Friday, January 6, 2012

Passing Cloud by Tiago Barros

Ini adalah proposal desain alat transportasi baru karya Tiago Barros, dari ide tentang awan (cloud) yang melayang diudara tanpa sebuah track dan perhentian seluruhnya dikendalikan oleh angin. 

If you’re not worried about where you go or how fast you get there, this enormous inflatable cloud is the mode of transport for you. Predominant winds would determine the routes and speed of the hovering cloud, which would move from place to place without any fixed destinations.

Passengers would board the cloud using ladders and would simply sit on the surface during travel.

Inside the nylon-covered balloon, a steel skeleton like that of a zeppelin airship would support the object’s structure.

New York architect Tiago Barros proposed the design for a transport network of floating clouds in the sky to the Van Alen Institute and the Department of Cultural Affairs of New York City, who were expecting competition entries for a high-speed rail network.

Here’s some more from the architect:

Passing Cloud
Passing Cloud is a recently submitted project for the international ideas competition: Life at the Speed of Rail, organised by the Van Alen Institute and partly funded by the Department of Cultural Affairs of New York City.
Although it wasn’t one of the winning proposals, Passing Cloud reveals a strong conceptual approach that is worth noting: It is a new vision on traveling, based on the old Zeppelins.
Nowadays, traveling is achieved with this idea of having a fixed destination and an estimated time of arrival. Passing Cloud completely inverts this system. A floating device is introduced that travels around the entire USA territory according to current predominant winds. It has no fixed time of arrival or place for arrival. The journey becomes the essence. Imagine traveling at wind speeds in a totally sustainable object that leaves no Human trace behind.
This project envisions a distinct approach towards moving around the United States being also a revival of the act of traveling. Why traveling at high speed? Why having the final destiny always defined? And why always departing and arriving on a tight schedule? Nowadays, everything is set and everyone is always running around. It is time to reconsider the act of traveling and start enjoying it accordingly.
The Passing Cloud is an innovative and environmentally friendly method of transportation that doesn’t require expensive steel tracks or concrete highways. It is made of a series of spherical balloons that form the shape of a cloud. Its inner stainless steel structure is covered with heavy weight tensile nylon fabric. During the journey, It moves according to prevailing winds speed and direction at the time of travel. Since it moves with the wind, no wind is ever felt during the trip, offering the passengers a full “floating sensation”.
It’s an unique journey. The feeling of floating in the atmosphere – on top of a cloud – with an open schedule and unknown final destiny. All National Ground would be potentially covered at virtually no cost and the help of the wind. The journey becomes your destiny.
Project data:
Organiser: Van Alen Institute
Competition: June 2011
Design Team: Tiago Barros
Location: USA

Via :

The Cloud by Atelier Hapsitus

Karya ini juga berjudul ,Cloud' bertema awan, merupakan desain spekulatif karya Nadim Karam dari Atelier Hapsitus. Karya ini menyediakan mimpi di Dubai antara realitas dan artifisial, seperti menyediakan mimpi bagi kita. The Cloud is a speculative design for a resort city elevated 300 metres in the air above Dubai and supported on slanting legs resembling rain.

Designed by Nadim Karam of Lebanese architect Atelier Hapsitus, the concept was presented at the International Design Forum in Dubai.

The Cloud, the Desert and the Arabian breeze
At the forefront of the few cities today experiencing exponential growth, Dubai is the ultimate city of mutation. Within its constantly-changing scenery and infinite growth-scale, Dubai needs a dream expressing its current transient phase. If cities can dream, does Dubai have a dream?

The Cloud of Dubai is one of a series of Gulf region projects created by Nadim Karam and Atelier Hapsitus. It is inspired by the nomads, whose lives were defined by the rigours of their relation to sun, water and sand, and whose travels followed the borderless movement of clouds. The Cloud is a trip, a playful adventure in the city. It is a horizontal presence on an elevated platform, an antithesis to the sum of skyscrapers spreading over the entire region. The Cloud is a dream, suspended between artificiality and reality.

Above: plan

Above: plan sketch

Above: section

An essentially sustainable project standing at a height of approximately 300 metres, the Cloud is a 20000m2 landscape-in-the-sky comprising a lake, gardens, rotating bridges, spiraling walkways and terraces, an auditorium and sky-sports platform. The Cloud is approached on ground level from an esplanade with a pool reflecting a forest of inclined columns reaching up to the huge, translucent floating island. Access to the Cloud is gained through a few non-inclined tubular shafts, which double as structural support. In collaboration with ARUP AGU (Advanced Geometry Unit), significantly creative technological solutions are being developed for its realization.

Published in May 2007 by Booth-Clibborn Editions, London, 2007, ‘The Cloud, the Desert and the Arabian Breeze’ by Nadim Karam & Atelier Hapsitus presents the Cloud through a narrative whose protagonist explores Dubai, seeking a dream for the city.

via :

Menara Kembar di Korea mirip WTC (The Cloud karya MVRDV)

Proposal tower karya arsiek MVRDV, The Cloud di Korea Selatan menimbulkan kontroversi, karena bentuknya mengingatkan pada dua menara kembar WTC di New York yang di ledakkan oleh teroris. Dua menara setinggi 260m dan 300 m dihubungkan oleh beberapa cluster yang terlihat seperti awan, cluster ini mengakomodir atrium, restaurant, sebuah pusat konferensi, perkantoran dan hotel, pada 54 -60 lantai teratas akan diisi oleh apartemen mewah. 

Dutch architects MVRDV have designed two skyscrapers for Seoul, Korea, that will be joined at the hip by a pixelated cluster.

Top and above: images are © Luxigon
The cluster of blocks will swell out from the twenty-seventh floors of the 260 and 300 metre-high towers, collectively named The Cloud, to accommodate an atrium, restaurants, gym facilities, a conference centre and office-hotels.

Luxury apartments are to fill the remaining floors of the 54 and 60 storey towers, some of which will feature double-height rooms.

Above: image is © Luxigon
Townhouses will occupy the ground levels, while the top floors will be reserved for penthouses.

Landscape architect Martha Schwartz has designed a series of plazas, gardens and pools to surround the new buildings.

The project is part of a masterplan for the area by New York architects Studio Libeskind and is due to complete in 2015.

If you like this project, you may also be interested to see another pixelated skyscraper by the same architects – see more projects by MVRDV here.
Here’s some more text from MVRDV:

MVRDV designs The Cloud: two connected luxury residential towers in Seoul, Korea
Yongsan Dream Hub corporation presented today the MVRDV designed residential development of the Yongsan Business district: two connected luxury residential high-rises. A 260 meter tall tower and a 300 meter tall tower are connected in the centre by a pixelated cloud of additional program offering amenities and outside spaces with wide views. The towers with a total surface of 128,000m2 are expected to be completed in 2015.

The two towers are positioned at the entrance of the Yongsan Dreamhub project, a master plan designed by Studio Libeskind, extending the business district of the South Korean capital Seoul. The southern tower reaches a height of 260 meters with 54 floors, the northern tower 300 meters with 60 floors. Halfway, at the level of the 27th floor the cloud is positioned, a 10 floor tall pixelated volume, connecting the two towers. The cloud differentiates the project from other luxury developments, it moves the plinth upwards and makes space on ground floor level for public gardens, designed by Martha Schwartz.

Usually a high-rise adds little to the immediate surrounding city life, by integrating public program to the cloud the typology adds in a more social way to the city. Inside the cloud, besides the residential function, 14,357m2 of amenities are located: the sky lounge – a large connecting atrium, a wellness centre, conference centre, fitness studio, various pools, restaurants and cafes. On top of the cloud are a series of public and private outside spaces, patios, decks, gardens and pools. To allow fast access the cloud is accessible by special express elevators.

Above: image is © Luxigon
The luxurious apartments range from 80m2 to 260m2 of which some offer double height ceilings , patios or gardens. The towers with a perfect square floor plan contain four corner apartments per floor offering each fine daylight conditions and cross ventilation. Each tower is accessed via a grand lobby at ground level; the rest of the ground floor is divided into town houses. In addition to the amenities the Cloud furthermore contains 9,000m2 of Officetel (Office-Hotel) a typical Korean typology and 25,000m2 panoramic apartments with specific lay-outs. The top floors of both towers are reserved for penthouse apartments of 1200m2 with private roof gardens.

Above: image is © Luxigon
The structural facade reveals the program behind it and its characteristic grid is extended over the surroundings where it creates gardens, pools and plazas. Parking is solved underground and the next metro station is in five minutes walking distance.
MVRDV is lead architect and works with architect of record Siaplan, Arup, Benoy Retail architects and Martha Schwartz Partners for the landscape.


Thursday, January 5, 2012

Pixelated building of DnB NOR headquarters by MVRDV

Proposal kaya MVRDV ini cukup menarik mengingat rancangan dengan metode pixelated ini menghasilkan satu komposisi bangunan yang sangat diagramatik, tetapi setiap lantainya mendapatkan roofgarden dan pencahayaan alami. cladding pada facade bangunan ini menggunakan batu karang lokal setempat di Norwegia. Karya ini merupakan realisasi dari kompetisi di tahun 2003 yang lalu, yang dimenangkan oleh MVRDV. 

Work has started on a new headquarters building for a bank in Oslo, Norway, designed by DutchThe pixelated 17-storey building, which will be part of the Bjørvika waterfront development in the city, is for Norwegian bank DnB NOR.

MVRDV won a competition to design Bjørvika waterfront in 2003, along with Norwegian companies Dark and a-lab.

See our story from July 20o9 about MVRDV’s Celosia Residence in Madrid.

Here’s some info fro MVRDV:

Construction start for MVRDV designed headquarters building in Oslo, Norway
(Oslo, September 17, 2009): With the completion of the foundations up to basement level, the construction of the main building of the new DnB NOR headquarters in Norway, has entered its main phase. The new headquarter cluster with a total surface of 80,000m2, is developed by the Norwegian Oslo S Utvikling (OSU), and its central building, designed by MVRDV with 17 floors and a surface of 36,500m2, is due to be completed in 2012.

The pixelated design adapts to the urban context and combines an efficient and flexible internal organisation, based on small-scale working entities, with a variety of specific communal spaces, a sheltered public passage and respect for urban view lines.

In 2003, MVRDV, together with Norwegian firms Dark and a-lab, won the competition for the Bjørvika waterfront development and designed a dense urban master plan along Nyland Allé, the Oslo Barcode, that will be developed and realised by OSU in phases.

The international Norwegian financial institution DnB NOR decided to concentrate their twenty office locations currently dispersed over the city in the Barcode. In 2007, the master plan team was commissioned by developer OSU to design the urban concept. A new cluster of three volumes and a common basement with a 3,000m2 underground concourse, which interlinks the three buildings of the bank, was developed. MVRDV was commissioned as architect for the central building and co-responsible for the concourse.
The development of a new headquarter cluster is a strategic operation aiming for synergy and a clear identity. The objective was to translate the social and democratic character of the organisation into a building with excellent working conditions and spatial qualities. The structure is conceived as a steel ‘rack’ which permits adaptation to the flexible nature of the organisation.
The steel rack is wrapped in a stone skin, which adopts Norwegian environmental standards. It appears as a rock, a strong shape within the boundaries of the Barcode. The niches of this rock provide space for vegetation growth: the positioning of the pixels creates roof gardens or outside areas for every floor.
The generic office floors recline and are recessed in various places to reflect the urban context and to create communal indoor and outdoor areas and outstanding daylight conditions. At street level the building volume is opened by sheltered entrance zones, and intersected by a public passage leading to the Oslo Central Station. The pixelated design allows this specific response whilst being highly efficient and flexible. As a result, every floor of the building is both unique and generic: the pixelated volume makes the generic specific.
Besides more than 2,000 flexible work spaces the building contains a panoramic 140 seat canteen on the top level, the executive lounge with a view over the fjord, the board room, in the heart of the volume, DnB NOR’s trading room with 250 work stations, and the main entrance with a reception and access to the concourse. These collective elements are connected by a staggered continuous internal route of terraces, encouraging informal meetings and communication between employees.
The route meanders from the reception upwards through the building, connecting all office levels with the communal areas. A series of wooden stairs and bridges allow employees to switch levels or even to walk the 17 levels up to the canteen on one side of the building and down on the other side. The route accommodates communal areas to the office floors and is made homely with a series of pantries, informal meeting areas and fire places. It gives access to the various outdoor terraces and roof gardens. All these collective spaces are designed as glass pixels allowing views over the surroundings and transparency from the exterior. The route is naturally ventilated and has a high performance glass fit for the cold Norwegian winter.
On behalf of OSU, MVRDV collaborates with Norwegian co-architect DARK Arkitekter AS and various Norwegian engineering firms. Project management is executed by Norwegian firm Vedal Project AS. The second building of the DnB NOR cluster is designed by A-lab and the third building by Dark Arkitekter, all within the overall master plan and the Barcode urban master plan by MVRDV / DARK / a-lab. DnB NOR is the largest financial services group in Norway. The Group consists of brands such as DnB NOR, Vital, Nordlandsbanken, Cresco, Postbanken, DnB NORD and Carlson.

MVRDV was set up in Rotterdam (the Netherlands) in 1993 by Winy Maas, Jacob van Rijs and Nathalie de Vries. MVRDV produces designs and studies in the fields of architecture, urbanism and landscape design. Early projects such as the headquarters for the Dutch Public Broadcaster VPRO and housing for elderly WoZoCo in Amsterdam lead to international acclaim. MVRDV develops its work in a conceptual way, the changing condition is visualised and discussed through designs, sometimes literally through the design and construction of a diagram.
The office continues to pursue its fascination and methodical research on density using a method of shaping space through complex amounts of data that accompany contemporary building and design processes. MVRDV first published a cross section of these study results in FARMAX (1998), followed by a.o. MetaCity/Datatown (1999), Costa Iberica (2000), Regionmaker (2002), 5 Minutes City (2003), KM3 (2005), which contains Pig City and more recently Spacefighter (2007) and Skycar City (2007), the latter two will be exhibited at the 2008 Biennale of Venice. MVRDV deals with global ecological issues in large scale studies like Pig City as well as in small scale solutions for flooded areas of New Orleans.
Current projects include various housing projects in the Netherlands, Spain, China, France, Austria, the United Kingdom, USA, India, Korea and other countries, a television centre in Zürich, a public library for Spijkenisse (Netherlands), a central market hall for Rotterdam, a culture plaza in Nanjing, China, large scale urban masterplans in Oslo, Norway and in Tirana, Albania, a masterplan for an eco-city in Logroño, Spain and an urban vision for the doubling in size of Almere, Netherlands.
The work of MVRDV is exhibited and published world wide and receives international awards. The 60 architects, designers and staff members conceive projects in a multi-disciplinary collaborative design process and apply highest technological and sustainable standards.

Via  Dezeen:

Wednesday, January 4, 2012

Bis terbaru untuk kota London karya Heatherwick Studios

Ini adalah contoh yang unik dan menarik ketika sebuah kota seperti London sangat terbuka  dan mengerti bahwa sebuah kota memerlukan bus yang iconic yang sangat London untuk itu designer muda dari negara tersebut Thomas Heatherwick berhasil merealisasikan desain rancangannya untuk sebuah icon baru Bis masa depan untuk London, Lalu kapan Jakarta sampai ke titik itu ya? mari kita perjuangkan bersama. (budi Pradono)
 In January 2010, Heatherwick Studio joined the team leading the design of a New Bus for London. The project marks the first time in more than 50 years that TFL has commissioned and overseen the development of a bus built specifically for the capital.

Working alongside specialist bus manufacturer, Wrightbus, The new bus incorporates the most innovative and cutting-edge hybrid technology and will be the most environmentally friendly bus of its kind when it enters passenger service.

The external design has been developed to reflect the functional requirements of the vehicle. A long asymmetric front window provides the driver with clear kerbside views, while a wrapped glazing panel reflects passenger circulation – bringing more daylight into the bus and offering views out over London.
By incorporating an open platform at its rear, the bus reinstates one of the much-loved features of the 1950s Routemaster which offered a ‘hop-on hop-off’ service. Hop-on-hop-off platform at the back of the bus will be in use only when a conductor is on board. The new design will also have three doors and two staircases. The three sets of doors will ensure easy access on and off the bus and quick access up to the upper deck via the two staircases.

In engineering terms, the New Bus for London will be 15 per cent more fuel efficient than the existing hybrid buses and 40 per cent more efficient than conventional diesel double-deckers.

In tests at Millbrook Proving Ground, the engineering test vehicle emitted only 640 grams per kilometre (g/km) of carbon dioxide and 3.96 g/km of oxides of nitrogen (NOx) – less than half of the carbon dioxide emitted by a current diesel bus (1295g/km) and under half of the NOx emitted by a current diesel bus (9.3g/km). In testing, fuel economy was also better than twice that of a standard diesel bus at 11.6mpg

Thomas Heatherwick said: “It has been 50 years since a bus was last designed and commissioned specifically for London. This has been a once-in-a-lifetime opportunity for a team to look again at the opportunities for a new open-platform bus. It has been an honour to be asked by London’s transport authority to take an integrated approach and design everything that you see and experience from the outside down to the tiniest details of the interior.”

Designs for the new bus were unveiled by the Mayor of London, Boris Johnson, in May 2010. The full-size mock up of the new Bus for London has now been relocated to the London Transport Museum, Covent Garden and will be on display until June 2011. A prototype, developed and manufactured by Wrightbus, has just been delivered in November 2011 and the first five buses are due to enter passenger service in early 2012.

Above photo is by Iwan Baan

Tuesday, January 3, 2012

Pelangi buatan (A 7-Mile Rainbow) untuk Kim Jong-Il sebuah artificial landsekap-2

Pelangi buatan karya Ben Masterson-Smith merupakan diploma project yang sangat gigantic, sebuah artificial lansekap yang monumental. Pelangi ini terbuat dari bahan ringan yang dapat dipompa diudara. Karya ini menarik untuk dibahas sebagai bahan kajian urbanisme. Sebagai proposal desain yang bisa digolongkan pada  project instalasi ini merupakan sebuah kritik pada kepemimpinan Kim Jong-Il, sebuah tugu peringatan kelahiran sang pemimpin paling berpengaruh di Korea Utara. Karya ini sebagai bagian dari peringatan ulangtahun Kim, mencitrakan kekuasaan dan dominasi pada seluruh aktifitas masyarakat sebagai diktator yang represif. seperti yang diungkapkan Geoff Manaugh pada BLDGBLOG di bawah ini. (BP)

2011 will undoubtedly be marked by the death of North Korean leader Kim Jong-il. Not only did the supreme ruler have the blind power to convince his constituents of his “supernatural” origins and to spend $850.000 annually on Hennessy’s cognac, but under his regime, North Korea saw realization of farfetched mega-project like the 105-story Ryugyong Hotel. Myth and legend continue to aggressively shape the landscape in North Korea, and this phenomenon is the heart of a project by Ben Masterson-Smith. 

Ben Masterton-Smith, recipient of the inaugural RIBA Norman Foster Traveling Scholarship in 2007, visited North Korea for a period of architectural and spatial research. One of the many outcomes of that trip was Ben's diploma project, part of which proposed a farcical realization of a 7-mile rainbow reportedly seen on the occasion of Kim Jong-il's birth.

Truckloads of vinyl are delivered to the capital city; teams of "volunteers" pump vast amounts of air into the unfolding structures—the imperial inflatable as architectural type; and, lo, the titanic pink and purple form ascends to its nostalgic place in the public firmament, assembled ring by ring across the sky. 
While I have cherry-picked only one aspect of Ben's overall North Korean research project, and thus this might seem like a bit of a one-note flute, I have to say that the absurdly over-the-top scale of the proposal actually seems spot-on for an architectural critique of Kim Jong-il's surreal stage-managing of North Korean life. 
In many ways, this spatial realization of the state's own ridiculous mythology serves as a sadly necessary—because totally delirious—over-compensation for the otherwise monumentally vacuous cityscapes of North Korean urbanism, as if the grotesque political spectacle of a pink rainbow soaring seven miles over the city might retroactively justify that city's empty stagecraft.
In the annals of dictatorial natural history—where, apparently, "even nature is mourning" the death of Kim Jong-il—the tongue-in-cheek architectural manifestation of an otherwise impossible worldly phenomena acts not as celebration but as spatial parody. It is sarcasm, we might say, given architectural form.

via BLDG+architizer+endingthealphabet