LEWIS RESIDENCE (UNBUILT)
Project Categories- Year 2006; Type: MERIT; Chapter: DENVER
Project Name: Playa Blanca Wildlife Interpretive Center
Client: Colorado Division of Wildlife
Description: 150-by-45-mile-wide area, running north to south. It is considered to be the world's largest high-elevation valley. The semi-arid desert valley floor, perched at an elevation of 7,600 ft., averages less than 6” of rainfall per year and is completely ringed by the majestic San Juan and Sangre de Christo mountains, more than 13,000 ft. high. The valley is a high-mountain, desert valley characterized by high evaporation rates, moderate winds, cold winters, moderate summer temperatures, and abundant sunshine. The local economy is based on irrigation agriculture, tourism, commercial livestock production and mining.
Water in the San Luis Valley, essential for agriculture, wildlife and the quality-of-life it brings to the communities that have grown around these precious natural resources, is a defining issue for this place. As written by Jim Hughes of the Denver Post in his article, Emotions Run Deep in the Valley, “’Sin agua no hay vida.’ Without water, there is no life.”
The Playa Blanca State Wildlife Area provides viewable wildlife opportunities for both sophisticated and novice bird watchers. An existing Native Aquatic Species Restoration Hatchery on site provides aqua culture operations and serves as the current public interface for the Colorado Division of Wildlife. This project set forth to define a new visitor facility to relieve the hatchery of this function and to provide a more focused effort in providing information and education related to the cultural history of the valley and the role of water in the region.
The site is flat and includes areas of playa wetlands, natural and man-made ponds, and an agricultural area on the northern edge. Rock Creek traverses the southern end of the site, and natural vegetation includes Upland Sage and Chico. The playas and natural wetland areas experience dry periods during the year, while the man-made ponds (created as part of the discharge system from the nearby hatchery operation) are wet year-round. The soil on the site has high alkali content, with the visible white salt on the ground promoting the name Playa Blanca.
The character of this expansive landscape, the movement of the sun, the gusting of the wind and the physical presence of wildlife serve as inspiration for evolving a proposition that promotes reciprocity between the indoor and outdoor environments. As abstract planes and volumes in the landscape, the building becomes a sculpture within the wildlife area. This intervention serves to engage and celebrate the valley.
Project Categories- Year 2005; Type: MERIT; Chapter: DENVER
Project Name: Englewood Cultural Arts Center
Description: The Englewood Cultural Arts Center had to be highly visible and easily accessible. The intersection of the Santa Fe transportation corridor and Highway 285 provides maximum metro-wide exposure and makes the arts center convenient for both automobile and mass transit arrival. In this location, the ECAC will be a “Billboard for the arts”. This exposure will augment the aggressive promotion of the arts that is necessary to sustain an art center’s fiscal success.
Architect Contractor Information
Architect Name: Arley Rinehart Associates - Architects
Reference: http://images.google.com.au/imgres?imgurl=http://www.aiacolorado.org/images/awards/projectPhotos/generation_Denver.gif&imgrefurl=http://www.aiacolorado.org/awards/recipients.cfm%3Fchapter%3Ddenver&h=285&w=439&sz=74&hl=ko&start=45&sig2=bhrBt7dmRbC_NyLYQjs3nw&tbnid=4WL9B2joHHdp-M:&tbnh=82&tbnw=127&ei=pSb6R_OTBIq6gQPRoJUQ&prev=/images%3Fq%3Dunbuilt%2Bbuilding%26start%3D36%26gbv%3D2%26ndsp%3D18%26hl%3Dko%26sa%3DN
Louis I. Kahn: Unbuilt Ruins An Exhibition by Kent Larson
"I thought of the beauty of ruins . . . of things which nothing lives behind . . . and so I thought of wrapping ruins around buildings." - Louis I. Kahn -
Introduction: The story is well known. Kahn, having built little of note by the age of fifty, spends four months as Architect in Residence at the American Academy in Rome. During this time he experiences the great ruins of the ancient world and resolves that "the architecture of Italy will remain as the inspirational source of the works of the future." He returns in 1951 to immediately execute his first major commission, and struggles for the next 23 years to incorporate lessons learned in Italy, Greece, and Egypt. In the process he redefines modern architecture and becomes the most important architect of the second half of the 20th Century. He dies at the height of his career after building many of the masterworks of our time: the Kimbell Art Museum, the Laboratories of the Salk Institute, Exeter Library, the Yale Center for British Art, and his monumental projects on the Indian Subcontinent.
The role played by work Kahn could not build is less well known. Between 1959 and 1961, Kahn used a series of fascinating unbuilt projects - particularly the American Consulate in Angola, the Meeting House of the Salk Institute, and Mikveh Israel Synagogue - to work out and test his new ideas. In these projects, Kahn developed elements later found in his built work: a configuration of space as discrete volumes, complex ambient light and shadow, a celebration of mass and structure, the use of materials with both modernist and archaic qualities, monumental openings uncompromised by frames, and Kahn’s concept of "ruins wrapped around buildings." At the end of the 60’s he created what is perhaps the clearest expression of this link to the old world - the Hurva Synagogue for Jerusalem. Finally, the unbuilt Palazzo dei Congressi in Venice prefigured a significant change in direction, as evidenced by his last major built work, the Yale Center for British Art in New Haven.
This exhibition attempts to shed light on the eternal mystery of how Kahn came to make the architecture he did, by looking in depth at projects left unbuilt.
Subject : The exhibition will feature radiosity-based, hyper-realistic computer graphic renderings of 8 unbuilt masterworks of Louis I. Kahn: U.S. Consulate for Luanda, Meeting House of the Salk Institute, Mikveh Israel Synagogue, Memorial to Six Million Jewish Martyrs, Hurva Synagogue (first, second and third proposals), and the Palazzo dei Congressi. The exhibition will coincide with the publication of the book Louis I. Kahn: Unbuilt Masterworks by Kent Larson, Monacelli Press (with foreword by Vincent Scully, afterword by William J. Mitchell)
Digital/Analog: The exhibition will incorporate sophisticated digital technology (computer graphic simulation, 3D printing of digital models, and computer vision tracking). It will combine this with a seemingly non-digital interface (physical models moved like chess pieces) and high-resolution analog images (rear-projected 35mm slides).
Exhibit Layout Physical Models: A central table, 54 inches to a side, will be placed in the center of the exhibit. A 3D printed physical model of each of the 8 unbuilt projects, on bases 3" x 3", will be located, two to a side, at the perimeter of the table. Each model will have a digital tag that identifies it. In the center of the table will be a 3" x 3" depression. When a model is placed in the depression, a sensor will identify the model.
* There are further more information on this unbuilt building.
댓글 없음:
댓글 쓰기