The Rolex Learning Center, a university study centre by Japanese architects SANAA, opens in Lausanne, Switzerland next week.

The centre is located on the campus of science and technology university EPFL (Ecole Polytechnique Fédérale de Lausanne), and will be open to both students and the public.

See all our stories about SANAA in our special category.

Here’s some text from EPFL:

Built on the campus of EPFL Ecole Polytechnique Fédérale de Lausanne, The Rolex Learning Center designed by the internationally acclaimed Japanese architectural practice, SANAA, will open on 22 February 2010.

The Rolex Learning Center will function as a laboratory for learning, a library with 500,000 volumes and an international cultural hub for EPFL, open to both students and the public. Spread over one single fluid space of 20,000 sq metres, it provides a seamless network of services, libraries, information gathering, social spaces, spaces to study, restaurants, cafes and beautiful outdoor spaces. It is a highly innovative building, with gentle slopes and terraces, undulating around a series of internal ‘patios’, with almost invisible supports for its complex curving roof, which required completely new methods of construction.

“The Rolex Learning Center,” Patrick Aebischer, President of EPFL, said, “exemplifies our university as a place where traditional boundaries between disciplines are broken down, where mathematicians and engineers meet with neuroscientists and microtechnicians to envision new technologies that improve lives. We invite the public into this space to convey the message that working in science is working for the advancement of society.”

EPFL is one of the world’s leading universities in technology and science, renowned for its innovations in research and learning. It is currently ranked number one in Europe alongside Cambridge in the fields of Engineering Technology and Computer Sciences. The campus, on a site overlooking Lake Geneva and the Alps, brings together over 4,000 researchers, and 7,000 students, who work in a highly collaborative environment with international experts in engineering, science and industry.

The Rolex Learning Center has been financed by the Swiss government and major Swiss businesses. Rolex’s participation in the project is the fruit of a long-standing relationship with EPFL in research into materials science and microtechnology for watch design, and its deep rooted tradition of philanthropy in the arts, science and culture through the Rolex Awards for Enterprise and the Rolex Mentor and Protégé Arts Initiative.  Logitech made the initial contribution that launched the architectural competition. Losinger, member of Bouygues Construction Group and sponsor, was the principle contractor for the building. Credit Suisse, another financial partner for the project, will have a Future Banking Laboratory in the building. Further internationally active Swiss partners who contributed to the finance, research, and innovation of the building are Nestlé, Novartis, and SICPA.

Las tecnologías creativas que podemos hallar en las múltiples manifestaciones de la fiesta —eventos globales, acontecimientos extraordinarios, festividades cíclicas, celebraciones cotidianas,…— nos ayudan a entender los entornos que habitamos y nos ofrecen sugerencias para operar sobre ellos desde la arquitectura. Este número aborda estas cuestiones a través de varias líneas de trabajo entrelazadas: la problemática de la construcción de soportes para la fiesta, a veces efímeros, a veces con vocación de permanencia; las transformaciones urbanas asociadas a los grandes eventos; las diversas escalas de la celebración, sus relaciones y formas de interacción con la ciudad, en particular, entre el ámbito de lo público y lo doméstico; y la incorporación de lo lúdico al proyecto arquitectónico.

Publicado por: Ntres (editores y directores: Paula Álvarez, Vincent Morales y Juan Antonio Sánchez)

Idioma / ISNN: Español-Inglés [1138-1507]

Fotografía de Jorge Yeregui.

Design: 2007-2008

Construction: 2008.04 – 2008.11

Location: Qing Cheng Shan, Sichuan, China

Related Links:
Studio Pei-Zhu
Yue Minjun

Art Museum of Yue Minjun

On one hand, there are fantastic landscapes for Qingcheng Mountain, with continuous brooks and wreathed mist…

On the other hand, there are private art galleries, with extremely personal art attitudes and contemporary features…

When tracing back to ancient times and dreaming of future, we find two contrary propositions that meet and collide in Qingcheng Mountain.

What type of architecture language can be used to tell such incompatible and interesting encounter?

Not far away, Dujiang Weir, with more than 2000 years of history, has been witnessing the thought of “complying with nature and combining human and nature” and also fostering a special natural and cultural environment for this area. In this project, we try to talk with nature in an inheritance way and try to create a medium to overlap reality and imagination, nature and technology, tradition and future which seem to be contrary.

The art museum, located by the Shimeng River, is designed into an organic form full of smoothness and diversity, reflecting a cobblestone taken from the river. A light metal coating is applied to this ancient natural form, mildly reflects surrounding scenes and melts into nature, which is like a piece of concealed clothes and full of sense of future, making the building suspend over the ground and be like a flying body from the future. Therefore, we present an art museum which features artists’ direct and affirmed personal attitudes, participating in nature in a “lost” way and starts a secret dialogue with ancient times through a language of future.

Project Team
Architect: Pei Zhu, Tong Wu
Associates in Charge: Zeng Xiaoming
Design Team: He Fan, Jiao Chongxia, Li Yongquan, Jiao Chongxia, Fan Xuelan
Structural Consultant: Rory McGowan(Arup)
Photographer: Fang Zhenning

Studio Pei-Zhu
Studio Pei-Zhu is a young practice of under 20 employees based in Beijing. For us, the challenge of design is to provide practical solutions while reflecting a strong and innovative conceptual thinking and a critical outlook.

Our projects, therefore, are an exploration of methods to connect process to product.

The framework for this investigation and the experimental nature of our work is formed by the context in which it takes place – Urban China. The recent rapid development of the country has created new urban environments that can certainly be described as modern but lack the vitality and soul of older districts. One of our main concerns in design is to reconnect modern urban china to its roots, reinterpreting the vernacular in a contemporary context to create architectural devices capable of energizing urban activities. In this way we hope to contribute to a regional variance of contemporary architecture appropriate to its local context.

Awards 2007 Design Vanguard, Architectural Record
2006 China Award, Architectural Record
2004 WA China Architectural Prize
2003 China Architectural Arts Award
1989 Award of Special Merit from UNESCO

Exhibition 2008 Solo exhibition RISD, University of Rhode Island, N.Y.
2008 China Construction, Cooper-Hewitt National Design Museum, N.Y.
2008 Exhibition of Chinese Contemporary Architecture, Paris
2008 Exhibition of Chinese Contemporary Architecture, Barcelona
2007 China Production, Austria
2008 China Design Now, Victoria and Albert Museum, UK
2007 Xisi Bei International Invitation Exhibition, China
2006 1st Biennale of the Architecture and Art of the Canary Islands, Spain?participated together with Rem Koolhaas and MVRDV?
2006 Chinese contemporary architecture, Rotterdam, Netherlands Architecture Institute

Projects & competitions 2007 Guggenheim museum Beijing, for Guggenheim Foundation
2007 Guggenheim Art Pavilion Abu Dhabi, for Guggenheim Foundation
2007 Courtyard House Renovation for artist Cai Guoqiang
2004 Digital Beijing, an Olympic project for 2008, Beijing, won the first prize in national design competition

[via archinect]

[info de Ecosistema Urbano]

1.CONCEPTO

eutv es un proyecto de difusión e intercambio de contenidos multimedia
relacionados con la sostenibilidad urbana, basado en un canal de televisión
participativa.

Su objetivo es fomentar el debate sobre la sostenibilidad urbana contando
con la opinión de expertos, profesionales y usuarios; propiciando el diálogo
entre el mundo académico-profesional-institucional y los ciudadanos.

eutv se divide en dos canales paralelos:

1. eutv: un canal programado con entrevistas a expertos y profesionales
relevantes del mundo de la sostenibilidad urbana, contando además con
reportajes y documentales sobre buenas prácticas en la materia.
2. eutv (directo): un canal abierto participativo que permite a cualquier
ciudadano aportar una visión personal sobre la sostenibilidad urbana.

2.OBJETIVOS

Vivimos un momento de confusión publicitaria y mediática sobre el término
sostenibilidad

eutv nace con dos objetivos fundamentales:

1. Generar un mayor conocimiento sobre la sostenibilidad urbana accesible
al gran público.

2. Construir ese conocimiento desde puntos de vista diferentes, apoyado en el testimonio de los expertos y en la participación de los ciudadanos.

3.DATOS TÉCNICOS

Televisión web – La plataforma se concibe como integración de diferentes
herramientas participativas e innovadoras de la actual web2.0, con el fin de
permitir a todo tipo de usuarios aportar, comentar y valorar los diferentes
contenidos multimedia.
Desarrollo de contenidos – Para dinamizar las actividades de la plataforma
y crear una gran comunidad de lectores se desarrollarán de manera
constante nuevos contenidos de calidad y se fomentarán dinámicas
capaces de catalizar la participación de los usuarios.

Difusión – La difusión programada será global a través de Internet,
intermedia con la presencia en la Expo2008 de Zaragoza y local mediante
presencia en pantallas y equipamientos multimedia situados en espacios
colectivos.

4.PROMOTOR

[ecosistema urbano] es una empresa emergente y dinámica con gran
capacidad para trabajar en proyectos que integran enfoques y disciplinas
diferentes. Propone soluciones creativas e innovadoras y dispone de una
reconocida capacidad de comunicación en la web.
Cuenta con un blog que en 12 meses ha conseguido situarse como un
potente medio de difusión, catalizador de propuestas, equipos y proyectos
emergentes que trabajan sobre diseño, comunicación y dinámicas urbanas
sostenibles.

Sus proyectos e investigaciones han sido expuestos y premiados por
instituciones nacionales e internacionales. Su trabajo ha sido cubierto por la
prensa nacional e internacional, programas de televisión y prensa
especializada (Holanda, Alemania, Francia, Dinamarca, Suecia, Portugal,
Italia, Austria, República Checa, Rumania, Eslovenia, Croacia, Israel,
Turquía, Chile, Colombia, Cuba, México, Argentina, China, Corea, Taiwán,
India, EUA, Japón, Canadá y Estados Unidos).

5.ESTRUCTURA

La página tiene una estructura clara y fácilmente reconocible por cualquier
usuario de la web. La pantalla de entrada muestra los dos canales (eutv y
eutv directo) simultáneamente. El funcionamiento global de la página y la
subida de vídeos son sencillos e intuitivos, siendo la totalidad del contenido
multimedia accesible desde la página de inicio.

6.PATROCINADORES

Lista de colaboradores y patrocinadores que apoyan al proyecto:

DATOS CARACTERÍSTICOS DEL NUEVO ESTADIO DEL VALENCIA CF

EQUIPO DE DISEÑO

• Arquitectos principales:

Reid Fenwick Asociados – Madrid, Londres

Arquitectos Socios:

Mark Fenwick

Javier Iribarren Guerrero

Director del proyecto:

Salvador Alonso

• Arquitectos Deportivos:

Arup Sport – Londres

Director:

J. Parrish

Asociados:

Eugene Uys

Martin Simpson

Arquitectos de proyecto:

Chris Dite

Kate McDougal

• Ingeniería de Estructuras:

Arup – Madrid

Ingeniero Principal:

Tudor Salusbury

Ingenieros de Proyecto:

José de la Peña

David Castro

• Ingeniería de Instalaciones:

PGI Grup – Girona

Ingeniero Principal:

Josep Juliol

Ingenieros de Proyecto:

David Tusset

Joan Moret

María del Mar Moreno

CARACTERÍSTICAS PRINCIPALES DEL PROYECTO

Parámetros generales de diseño

Mejor estadio de fútbol del mundo y nuevo modelo para el siglo XXI.
Implementación de criterios medioambientales y ecológicos.
Implementación de criterios de accesibilidad de minusválidos.

Características técnicas

Estadio 5 estrellas UEFA

Capacidad bruta: 75.000 espectadores

Localidades cubiertas: 100%

Terreno de juego 68×105 m separación mínima a gradas 6 y 7.5 m

Posibilidad de adaptación a competiciones de Atletismo

Número de graderíos 3;

- Grada baja 22.000 espectadores

- Grada media 18.000 espectadores

- Grada alta 35.000 espectadores

Parking 3100 plazas cubiertas en total:

- 2600 plazas público general

- 330 plazas VIP

- 130 Plazas VIP PREMIUM

- 30 plazas para jugadores y cuerpo técnico

- 15 plazas de autobuses y camiones de prensa

Circulación vertical:

- 24 escaleras perimetrales

- 10 núcleos de circulación segura y sistema antiincendios

- 22 ascensores y montacargas

- 8 escaleras mecánicas a zona VIP

Zona VIP y Autoridades:

- Palco de honor, 150 personas, 400 metros cuadrados accesos directos

- 18 palcos Platino

- 22 Palcos Oro

- 24 palcos Plata

- grada bronce 1.500 espectadores

- 1.200 metros cuadrados áreas de recepción y espera

Restauración, 75 puntos de venta distribuidos de la siguiente manera:

- Restaurante Premium 3000 metros cuadrados con vistas al campo

- 2 restaurantes modelo Gran boulevard con servicio de catering en el descanso

- 8 Cofee Corners

- Concesiones comerciales distribuidas homogéneamente en todo el edificio

- Sistema integrado de abastecimiento y cocinas de preparación de catering

Equipamiento a los deportistas, 4.400 metros cuadrados en total:

- Vestuarios principales completamente simétricos 450 metros cuadrados

- Vestuarios secundarios 250 metros cuadrados

- Estancias técnicas con últimos criterios de la UEFA 750 metros cuadrados

- Sistema de doble túnel de acceso directo desde parking

Prensa, más de 1000 metros cuadrados de superficies distribuidas en:

- 575 metros cuadrados de Sala de prensa

- Zona de restauración propias

- Auditorio de conferencias de prensa para 200 personas

- 4 vomitorios directos a la zona reservada de grada

- Equipamiento de ayuda a fotografía

- Zona mixta 250 metros cuadrados con accesos directos a la sala de prensa

- 5 mini estudios de entrevistas

La experiencia valencianista:

Una serie de servicios externos al edificio que toman en su conjunto una experiencia única tematizada sobre el Valencia CF:

- Oficinas del club

- Museo del Valencia

- Palacio de congresos

- Tour por el edificio

- Tiendas tematizadas

- Ocio y deporte

- Restauración tematizada

- Encuentros con peñas

- Eventos familiares para socios

[via Reid Fenwick Asociados, valencia fc, Architettura effimerA, Catedrais Desportivas y Superdeporte]

The million square metre mixed-use development features two sixty-story towers and is part of the Malaysian government’s plans to boost economic growth in the area.

It was unveiled in Penang last week by Malaysian Prime Minister Abdullah Ahmad Badawi last week.

Image credit: Asymptote: Hani Rashid + Lise Anne Couture. Here is Asymptote’s press release:

–

ASYMPTOTE ARCHITECTURE
PENANG GLOBAL CITY CENTER (PGCC)

PGCC – Design Concept

Asymptote’s design for the PGCC complex is centered on the idea of creating a new and powerful image for the city of Penang and the new initatives associated with the development of the Northern Corridor of Malaysia. The design achieves its elegance and stature through the simultaneous embrace of natural landscapes and contemporary urbanism. The PGCC will become a vital new precinct that complements and enhances the unique characteristics that typify Penang as a remarkable island metropolis. The design of the iconic towers in particular draws inspiration from not only the lushness and drama of the surrounding mountains and seascapes, but also from the rich and diverse cultural heritage that makes up the Malaysian nation and Penang in particular.

The forms of the two towers are comprised of both horizontal and vertical elements: sculpted horizontal components move across the plinth, rise up and transform into articulated vertical structures. Set against the backdrop of the nature reserve of Penang Hill, the twisting, glass façades of the towers “perform” various surface effects—reflecting, refracting and distorting views of Penang, the surrounding landscape and the seascape beyond. The vast, cascading plinth, which functions as a public plaza with multiple gathering spaces, are venues for the performing arts center, convention center and various facilities for residential, office and urban life.

PGCC – Program

The PGCC project is remarkable for its monumental proportions and programmatic diversity as well as its innovative design. The main components of the program include:

Retail Complex: 400,000 sq. m.
Convention Center: 100,000 sq. m.
Penang Performing Arts Center (PenPAC): 75,000 sq. m.
Condominiums: 70,000 sq. m.
Hotel and Service Apartments: 50,000 sq. m.
Offices: 25,000 sq. m.
Observatory: 1,500 sq. m.
Parking: 190,000 sq. m.

Many aspects of the PGCC incorporate the latest in sustainable design and engineering technologies including building-integrated wind turbines; high-performance façade engineering and design with integrated, thin-film photovoltaics; high-efficiency central mechanical systems utilizing trigeneration; comprehensive storm water management and water recycling. The incorporation of these site-wide strategies into Asymptote’s design represents the highest commitment to the creation of energy-efficient and environmentally conscious architecture.

[via dezeen, worldarchitecturenews y designophy]

Life, say the experts, began in the sea. And if the way we spend our vacations is an accurate indicator, there are few things we enjoy more than revisiting our submerged roots. Cavorting with dolphins, badgering sharks from the safety of steel cages and photographing exotic fish through the portholes of tourist submarines fascinates landlubbers from Prague to Peoria. For those who find these forays into Neptune’s realm too brief, Italian naval architect Giancarlo Zema has the perfect dream home, the Trilobis 65. Part yacht and part submarine, it could convince Capt. Nemo to hang a “for sale” sign on the Nautilus.

“The main aim of the project is to allow anyone to live in a unique environment through a self-sufficient, nonpolluting dwelling that exists in unison with their ocean surrounding,” Zema tells POPULAR MECHANICS. At first glance, the Trilobis looks as if it would be more at home soaring into the sky than plying the waters of atolls, bays and maritime parks. Looking at a computer image of the bow conjures up visions of the flying saucers in 1950s science fiction films. The Trilobis’s blueprints, however, reveal a nautical heritage that reaches back to the humble dugout while simultaneously embracing 21st century technologies that include high-strength composites and nonpolluting hydrogen fuels.

Circular Living – Perhaps the most striking feature of Zema’s design is one that reflects his willing recognition of the great unspoken truth about luxury yachts. Powerful engines and sleek hulls aside, these vessels typically stick close to home. Acknowledging the fact that well-heeled mariners often prefer to keep their floating palaces moored inches from the dock, Zema also designed a special type of marina that will enable like-minded Trilobis owners to create their own floating villages. The traditional rectangular dock will disappear, to be replaced by a roughly 60-ft.-dia. circular island in the shape of a 6-tooth gear, into which individual yachts fit like pieces of a jigsaw puzzle.Stepping off the floating island, yachtsmen will ascend a few steps and find themselves on an expansive circular deck. At this level, the Trilobis resembles a deviled egg, measuring about 65 ft. from stem to stern and 42 ft. from port to starboard. Zema has divided the interior space into four functionally different levels, connected by a spiral stairway that runs through the yacht’s centerline. The top of the stairway opens onto the driving deck. Housing the helm, communications equipment and navigation gear, it offers the best view of the sea from its elevation of about 11 ft. above the waterline. The space is dominated by a massive glass wall that begins above the stairway and arcs gently over the forward seating area before disappearing into the deck below. Ordinarily, so large an expanse of glass would pose a heating problem, but this is no ordinary window. It is a sandwich of two layers of tempered glass and an electrolyte with a very unusual property. With the turn of a dial, you can change the voltage flowing through the electrolyte material, which is encased between the panes, altering the tint of the window or blacking it out entirely. Power for the windows and the ship’s electrical systems comes from photovoltaic panels, manufactured by Siemens, that are integrated into a foam-reinforced fiberglass skin. At night and on cloudy days, power comes from batteries, with an inverter converting DC into AC for low-loss power distribution.

Day And Night – Descending from the top to the craft’s third level, yachtsmen will enter what Zema calls the day area. Its use of space is a reminder that spherical structures are more efficient than rectangular ones. As with the space above it, the day area is surrounded by self-shading glass, offering a panoramic view from the gourmet kitchen, formal dining area and three seating groups. On this level, the spiral stairway serves a secondary function of separating interior and exterior spaces. Sliding glass doors fully retract, opening onto a teak deck.Returning inside and following the stairway down one more flight leads to what is known as the night zone. The Trilobis sleeps six, with a premium on privacy. The design calls for two single and two double bedrooms, each with a private bathroom. With the deck at this level beginning 3 ft. below the waterline, the wraparound window cuts off at eye level.This level also houses the yacht’s propulsion system, which consists of two electric motors. Each is rated at about 300 hp. They are powered by hydrogen-fed Ballard fuel cells. The hydrogen for the fuel cells will be stored in a pair of 240-gal. tanks located just aft of the single bedrooms. The fuel supply is not intended for ocean crossings, but to be sufficient for moving the yacht to nearby reefs to explore seasonal changes in marine life and catch a true fish-eyes view of unusual migrating species.

Ocean Depths – The most distinctive feature of the Trilobis is its fully submerged first level, the observation bulb. Like the driving deck and day area above, it offers a commanding and unobstructed view of the sea. Only here, that view begins 10 ft. below the waterline. This is the smallest of the levels, just big enough for six chairs. Built to the same technical standards as tourist submarines, it is a thick glass enclosure that provides a 360° view. So that this area can be used when there’s no sunlight, the Trilobis has a ring of 200-watt spotlights, angled away from the observation bulb, to illuminate any sea life swimming directly in front of the viewers. The second set of spotlights, placed just below the deck level, lights the reefs below. Zema is several years from building the first Trilobis. Most likely, it will be constructed in Vancouver, British Columbia, where he has set up an exclusive marketing relationship with Underwater Vehicles Inc. The location may seem like an unusual choice, but the region has the two essential ingredients needed to make the Trilobis project a success. The first is its wealth of small inlets and bays. The second is a pool of wealthy yacht owners, one of whom may be willing to invest the $4 million to $5 million it will take to launch yachting into the 21st century. Contact Underwater Vehicles Inc. at www.sub-find.com.

Trilobis 65 Floating Home (info del sitio original)

Trilobis 65 is a semi-submerged dwelling environment. Reaching 20 metres in length designed by Giancarlo Zema for habitation by six people at sea. It is ideal for living in bays, atolls and maritime parks. The main aim of the project is to allow anyone to live in a unique environment through a self sufficient, non-polluting dwelling cell in unison with their ocean surroundings. Trilobis 65 has been designed on four separate levels connected by a spiraling staircase.

The top level is 3.5 metres above sea level. The next level is at 1.4 metres above sea level and hosts the daylight zone with all services and allowing outdoor access. The third level is situated at 0.8 metre below sea level, semi-submerged, and is devoted to the night-time zone. At 3.0 metres below sea level, totally submerged, there is the underwater observation bulb, an intimate and mediative place.

The shape of Trilobis 65 allows the annular aggregation of more modular units, creating island colonies.

This special project refers to the Trilobiti, little creatures that lived in the sea 500 milion years ago.

Contact Underwater Vehicles Inc. for further details regarding custom floating homes and Neptus 60 cliff-side dwellings with underwater viewing compartments. All homes are engineered to meet strict ABS and Lloyds certification requirements.

Maximum length - 20 mt
Maximum width – 13 mt
Observation bulb – 3 mt o.s.l. Max Speed – 7 knots
Accommodation – 6 beds
Power source options – Ballard fuel cells, solar, wind, diesel

New – from Giancarlo Zema Lake Washington Commercial and Recreational Marine Park

Application of Augmented Reality in Architecture and Urban Space – Architecture thesis project in Ecole Spéciale d’Architecture Paris Oct 2005 by Quck Zhong Yi, with help from Alexandre Pachiaudi (Pico), Anny Galanou, Gaetan Kohler, Nicolas Trouillard, and Leila.

Thom Mayne doesn’t see architecture as the means to build a readily imaginable structure. Rather, it’s a starting point for new kinds of building — and thus new kinds of landscapes and environments. This mind-bending talk takes us on a whistle-stop tour of the buildings Mayne and his studio Morphosis have created in recent years. From the Federal Building in San Francisco to graduate housing for the University of Toronto to the Wayne L. Morse Courthouse in Eugene, Oregon, these are big ideas cast in material form.

[via http://www.ted.com]