Pyramid-shaped Skylight
1.Casa das Histórias Paula Rego - Eduardo Souto de Moura
Location: Cascais, Portugal
1.Casa das Histórias Paula Rego - Eduardo Souto de Moura
Location: Cascais, Portugal
"The Casa das Histórias Paula Rego was designed by the architect Eduardo Souto de Moura. The building makes use of certain aspects of the region's historical architecture, which is here reinterpreted in a contemporary way. It can be immediately recognised thanks to its two pyramid-shaped towers and the red-coloured concrete used in its construction.
The land and trees which previously existed at the site are incorporated as fundamental elements, while four wings, of varying heights and sizes, make up the building. The building itself is subdivided into rooms which lead into one another and are laid out around the higher central room which houses the temporary exhibition. The building's interior has 750m2 of exhibition space, on top of the technical and service areas, and is decorated in neutral shades and paved with the blue-grey marble of Cascais. The building also houses a shop, a café which opens onto a verdant garden and an auditorium with 200 seats.
The building's design is fully in keeping with the artist's wishes, and it was Paul Rego herself who was responsible for the choice of architect. It meets all the requirements for a museum and its various functions, without forgetting the need to give visitors a warm welcome."
The land and trees which previously existed at the site are incorporated as fundamental elements, while four wings, of varying heights and sizes, make up the building. The building itself is subdivided into rooms which lead into one another and are laid out around the higher central room which houses the temporary exhibition. The building's interior has 750m2 of exhibition space, on top of the technical and service areas, and is decorated in neutral shades and paved with the blue-grey marble of Cascais. The building also houses a shop, a café which opens onto a verdant garden and an auditorium with 200 seats.
The building's design is fully in keeping with the artist's wishes, and it was Paul Rego herself who was responsible for the choice of architect. It meets all the requirements for a museum and its various functions, without forgetting the need to give visitors a warm welcome."
http://www.archdaily.com/103106/casa-das-historias-paula-rego-eduardo-souto-de-moura/
http://vimeo.com/17903941
http://vimeo.com/17903941
2.The Leimond Nursery School - Archivision Hirotani Studio
This nursery school for children, from years zero to five years, stands on the outskirts of Nagahama city in Shiga prefecture. The school has been planned as a single-storey structure with a feeling of transparency between each of the spaces as well as the exterior landscape and, the “House of Light”,as we call it, has been placed in the main nursery area.
What we mean by the “House of Light” are conical, square light-wells of different shapes, different color and facing different directions in the high ceiling bringing in various “lights” into the interior space, changing with the time and the seasons.
The children may be able to feel the changes of these “lights”, even chase them and play with them, and to enjoy this gift of “light” in their daily activities.
Furthermore, the shape of the “House of Light” may be seen from the outside as its unique silhouettes are outlined against the almost unchanging rural scenery, providing it with a little more character.
g at different directions.
http://www.archdaily.com/156854/the-leimond-nursery-school-archivision-hirotani-studio/
3.Casa Parr - Pezo von Ellrichshausen
Location: Galvarino st 1983, Chiguayante, Chile
Furthermore, the shape of the “House of Light” may be seen from the outside as its unique silhouettes are outlined against the almost unchanging rural scenery, providing it with a little more character.
g at different directions.
http://www.archdaily.com/156854/the-leimond-nursery-school-archivision-hirotani-studio/
3.Casa Parr - Pezo von Ellrichshausen
Location: Galvarino st 1983, Chiguayante, Chile
“This is both a huge and a small house. It doesn’t have extended rooms but instead a series of rooms that repeat themselves and some functions that are doubled according to the traditional Chilean country life. The house is located in a small farm where, until not long ago, stood the owner’s old house where his childhood was spent. It’s a setting filled with memories.
The witnesses of those moments are different kinds of fruit trees (from cherry tress to walnut trees) and native tress (from palm trees to araucarias). Beyond this suburban site there isn’t much; at least nothing visually attractive. Hence, the program extends horizontally in order to, besides occupying the depth of these gardens, conquering a sort of interior introspection and invisibility of its external presence.
The irregular structure, somewhat labyrinthic, together with establishing a series of variations responding to the size and proximity among rooms, contains nine patios open to the sky. Something similar to nine openings that control the density of the plan. The floor has no variation of levels. If the roominess of some spaces was made possible by elevating the ceilings to the equivalent of two floors, this decision couldn’t affect the patios by casting a shade over them. We therefore established two inclinations: that of the roofs, that always descends towards the patios (allowing only the shade casted by the vertical walls); and that of the ceilings, whose vertex sliced by natural light openings is located depending on the furniture of each room.
The weight of a tile mantle (that in some aspect resembles that of the old wooden house) hangs from these fourteen truncated prisms. Having small metal pieces is the only way of eliminating the seams at the edge (as if it were one of Burri′s collages) and through them of noticing the industrial yet crafted nature embodied in its surfaces.”
http://www.archdaily.com/12461/parr-house-pezo-von-ellrichshausen-architects/
The witnesses of those moments are different kinds of fruit trees (from cherry tress to walnut trees) and native tress (from palm trees to araucarias). Beyond this suburban site there isn’t much; at least nothing visually attractive. Hence, the program extends horizontally in order to, besides occupying the depth of these gardens, conquering a sort of interior introspection and invisibility of its external presence.
The irregular structure, somewhat labyrinthic, together with establishing a series of variations responding to the size and proximity among rooms, contains nine patios open to the sky. Something similar to nine openings that control the density of the plan. The floor has no variation of levels. If the roominess of some spaces was made possible by elevating the ceilings to the equivalent of two floors, this decision couldn’t affect the patios by casting a shade over them. We therefore established two inclinations: that of the roofs, that always descends towards the patios (allowing only the shade casted by the vertical walls); and that of the ceilings, whose vertex sliced by natural light openings is located depending on the furniture of each room.
The weight of a tile mantle (that in some aspect resembles that of the old wooden house) hangs from these fourteen truncated prisms. Having small metal pieces is the only way of eliminating the seams at the edge (as if it were one of Burri′s collages) and through them of noticing the industrial yet crafted nature embodied in its surfaces.”
http://www.archdaily.com/12461/parr-house-pezo-von-ellrichshausen-architects/
Pyramid-shaped Skylight in my project2.