Architectural Cloak

The end of Herzog de Meuron‘s provocatively printed real skin due to their library in Eberswalde in 1999 was a moment for architects and designers, challenging Adolf Loos‘ dogma of the decoration as a crime. This culturally driven movement has recently gained momentum with a greatly increased proper repertoire that new technologies have enabled us to build within reasonable budgets, but in addition not only to research. Nevertheless none of the envelopes of the following jobs is ornamental or cosmetic by the whimsy of the designer, but deriving their attractiveness from the smart discussion of environmental constraints and parameters that are ethnic. Barbosa & Guimaraes recently finished their new Law Court House in Gouveia, just two years after the conclusion of the striking first endeavor, the Vodafone Building in Porto. The court house repeats the faceted facade language of the Vodafone Building but within a monolithic cuboid building volume, which is situated to articulate a public plaza and re-define the urban space within which it's situated. The first floor that is levitating signifies power and the ability of the court reminds us of classics of the international style place and, using its austere white concrete appearance. At second glance nonetheless a lively variation in facade facets and the window apertures cunningly undermines the dictum of classical order of the court and repetitiveness of international style. This relationship is discreetly reversed through public access from the bottom floor to the clear and sunken courtyard and through a wide stair that spills out in the upper court floor whereas the facade of the first floor presents itself closed and inaccessible to the public. Click Here For Its own folded, rhomboidal metal facade, maybe less characterizes the Museum of Liverpool by 3XN Architects, than by it’s bold sculptural appearance that crops from an upwards folding movement of the surrounding landscape. The plucky sculptural gesture of the museum contrast sharply with all the historic buildings that are listed behind. The skin using its gleaming metal aesthetic adds to the fascinating dialogue between contemporary and historical. When opened, the skin’s shutters transform the monolith into a breathy, transparent structure allowing for unobstructed views in the cafe interior, onto the water outside and reveal the cafe behind. For More Details The conclusion of Wilkinson Eyre ’s Olympic Basketball Arena in London might be just another evidence of the theory that more restraints lead to a better project. Designed as a temporary structure it was the quickest to get built, was on budget and its particular steel construction and membrane will probably be recycled following the games. The unassuming black inside, interspersed with seating that is orange to hark back to the color scheme of a basketball, isn't only cost effective but allows the viewer to concentrate about what matters most, the game. The building is clad in a captivating white PVC outside. The fascinating facet of the facade is that the geometry of the relief is driven by decorative or ornamental desires, but instead by an intelligent dialogue involving their constraints and the materials and the manipulations of the designers. Consequently the membrane crossing within the steel structure generates a soft but astonishingly heavy relief allowing for an intricate play of shadows on the facade, given it is allowed for by the London weather.