ideas for the “Next Generation” category which is open to student projects created within university programs at final year bachelor level or above (including masters and PhD).

The 3rd competition cycle opened for submissions on July 1, 2010. Entries must be submitted online by March 23, 2011. Projects are eligible if they have reached an advanced stage of design and construction (or commercial production in the case of materials, products and construction technologies) had not started before July 1, 2010.
Regional Holcim Awards open for entries now

Casa Pitch / Iñaqui Carnicero

junio 19, 2010

Por David Basulto [tricky]

Ubicación: Los Peñascales, Madrid, España
Arquitecto: Iñaqui Carnicero
Equipo: Iñaqui Carnicero Alonso-Colmenares, Ignacio vila Almazan, Alejandro Virseda Aizpun
Arquitecto técnico: Manuel Iglesias
Constructor: Antón Iakobiny Pitch S.L.
Construcción: Invierno 2005, Invierno 2009
Fotografía: Roland Hable, Iñaqui Carnicero

El encargo consistía en proyectar un volumen que albergara dos viviendas unifamiliares con programas idénticos . Ademas de resolver las necesidades planteadas por el cliente, ofrecimos la posibilidad de que eventualmente las dos viviendas pudieran transformarse en una, contemplando así un escenario mas amplio de adaptación a futuras necesidades. Reformulando el encargo se trató de proyectar una vivienda unifamiliar para dos familias.


Fuente: Plataforma Arquitectura

Richard Moreta: “Smart Design” en la reconstrucción de Haití

abril 12, 2010

Invitamos a participar en la conferencia “Smart Design“, que dictará este próximo viernes 16 a las 7 pm el Arq. Richard Moreta, como una actividad especial del Centro de Estudios de la Arquitectura, el Urbanismo y el Hábitat, CEDARQ/ FUNGLODE.

Reservaciones con la Srta. Esmelda Abreu al 809 685 9966.

Refugios de Emergencia

junio 22, 2009

Crossing: Dialogues for Emergency Architecture, exhibition in the National Art Museum of China (Rintala Eggertsson shelter), Beijing – China (2009). Arquitectura, Rintala Eggertsson Architects. Fotografías, Pasi Aalto.

La exposición “Crossing: Dialogues for Emergency Architecture” organizada por el “National Art Museum of China” es una invitación al dialogo en torno a las alternativas del alojamiento temporal, para acoger a las personas afectadas por catástrofes durante el proceso de reconstrucción.

La propuesta del estudio de arquitectura “Rintala Eggertsson” plantea un sistema modular escalable, basado en bloques especializados por funciones, dormir, cocinar, higiene, lavado, almacenamiento, etc.

Crossing: Dialogues for Emergency Architecture – archdaily (artículo de texto y reportaje de fotografías)
+ Crossing: Dialogues for Emergency Architecture – dwell (artículo de texto y reportaje de fotografías)
+ Crossing: Dialogues for Emergency Architecture – artforum (artículo de texto y reportaje de fotografías)
+ Crossing: Dialogues for Emergency Architecture – namoc (artículo de texto y reportaje de fotografías)

Judit Bellostes : refugios de emergencia – emergency shelters , Estudio de arquitectura

Public Architecture Leaders Named 2009 Designers of the Year

febrero 5, 2009


John Peterson and John Cary Join Luminaries In the Field

John Peterson and John Cary of Public Architecture, a nonprofit which mobilizes architects and designers to address larger social issues through design, were jointly honored as 2009 Designers of the Year by Contract magazine. Peterson and Cary announced a new venture which recruits manufacturers and vendors to support high quality pro bono design projects.

San Francisco, Calif. (PRWEB) February 4, 2009—This past week, during the 30th Annual Interior Awards in New York, Public Architecture leaders John Peterson and John Cary were jointly recognized with the prestigious ”Designers of the Year Award,” presented by Contract magazine.

Conferred each year since 1979, past recipients of the award include the likes of designers Ralph Appelbaum, Shigeru Ban, Shashi Caan, Michael Graves, William McDonough, and David Rockwell.

“We are deeply honored to be receiving this award. This award is much bigger than John Cary or I or even Public Architecture as an organization. This award is about the potential of the design community to be a force for positive change in the civic sphere,” says co-recipient John Peterson, AIA, Founder & President of Public Architecture.

Unlike other design awards based solely on aesthetic accomplishment, the primary mission of the Designer of the Year Award is to recognize individuals who contribute to the design industry in positive ways that benefit the entire profession as well as society at-large.

“In an age where the desire to ‘give back’ seems to be a growing response to the weariness of excess, John Peterson and John Cary have emerged as leaders in the field. They have put socially-responsible design on the map, inspired a greater sense of purpose among those interested in practicing it, and—most importantly—offer a practical, organized approach to executing it,” notes Jennifer Busch, editor-in-chief of Contract magazine.

Peterson founded Public Architecture in 2002 and joined its staff as President this past fall. Cary has served as Executive Director of Public Architecture since 2004. Together with a dedicated staff and board as well as a massive network of over 450 architecture and design firms, Public Architecture is at the forefront of the pro bono design movement. In 2008 alone, more than 200,000 hours and an estimated $20 million in pro bono services were pledged through The 1% program of Public Architecture.

Public Architecture also undertakes a series of public-interest design initiatives, which address issues of broad social relevance and bring design to underserved communities. Noted initiatives include a design response to the plight of day laborers across the country as well as innovative research, which sheds new light on social, environmental, and ecological aspects of building material reuse.

Following the award ceremony, Humanscale hosted a special reception and silent auction to benefit Public Architecture. The event took place in Humanscale’s flagship showroom adjacent to Madison Square Park, attracting hundreds of designers and design enthusiasts as well as others to celebrate Public Architecture and pro bono design.

Public Architecture plans to use the award to evolve The 1% program to welcome manufacturers and vendors. Looking ahead, co-recipient Cary adds, “In honor of this award, we are developing a platform for furnishing manufacturers to support the incredible design work of our program participants.”

In an effort to mobilize the manufacturers in attendance at the award ceremony and also to jumpstart the effort, Public Architecture secured hearty endorsements from CEOs of multiple major design firms, such as Gensler, HKS, HOK, and Perkins+Will.

Among the most ringing endorsements was that of design legend and business leader Art Gensler, who said, “I am asking you and your company to make a real commitment to Public Architecture’s innovative program. You can expect a big return on the investment and it is the right thing to do.”

About Public Architecture
Established in 2002, Public Architecture is a national nonprofit organization based in San Francisco. Public Architecture acts as a catalyst for public discourse through education, advocacy, and the design of public spaces and amenities. “The 1%” is a national program launched by Public Architecture in 2005 that challenges architecture firms to pledge 1% of their billable hours to pro bono work. If every architecture professional in the U.S. dedicated just 20 hours annually, it would add up to 5,000,000 hours each year—the equivalent of 2,500-person firm working fulltime for the public good. Public Architecture is presently engaged in major partnerships with entities as diverse as the Taproot Foundation, United States Green Building Council, and United Way of the Bay Area. The 1% program is presently supported by a range of sponsors and partnerships, including the National Endowment for the Arts, Pro Bono Action Tank, Taproot Foundation; leading firms such as HKS, HOK, McCall Design Group, and Perkins+Will; and major manufacturers such as Herman Miller and Humanscale.

About Contract Magazine
Contract magazine covers the commercial design industry, with a special focus on how interior design and architecture can positively impact the corporate, retail, educational, hospitality, health care, entertainment, government, institutional, and performing arts markets. Through in-depth reports, special features, and news and views, Contract magazine examines how the strategic goals of commercial clients can be supported and advanced through design, as well as how trends in the various industries covered shape and influence the current and future practice of commercial interior design. Contract magazine is a Nielsen Business Publications and a Nielsen Media production, published by John M. Rouse and edited by Jennifer Thiele Busch. Now in its 30th year, the Designer of the Year Award conferred by Contract magazine has long been considered the commercial design industry’s most prestigious honor.


Hail Siza

enero 27, 2009

Britain has bestowed its ultimate architectural honour on Alvaro Siza – even though he hasn’t built a thing in this country.

Jonathan Glancey travels to Portugal to meet a master


There are far too many buildings today’

Siza Photograph: Graeme Robertson/Guardian

‘When I was a little boy, I fell ill,” says Alvaro Siza, lighting up his sixth Camel cigarette. “My parents took me to a house high on a hill so I could breathe good air. I was allowed out on to a veranda. Here, I could look at a perfect view of a beautiful valley spread out below me. By the third week, I hated that view. I never wanted to see it again.”

From the moment he began building, in the early 1950s, Portugal’s most celebrated architect sought to frame views, to reveal landscapes, cityscapes, interiors and the ways through them. His aim was to delight the eye, and to make each creation a place of subtle revelation. Siza, now 75, has never been an architect of big statements and bigger pictures. He is, however, a designer and craftsman of some of the most considered of all modern buildings.

Siza is, quite simply, one of the world’s finest architects – which is why he is coming to Britain next month to receive the 2009 Royal Gold Medal for Architecture, an award as highly regarded today as it was back in 1848, when the first was hung around the neck of Charles Cockerell, architect of Oxford’s Ashmolean Library. The award, for a lifetime’s achievement, is a gift from the Queen made on her behalf by Riba, the Royal Institute of British Architects. In all these years, Siza is the first Portuguese architect to be so honoured, though, apart from a 2005 collaboration with Eduardo Souto de Moura and Cecil Balmond on a summer pavilion for London’s Serpentine Gallery, he has never built in Britain.

“It’s a great honour, of course,” says Siza. “My own city, Porto, is home to many British-influenced buildings; and this is where you founded your long-lived port industry. Perhaps it seems odd to have this medal [without having] built in England, but I think an architect should make the best work he can wherever his star takes him. I have chosen to work mostly at home – but yes, how nice that the work is recognised by our oldest allies.”

Although he finds categories uninteresting and any attempt to list the influence of one architect on another little more than an academic game, Siza brings together more than something of the concerns of Le Corbusier, Alvar Aalto and Oscar Niemeyer, refracted through the defining lens of Porto, the northern Portuguese city where he was born, lives, works and evidently loves. The window of his low-key office frames a melancholy view of the architect’s home town. Terraces of shoulder-to-shoulder, sash-windowed buildings crafted in dark granite gleam in the light of the dazzling winter sun rising over the River Douro, all punctuated by narrow alleys, winding stone stairs and the red-tiled roofs of long, thin houses. No single building predominates. “Architecture,” says Siza, as if in explanation, “should never be an arrogant transformation of landscape or space. My wish has long been that the buildings I design have somehow always been there. I want them to be necessary, never forced.”

From his first well-known work, the Boa Nova teahouse and restaurant, completed in 1963 at the coastal edge of Porto, to the serene Serralves Museum of Contemporary Art (1997) in the same city, Siza’s buildings are as gently inspiring as they are sotto voce; his intelligent, low-cost, terraced housing, found in swathes across Portugal, could be similarly described. The Boa Nova rises from rocks bashed by Atlantic rollers, like a natural extension of the landscape. Its great roof hugs the concrete building, keeping it cool in summer and safe from storms. It offers places to stand outside, sheltered from the winds, and a restaurant with a great window that slides down in the summer, letting diners enjoy an uninhibited experience of the restless ocean. Never has a cup of tea been so exhilarating.The Serralves Museum, meanwhile, is a low-lying sequence of galleries in a handsome park, offering visitors a gentle amble through contemporary art. What’s special about the building is that, though clearly very modern, it is crafted like a traditional 1930s gallery. Every detail, even when playful, is reassuringly solid, a thing of rich marble or well-turned timber.

“At first, I wanted to be an opera singer,” says Siza, a quietly spoken, warm and well-mannered man. “Then it had to be sculpture. My father was against this. He was an engineer, born in Brazil, who wanted his children to have proper jobs. When I was 14, he took us to Barcelona. I saw Gaudi’s Sagrada Familia for the first time and that was that.”

Becoming Alvaro Siza, the famous architect, was part of a long, slow journey from the polite house by the ocean where he was born in 1933, the same year that Antonio Salazar, the newly elected Portuguese prime minister, forced through a constitution granting him and his antiparliamentarian government authoritarian powers that would endure until the Carnation Revolution of 1974. Siza was brought up in a big Catholic family. One of his sisters is a nun. He rode by tram each day from the ocean to the city centre, to school and later to the University of Porto’s school of architecture, eventually becoming the revered professor he remains today.

“There was an opening for original work in Portugal just after the second world war,” says Siza. “We pored over Casabella, the Italian magazine, which showed us how an architect could design anything from a spoon to a skyscraper on the same day. My teacher and, later, colleague Fernando Távora was a member of CIAM [the International Congress of Modern Architecture] and attended the Festival of Britain in 1951. We made furniture and went to visit Aalto in Finland. All this was liberating, but by the time I began to build, the Salazar regime was working to establish a national style, to curb adventures in modernism.

“But Porto and Lisbon universities produced a wonderful book, Vernacular Architecture in Portugal. It demonstrated that there were many traditional styles. Portuguese architecture had been fashioned by Phoenicians, Greeks, Romans, Celts, Arabs and the English. So, as long as we were careful not to make too much noise, we could build in new ways despite the regime.” The Boa Nova teahouse was a case in point. Neither iconoclastically modern nor nostalgically vernacular, this haunting building is built of concrete, timber, brick tiles and bronze – and made by local craftsmen.

Ever since, Siza has trodden a line between modernity and tradition, machine-age technology and age-old craftsmanship. “I like every building to be a calm house,” he says. “I like the way the patios and rooms of the Alhambra go from bright sun to shadows, from warmth to coolness, from wide to intimate focus. I like to dream about my buildings before I set them down in any detail. Architecture requires patience. How do you enter a building? How does it touch the ground?”

Siza toys with a packet of cigarettes, an ashtray and a lighter to show me how he imagines a building. When he has “established a proper relationship” with the structure that is taking shape in his mind, he draws many versions of what it might be, then begins toying with cardboard models. “I like to be involved, to design every detail, so the office should ideally be 15 people, although we are 25 today. Perhaps we have too much work. Architects find it hard to say no to commissions.”

He has, though, said a clear no to working in Dubai and anywhere else where he feels buildings are being rushed up without patience, pleasure or love. “Architecture without love,” he says, “is annoying. There are far too many buildings today. Architecture has become a business. Increasingly, there are people making a career from telling architects what they can and can’t do. It’s very rare for me now to be able to talk to craftsmen face-to-face. Buildings have to be specified down to the last cent, so you can no longer tailor them on site. This is sad. My last experience of real pleasure was in Brazil – I was very happy making the Iberê Camargo museum.”

It shows. This just-completed museum, dedicated to the Brazilian painter Iberê Camargo and sited in the lakeside city of Porto Alegre, is a magnificent mixture of sensual curves and glorious swoops, of galleries that samba out of the main building and then samba back in again. It is an alluring architectural carnival – yet austerely dressed, realised throughout in a smooth concrete. For all this dancing, it could never be called ostentatious. Just special.

Equally arresting is the winery Siza completed in Portugal’s Campo Maior two years ago, sited on what had been a rubbish tip. A lithe-limbed and smooth-skinned white building, it pulls the gently rolling landscape together as if its siting and construction were the most obvious things in the world. “I am grateful for this opportunity,” says Siza. “I hope the wine tastes good.”

Siza makes architecture seem all but effortless. This, however, is because he has worked hard and long at making his buildings as subtle as they are special. Since his wife, the painter Maria Antónia Marinho Leite, died tragically young in 1973, Siza, a devoted father, has concentrated on shaping buildings as a gifted medieval monk must have done illuminating manuscripts. He draws beautifully and writes well, too. A Modern of sorts, yet one who belongs to a tradition of age-old art and craftsmanship, Siza doesn’t see himself as a great artist, which he is, but as just another journeyman who has tried to add something worthwhile to the country he loves, whether that be dazzling galleries or smart social housing – all woven into that landscape beyond his window, seen through wreaths of curling cigarette smoke.

Fuente: The Guardian

Archiprix 2009

enero 26, 2009


Los mejores proyectos de Grado del Mundo en arquitectura y Urbanismo


Rafael Moneo: Madrid-Nueva York

diciembre 18, 2008

Moneo presenta en Madrid el proyecto de ampliación de la estación de Atocha
En Nueva York construye un edificio de Ciencias de la universidad de Columbia


Ya ha cumplido 15 años. La estación de Puerta de Atocha necesitaba adaptarse a la nueva realidad ferroviaria española. Los trenes de Alta Velocidad inaugurados, y los previstos, aumentarán el tráfico en la estación desde los 16 millones de usuarios que tiene en la actualidad, a los 36 millones en 2020. El autor de Puerta de Atocha, Rafael Moneo, ha presentado hoy el proyecto de ampliación, que costará 520 millones de euros. La obra dotará a la terminal de una “playa” para taxis y un parking, separará la zona de salidas y llegadas y dotará de una nueva plaza a los alrededores de la estación y de una zona verde en la zona de la calle Téllez.

Junto a Magdalena Álvarez, el único premio Pritzker español -en 1996-, ha explicado las peculiaridades de su proyecto madrileño, mientras unas horas antes al otro lado del Atlántico el edificio de la facultad de Ciencias de la universidad de Columbia de Nueva York, obra del arquitecto navarro, alcanzaba su cima. Como acto simbólico el edificio se ha coronado con una bandera prendida en una viga de acero.

El bloque se encuentra en Broadway con la 120 y se alza en el campus de la universidad, justo sobre el antiguo gimnasio. La fachada, de cristal y aluminio y con elementos diagonales, deja pasar la luz al interior, donde se inctalará una biblioteca diáfana en su parte central, así como una sala de conferencias. El edificio se encuentra conectado con el Hall Chandler, aunque también tendrá acceso desde la calle.

Este edificio universitario no es el único que ha realizado Rafael Moneo, quien en 2002 inauguró la biblioteca de la universidad de Aremberg, en Lovaina y este año ha finalizado las obras de la biblioteca de la universidad de Deusto, en Bilbao. Precisamente el lunes se dio por terminado el traslado de fondos de la universidad al nuevo edificio de Moneo. Además, el arquitecto construirá el edificio de Neurociencias y Psicología de la universidad de Princeton, campus en el que compartirá cartel con Frank Gehry, premio Pritzker 1989.

En el paseo de Prado y sus inmediaciones Rafael Moneo tampoco es un desconocido, ya que no sólo fue él el autor de la estación Puerta de Atocha, sino que acometió las reformas del palacio de Villahermosa para acoger el museo Thyssen, la ampliación del Banco de España y la más reciente ampliación del museo del Prado, no exenta de polémica.