¨The above video is an update to the Department for Architecture Design and Media Technology‘s Aero Pavilion which was completed just last year. An environmental condition of wind combined with the penetration of light through the structure is utilized as means for architectural articulation. Emphasizing the immediate understanding of the airflow, which defines the perceptive characteristics of internal space, the simplicity of the form consists of planar plywood plates in digital parametric models for simple and fast production and assembly.¨
The vertical gardens of French botanist and artist Patrick
Blanc--featuring structures covered in orchids, ferns, exotic plants,
and epiphytes freed from the constraints of gravity--transform the
historic Enid A. Haupt Conservatory into an exotic spectacle to dazzle
the senses in The Orchid Show: Patrick Blanc's Vertical Gardens.
Unfinished Spaces is a documentary about Cuba’s Fidel Castro-commissioned National Art Schools, one of the most spectacular architectural "achievements" of the Cuban Revolution. The incomplete five distinct brick and terracotta marvels of three Italian architects, Ricardo Porro, Roberto Gottardi, and Vittorio Garatti, will now have the hand of Norman Foster.
Foster has been selected to convert Vittorio Garatti’s School of Ballet, partially built in 1961, into a new arts complex in the name of Cuban ballet star Carlos Acosta. Foster called the building “an iconic ruin of early Modernism”.
Unfinished
Spaces é um documentário sobre a Cuba de Fidel Castro e as Escolas de Arte Nacionais,
um das mais espectaculares “conquistas” da arquitectura da revolução cubana. As distintas
cinco maravilhas de tijolo e terracota inacabadas de três arquitetos italianos,
Ricardo Porro, Roberto Gottardi, e Vittorio Garatti, terão agora a mão de
Norman Foster.
Foster
foi selecionado para converter a Escola Vittorio Garatti de Ballet, parcialmente
construída em 1961, num novo complexo de artes em nome da estrela do ballet
cubano, Carlos Acosta. Foster refere-se ao edifício como "uma ruína ícone
do início do Modernismo".
Tudo começou com um stencil intrinsecamente ligado ao seu contexto regional. A aceitação desta "simbologia" por parte da população local foi determinante na medida em que acabou por se transformar num ícone perante a comunidade surfista local e estrangeira.
It all started with a stencil linked to its regional context. The acceptance of this "symbol" by the local population was crucial in what became an icon for the local community and foreign surfers.
