Posts tagged with "Le Corbusier":
Andreas Angelidakis and Juliana Huxtable kick off the first in a series of partnerships between AN and Façadomy, a contemporary journal that reflects on issues of identity through the lenses of art and architecture.The portmanteau of Façadomy’s title is mimetic—it’s contents and practitioners are brought together from seemingly unrelated fields. Each issue is based on the work of a non-arts based professional, and the responses by a diverse panel of cultural producers. The result is a polytonal visual essay on a relevant contemporary topic. Gender Talents, Façadomy’s inaugural issue, presents gender at the intersection of art and architecture. Gender Talents begins with the work of Grimstad, Norway–based sexologist and Transgender icon Esben Esther. P. Benestad who has observed seven unique genders in their work as a doctor and therapist in Scandinavia. The issue is composed of reflections on these categories by Andreas Angelidakis, Kimberly R. Drew (@museummammy) and Juliana Huxtable. A selection from the first of these 7 genders follows below: Female (as defined by Façadomy) Femininity can be accentuated with ornaments, but it is not essential to femaleness. A Female is an individual who describes herself as Female and can be considered one of the gender majorities. Femaleness derives most of its conventions from the characteristics attached to individuals that are chromosomally XX: production of ova, milk-producing mammary glands (after childbirth), a higher ratio of fat to body weight than Males, fairer voice, motherhood and caregiving. When an XX individual with the conventional characteristics of Female also perceives herself as Female, this is understood as Cis-Female. Females may have another chromosomal constellation or may not possess any of the traditional characteristics at all. La Tourette by Le Corbusier. She looks like a nest. Once you start to go inside, she is gorgeous, a hallucinogenic beauty of proportion, warmth, and detail. She is the most caregiving of buildings, with spaces that are sensual, protective, welcoming and, at times, inspire awe. And if La Tourette is a female, the dark blue and red chapel is her womb. You can glimpse at the sky, sense distant sunlight from within, and you never want to leave. La Tourette is the mother you always wanted: flamboyant, caring, generous and superior. She may not be ornamental, or visually glamorous in her facade, but she is thoughtful and smart. —Andreas Angelidakis FEMALE THE OTHER SEX. NOT I, BUT SOMETHING OTHER. SCALING THE FOLDS OF LABIA THAT STAND AGAINST THE UNKNOWN. I CLOSE MY EYES AND SEE FLASHES OF OTHER SILHOUETTES, FORMS GENDERED THROUGH RELIEF AND IN THE REMAINS OF NEGATIVE SPACE. I STRUGGLE TO MAKE OUT THE FORMS OF WHAT SEEM LIKE HIPS, BREASTS, BUT THESE POINTS FAIL TO SIGNIFY FULLY, AND HAVE BEEN SHUT OFF; CONTRABAND. SHE IS PERHAPS INSOFAR AS HER WOMB BEARS CERTAIN POTENTIALS FOR RE-PRODUCTIVE LABOR; IF BARREN—SAINT OR NON-ENTITY. A HOMOCHROMOSOMAL RELATIONSHIP THAT (THEY’D LIKE YOU TO BELIEVE) FORGOES THE FIRST WHY OF SUBJECT FORMATION. THE TECHNOSCIENTIFIC CODES CREATED BY THE WRITERS OF CERTAIN MYTHOLOGY REFLECT THEIR BIASES. THEY LOOK AT THE 3-D STRUCTURES FROM ABOVE, ANTHROPOMORPHIZE THEIR CURIOUS “APPEARANCE” WITH AN ALPHABET WHOSE HEGEMONY RESTS ON FORCED SEXUAL ENCOUNTERS. “SHE” DESIGNATES ALL THAT IS NOT “HE,” A SEMIOTIC ZONE OF ABJECTION RENDERED EVERYTIME HE SAYS “BITCH.” TO SAY NOT MALE DOESN’T SUFFICE, THE TENSION BETWEEN THE TWO PARTIES; SPECTACLE DISTRACTION FROM THE KNIFE; CLITERECTOMY. A SPACE OF SHELTER AND COMMUNION FOR ALL WHO “SHE” ASSUMES AND ALL WHO ASSUME “SHE” —Juliana Huxtable
A geometric corrugated metal and glass facade integrates industry and nature.Barkow Leibinger's original scheme for HAWE-Werk Kaufbeuren, developed for a competition several years ago, was "a completely crazy origami thing," recalled partner Frank Barkow. But upon winning the commission and learning that the factory's owners wished to build it in a single phase, "we had to be careful not to kill them with the budget," he said. "We really dumbed it down." The architects did, however, hold on to their original pinwheel plan, with production wings rotating around a communal courtyard. Inspired by Le Corbusier's "green factory"—a humanizing alternative to the "black factories" of the nineteenth century, which prioritized the flow of goods over the experience of the workers—Barkow Leibinger's design opens the HAWE plant to the Bavarian countryside with a geometric facade of corrugated metal and glass. In addition to drawing upon Le Corbusier's "green factory" concept, Barkow Leibinger also looked at industrial designs out of northern Italy in the 1960s and 70s, which in turn led them to experiment with a prefabricated concrete frame. "Usually we do steel," explained Barkow, "but in this case the client liked the precast concrete. It's a dirty industry—there's a lot of milling going on." The factory's exposed mechanical systems are integrated directly into the structure, passing through perforations in the horizontal beams. "It's not a very finicky factory," said Barkow. "We just put it where they needed it." Steel-framed shed roofs sit atop the concrete. Skylights look to the north, while the roof's south slopes are designed to accommodate photovoltaic panels. "The north-facing shed is a classical industrial solution," noted Barkow. "It brings in a lot of light, and saves a lot on artificial lighting." The arrangement of solids and voids on the facade emphasizes the resulting sawtooth profile. The architects carved the envelope into a repeating pattern of triangles and trapezoids, clad in glass and corrugated sheet metal, respectively. Most of the building's glazed surface is translucent white channel glass, with vision glass in the sliver of space closest to the ground. At the end of each wing, a broad horizontal window features a larger central section of channel glass framed by floor-to-ceiling panels of transparent glass to either side. "This is a kind of Corbusian idea: large end facades that look into the countryside," said Barkow. The factory wings are designed to be expansible, the end facade deconstructed and then rebuilt after the installation of additional bays. Barkow Leibinger gave HAWE-Werk Kaufbeuren's extra-production facilities distinct treatments. The lobby and office area is "a more blocky structure," said Barkow, with a transparent curtain wall. The cafeteria, too, plays up the connection to the courtyard with plentiful glazing. The architects designed the "edge spaces'" facades to contrast—but not clash with—the factory floor, explained Barkow. "They're adjacent spaces, but quieter and cleaner." HAWE-Werk Kaufbeuren earned a silver rating from the DGNB (German Sustainable Building Council) thanks in part to the architects' emphasis on daylighting and use of triple glazing, plus careful attention to the window-to-wall ratio. "Nothing spectacularly complex" was involved in the sustainability strategy, said Barkow. Indeed, the very simplicity of the design led to its success, practically and conceptually as well as in terms of environmental performance. From a complicated initial scheme to their final, streamlined, solution, Barkow Leibinger pared the plan and material palette to the bare essentials, with an eye to speeding construction while keeping the "green factory" ideal at the fore. "It's a large project in this landscape," said Barkow. "It's at a different scale, and more robust, than the factories we typically work on."
On View> This might be your only chance to see this rare Le Corbusier tapestry commissioned by Jørn Utzon
An aluminum rain screen and locally-sourced brick articulate a two-part program.The Brook, developed by Common Ground and designed by Alexander Gorlin Architects, is part of a new wave of affordable housing communities popping up all over the United States. Unlike the public housing projects of the mid-twentieth century, which focused exclusively on housing and tended to suffer from a lack of routine maintenance, The Brook, located in the Bronx, combines apartments and support services under one roof. This duality is manifested in the envelope’s contrasting material palette—dark grey brick for the residential spaces, raw aluminum over the community facilities. “The idea of the exterior was to symbolize, as well as reflect, the internal program of Common Ground as supportive housing,” said Alexander Gorlin. “It’s inspired in part by Le Corbusier and his idea of expressing the program on the facade, and expressing the public functions as a means of interrupting a repetitive facade." The Brook’s communal areas, which are clustered at the corner of the 92,000-square-foot, six-story building, are marked on the exterior by ES Tolga Dry Seal System aluminum panels from Allied Metal. In addition to articulating the change in program, the metal facade “represents coming together, creating a landmark for the neighborhood as well,” said Gorlin, who noted that Common Ground “liked from the beginning marking the corner as a special symbolic place.” The metal-clad corner also functions “urbanistically, to break the building into three parts, break down its scale,” he explained. A series of inset terraces interrupt the grey aluminum walls with splashes of red. “At one level it’s a bright color to be cheerful and optimistic,” said Gorlin. “In China, red is a symbol of good luck. It also symbolizes the heart of the program and the community.” The Brook’s 190 studio apartments are distributed to either side of the community facilities, along wings punctuated with square and rectangular windows. “We decided to vary the window placement so it would create a more lively asymmetrical pattern. It’s not just a simple grid,” said Gorlin. The designers clad the housing areas in locally sourced dark grey brick. “Brick is a very noble, ancient material,” observed Gorlin. As a good insulator, it also contributes to the building’s LEED Silver status. Other sustainability strategies include a green roof, a special boiler system, building management technology that turns off the lights when a room is not in use, and the use of recycled and non-offgassing materials. The Brook was erected on a vacant lot in a neighborhood once known for pervasive blight. Early in the design process, said Gorlin, the architects and developers discussed installing bars over the lower windows. “It was determined very consciously not to do it, even though there’s glass on the corner,” he explained. “We decided not to put bars up or make it look in any way prison-like. In fact, by not doing so it’s been maintained in perfect shape. People in the neighborhood think it’s a high-end condo.” Gorlin calls Common Ground “a miraculous kind of client in terms of what they do and the manner in which they deal with the community.” The Brook, he said, represents a new approach not just to affordable housing, but to homelessness. “To actually build permanent housing for homeless people” is a unique opportunity, he said. “It’s not just a shelter, but a place to start over in life.”