Screen House - The most beautiful house of May 2009

by KTS. Trịnh chiến Thắng | 5:02 AM in , | comments (0)

Rate by Architectural Recod

Screen HouseReuse, renew, recycle, renovate! When New Westminster, British Columbia, couple Jeanine Harper and Les Linfoot, and their three sons, aged 18 to 26, needed more space, they decided to build onto their 2,500-square-foot 1950s ranch-style house. “It was an L-shaped, low-slung, post-and-beam house,” says local architect Randy Bens, who did the redesign. “The house was so neutral, and it had this nice red oak flooring which was in very good shape. We knew that we could update and expand the home but still keep a lot of the existing structure and walls.”

New Westminster is about a 20-minute drive from Vancouver, and Harper and Linfoot’s house sits atop a hill in a suburban area rich with mid-century Modernist architecture. “I grew up in an architect-built, Modernist house,” says Harper, “so I like that aesthetic and wanted our house to echo the sensibilities of the neighborhood.” Linfoot, an artist, says he wanted their house “to move into at least the 20th century and maybe even the 21st.” Like Harper, he appreciates a lack of clutter and smooth transitions between inside and outside spaces.

Bens understood that with three boys in the house (for the moment, at least), Harper and Linfoot needed private space. His redesign created a 1,000-square-foot upstairs addition comprising a painting studio, master suite, and deck. “Architecturally,” he says, “the goal was to knit together the old and the new with simple gestures and materials that would be sympathetic to their context, yet fresh.”

Zoning laws wouldn’t allow Bens to create an upper addition that would fill out the footprint of the existing house, but that was not his intention. “The climate here is very gray and rainy, the light very soft. We wanted to be sure light would get into all parts of the house,” he explains. Bens organized the addition’s massing by creating chunky new volumes to sit on existing structure, but added a double height to the downstairs living room, and created upstairs decks that would take advantage of views. To shade the south-facing double-height living room, the architect created a horizontal screen of stained timber and anodized aluminum for the exterior. Placed at a 90-degree angle, the screen protects the entry from rain and sun, and adds a horizontal element to counter the vertical nature of the added volume. Vertical cedar siding, gently sloping roofs, exposed glued laminated beams and rafters respond to the aesthetic of the neighboring mid-century post and beam houses. To add a contemporary element, Bens installed zinc panels above and alongside existing window openings, aligning them with new openings above.

Inside, the architect retained the original floors (and added recycled fir flooring on the second level) and extended neutral white walls though the house as a palette for Linfoot’s art collection. New millwork, including built-ins, was constructed from a mixture of Appleply and Plyboo. Rounding out the sustainable features for this house that has no air conditioning, the upstairs bathroom incorporates Paperstone, a tile made of recycled paper, on the counter and tubs, and a composite recycled tile is used on the floor and shower walls. A new steel stair connects the two floors, and decks are made of pressure-treated cedar. “It’s all very simple,” says Bens modestly. “Wood floors, white walls—it’s hard to screw that up.”

Harper and Linfoot have a bit more to say. “The view, the whole upstairs, it’s hugely pleasurable,” says Harper. “More than just light, there’s a lightness to the house that is such a nice thing. It flows, there’s so much space, yet it’s also quite cozy.” Says Linfoot, “Cookie cutter houses don’t appeal to us, and while we know the house reflects features of others in the neighborhood, we’re also surprised by the people who we see standing on the street and staring.” But for Linfoot, it’s not just all about his house. “We wanted to use a young architect for this project,” he says. “It was important for us to be part of the patronage of someone with talent who’s just starting out.”

Harper and Linfoot now have the house of their dreams. Whether their adult sons leave them to it remains to be seen.

Courtyard House by Studio Junction

by KTS. Trịnh chiến Thắng | 9:18 AM in , | comments (0)

[Ed. Note: Adorable Asian children not included - so back off all you Madonna and Brangelina wannabes…]

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I’m pretty sure I saw this project in April’s issue of Dwell - but regardless, it’s sick and had to be on AMNP [I couldn’t risk any of you ninjas missing out - it would’ve been irresponsible of me]. Essentially an adaptive-reuse project, the project transformed a warehouse in a mixed-use neighborhood into a courtyard house [obviously, as the name suggests].

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The Courtyard House was inspired by an ancient form of architecture and a new form of North American urban thinking - infill housing as an alternative urban typology.

By converting a contractor warehouse in a mixed-use industrial neighborhood, the ambition was to create a modern, affordable home and studio for a family of four - one which could successfully adapt to a mid-block or laneway situation, where there is no typical front or back. The design of the house is generated by an emphasis on the views and activities of the interior courtyards, where all the windows look inwards.

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My question is this: why are courtyard homes not more prevalent in ‘urban’ areas that are more dense than our suburbs, but still not so dense that single [or 2 family] homes aren’t practical? So many communities - the one I live in, for example - are ‘urban’, yet have an abundance of 1 and 2 family homes with yards, etc. These homes are on narrow lots and are often-times pressed for space - yet they still opt to pull back from the street so as to make a gesture to the American lawn, while facing the street like so many suburban homes [regardless of street traffic, etc]. While the project featured here is obviously a converted warehouse, and seems like it may be a little too disconnected [internally] from the street visually - the typology obviously works and makes sense. Use the volume of the house to create private, outdoor spaces.

::Photos by Rob Fiocca:: .:images and info via-> Studio Junction:.

Two Houses: the different modern yet traditional approaches between house and nature

by KTS. Trịnh chiến Thắng | 3:04 AM in , | comments (0)

In spite of the building type's relatively small size, the house is often the most challenging building type for even the most masterful of architects. In part it is because of the personal and complicated nature of the client relationship, but also it is due to the tension between a flexible yet individualized program and a freedom for the architect to demonstrate their concept of the meaning of home. Some of history's best architects built their reputations in a series of one-of-a-kind houses, while producing few large-scale institutional or commercial buildings. At the other end, world-reknowned designers known for their striking museums, academic buildings or stadiums often produce forgettable houses. Many of the latter will only choose commissions that allow them almost unbridled freedom, where they are expected to reimagine dwellings beyond our familiar notions. Such houses are not only unique due to the uniqueness of their client, they are also special in that they embody functions beyond simple domestic living.

This liberal adding of functions was evident in recent tours of a couple of homes designed by genuine "starchitects" in Dallas. In both instances, the houses contained traditional living spaces such as bedrooms, kitchens and bathrooms, but were then supplemented by spacious exhibtion spaces for their private art collection. There were vast areas designed for entertaining, as these houses are known to hold frequent fundraisers, meetings and art shows. The first house I toured, the Rachofsky residence by Richard Meier, can be described as 10,000 square foot one bedroom/one bath home. The living spaces are tucked to the far corners of the house, with kitchen squeezed at the bottom floor, the small bedroom and bathrooms perched on the third floor, and the rest of the large volume given over to exhibition space for the owner's private (and frequently changing) contemporary art collection. The Rachofsky house is the very embodiment of the house as museum. Add to that the precision, whiteness and mild austerity that is Richard Meier's signature style, and it becomes clear that the architect (and client) were less interested in designing a modest home than in wedding his previous museum prototypes to the scale of and in minor deference to someone's private bachelor pad.

The second house, Antoine Predock's house at Turtle Creek, is different in that the residential functions are a bit more prominent and are actually lived in (the owner of the Rachofsky house no longer lives there, as it became to difficult to live within a museum, or in other words, too many art lovers wanted visit). The bedroom and master bath are larger, the kitchen is packed with food, and the formal dining room is celebrated by being perched on the upper level, connected by stairs, bridges and an elevator (which allows it to be serviced by the kitchen below). The living room is really an extension of the house's gallery, dotted with sculpture pieces that are so "contemporary" that it isn't hard to mistake some of them for everyday objects. But the gallery spaces are nothing compared to the sprawling roof terrace wich consists of gentle ramps and walkways spanning the entire length and breadth of the house, not to mention a small amphitheatre. However, the singular feature of the Rose house is its birdwatching bridge, which allows one to walk from upper level to a small steel platform nestled on top of the shady tree canopy. From the platform she not only can look at birds but also look down at the rocky creek that circumscribes the site. Unlike Meier's house, with its almost baroque relationship to the site in that it sits on an artificially flat site at the end of an axis facing a major street fronted by monumentally modern gate, Predock's house virtually hides itself, integrating itself to the sloped and shady site, with nary a true public facade but instead incorporates a series of massive planted terraces as its long front wall. The backyard is laced with footpaths leading to the creek and is framed by a large curtain wall, with one portion covered by a large curved surface of mirror-polished stainless steel, concealing the house even more by reflecting the thick tree canopies opposite to it.

From the two houses' contrasting relationships to the surroundings reveal contrasting heritages in the modern domestic design. The first of these is to have the building dominate the landscape, with all landscape features arranged to emphasize the house so as to make it monumental. This is in keeping with a tradition that date from at least the ancient classical era, and was a standard site planning practice since the Renaissance. It is intended to enhance the symbolic function of the building, drawing to either the building's owner or the institution that is represented by it. The second heritage is of merging the building to the original contours of the landscape, deliberately minimizing its monumental presence in favor of achieving harmony with the natural surroundings. This relates to the picturesque tendency in landscape design, The winding steets of medieval towns and the organic agglomerations of medieval monestaries. Harmonizing with the land explains the dramatic effects of works by Arts and Craft masters and the dazzling works of Frank Lloyd Wright.

Maintaining a more traditionally monumental heritage, Richard Meier's personal style can be described as a kind of "Corbusier revival". More specifically he adopts of the vocabulary of the old master's series of white villas during the 1920's. In both the opaque treatment of the front of the house and glassy and open terrace treatment on the back side, The Rachofsky house shares an almost literal resemblance to Le Corbusier's design for Gertrude Stein's villa outside Paris. Beyond their shared lack of color on the outside, both Meier and Le Corbusier separate the wall from structure, exploit the idea of the free facade with openings and reinforce the free plan with a continuation of volume in between floor levels. Meier expands Le Corbusier's concepts even further by overlaying an orthogonal grid on both the exterior treatment as well as in organizing the interior spaces. In an almost quintessentially baroque move, Meier expands this grid onto the surrounding landscape, creating in essence a "tabula rasa", a perfectly blank slate on which the house sits, so as to avoid having to confront the randomness of nature. Implementing this grid in so many dimensions requires a great deal of precision, which is exhibited in the quality of the architectural details. Whereas Le Corbusier has never been able to execute detail with much skill, Meier's buildings demonstrate a perfectionism of detailing to a point that they almost lose their human touch in favor of a kind machine-like quality that has always eluded the man who saw houses as "machines for living". There is, nonetheless, a genuine playfulness within the Rachofsky house's careful composition as Meier subdivides the cube to modulate transparency and opacity to reflect function, to carve outside terraces and emphasize stairways. And although the house subjugates the land around it, nature is brought inside as copious glazed surfaces frame detailed views of the outside. Natural light permeates almost all spaces within the house, and the intricate pattern of the window mullions reinforce an awareness of the passage of time when they project changing shadows onto the surfaces.

Predock's house engages with its natural surroundings in a more metaphorical way. The house introvertedly addresses the steet, with no windows facing out and built-in vegetation helping minimize its actual large size. The site itself is covered with trees and tall shrubs, offering less abundant natural light to the interior of the house. Add that to the massive concrete walls that run throughout the house, and there is an overall cavernous feel to the spaces. This is balanced by the positioning spaces to capture specific directional views to the outside, with curved walls bowing to the outside to maximize the panoramic views. When one studies the actual plan of the house, the bold geometry of the circle combined with the circle stands out, and instantly seems to reference Frank Lloyd Wright's habit of creatively incorporating sacred shapes. There is a linear axis that organizes the gallery spaces and the main stair and roof terrace, from which the circle and triangle extend outward from the axis. This is countered by a more diminutive axis that articulates a path directly to a light steel bridge outside that terminates at the birdwatching platform. The whole house seems to take the cue of the owner's fondness for birdwatching, in which the wide variety of floor levels and steps and its exansive roof garden under the tree canopies gives recalls a tree with branches at multiple heights, offering distinctive views depending on where one is perched.

Both houses reveal the different approaches and in how geometric devices organize form and generate particular effects. In spite of its appearance as a rigid rectangular prism, Meier's house is an ode to the grid and hidden regulating lines and its resultant flexibility and freedom (much like Le Corbusier had preached). Predock distills abstract geometic shapes derived from conditions of the site and then proceeds to fit the program within the strict spatial parameters of these shapes. Such bold geometric gestures (and a rich palette of materials) lend the visitor's attention instantly to the architecture and seems to minimize the presence of the outside. Wedge-shaped rooms and curved glass walls make each space unique yet all-consuming. In contrast, the minimal whiteness and strict orthogonal character of Meier's house allows the architecture inside to dissolve and accentuates the outside environment more intensely. There is however an inverse effect when seen from the outside: the very orthogonality and whiteness brings much more attention to the building than to its natural environment. The cool grays and beiges from Predock's use of concrete and stone has the opposite effect, and its axial and sharp geometries slightly mimick the contours of the land.

Which house more appropriately addresses the surrounding context? Both do, but they respond to different kinds of places. Meier's Rachofsky house is situated at Preston Hollow, an up-scale neighborhood defined by the relatively flat land and generous suburban tracts. Predock's Rose house is situated along Turtle Creek in a neighborhood that was landscaped by a master of the picturesque style made popular in the U.S. by Frederic Law Olmstead. Neither seem to cry out for attention even as their neighbors in the form of McMansions do by coming close to the street and assuming as tall a profile as possible. The Rachofsky house sits near the rear of the site, preceded by a giant front lawn and a minimalist wall with gate facing the street. The Rose house atually frames a private drive with its planter walls, but it almost appears as if it had been there for a long time like an ancient Mayan ruin. From any other side, the house becomes invisible, even from across the creek veiled by lush vegetation and minimal landscaping. The Rose house is indeed quite the private refuge, while the Rachofsky house is more of late 1990s chateaux which has become more institutional in function as it has embraced a role as a public art gallery of sorts.

And now for the more interesting question: which do I like better? Judging from my pen-name, it would appear that I would be partisan to Meier, as he carries the torch of Le Corbusier's stylistic innovations. Meier's work has had a subtle influence on my personal design style even if I would never impose such a limited palette of color and material as he does. Predock is a precocious form-maker that gives his buildings symbolic value, using materials that often harmonize well to the outside context. Yet his sense of scale and proportion are somewhat lacking judging from the few buildings of his I've actually visited. Predock's details, while clean, are a bit dull when observed more closely, something that often occurs with architects who pay too much attention to the shapes of building volumes. Meier's house doesn't seem to fall into the same trap as he exhibits graceful proportion and exquisite detailing. Nothing is left to arbitrariness and each of the most minor of elements are carefully considered. There are many little coves and hidden spaces to maintain a visitor's interest even within the simple cubic volume. Daylight strikes the surfaces and exposes a rich variety of forms, profiles and the play of shadows in the passage of time. Predock seems less concerned for the architecture to reveal itself than to dissolve itself as part of a natural setting. The birdwatching bridge and platform are symbolic of this, its thin and lightweight steel structure tries to remove attention to itself in favor the tree canopies, while the vast areas of the house devoted to the roof garden diminishes the importance of the interior spaces. Such a focus on the outdoor experience seems to be undercut by the lack of warm surface materials, with monotonous grey concrete (or stucco?), grey painted concrete roof deck and colorless conrete pavers on the grounds make for an unstimulating impression. Even Meier with his strict material and color palette manages to make his exterior spaces more alive with use of water from the reflecting pool than brings the blueness of the sky to the groundplane. The contemporary sculpture pieces also benefit from the austerity of the landscape, some of which punctuate one's view with bright and bold colors.

It is important to understand that what makes these houses such a treasure for any city to have is not in their practical quality. Neither of the houses are models of functionality or performance. Both houses are inefficiently planned, and both contain spaces that are much larger than most people would need, while others are a bit smaller or less easily accessible. Their value isn't determined by how well their systems work, whether it is necessarily wise that Meier's house has a huge West-facing glass wall that overheats the house, or whether there may be possible leaks from so large a roof terrace. Such points of criticism are all too common when arguing about what's wrong with a work of architecture, as they concentrate on issues have little to do with a design's overarching concepts.

As much as the practice of architecture entails the technical with the artistic, it must be remembered that it is the latter that is the privilege and the domain of the architect with regard to a building. They produce the main concept to which all elements are organized, to which the client must buy into and to which the contractor must realize in a finished state. Meier and Predock were chosen for their conceptual prowess and were expected to liberally wield their influence in all aspects of project. Under their care, a project's success is due to its capacity to express its concept in multiple dimensions and at various scales. The quality of expression in both houses is exceptional and a real pleasure for lovers of architecture, from the precision and subtle playfulness of Meier to the bold geometries and creative response to the site by Predock. The level of execution in both houses is extraordinary, but even more important is the degree to which they convey the mind of their designers in as personal a design vehicle as the house.

Freelon Adjaye Bond to Design MAAHC

by KTS. Trịnh chiến Thắng | 2:34 PM in , | comments (0)

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The Smithsonian announced Tuesday [April 14th] that Freelon Adjaye Bond/SmithGroup [a collaboration between The Freelon Group, Adjaye Associates, and Davis Brody Bond] has been chosen from a group of six architects to design the National Museum of African American History and Culture - to be located in one of the last remaining sites on the National Mall. The project was chosen over those submitted by Diller Scofidio & Renfro, Norman Foster, Devrouax & Purnell and Pei Cobb Freed & Partners Architects, Moody Nolan and Antoine Predock, and Moshe Safdie and Associates - and will hopefully be on track for a 2015 opening.

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Throughout the history of African-American struggle and celebration, there are these moments of praise,” he said. “It’s for us a deeply spiritual and powerful culture.

- David Adjaye on the the project

The building looks to be a metallic crown-like structure, sitting atop a stone base [complete with roof garden, seen below] - with skylights illuminating the interior, creating a sense of openness in the lobby spaces.

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I have to say, I was pleasently surprised that this team won - not because of my feelings towards the design, but because I just assumed that this project being in Washington would mean that some Pei Cobb looking project would win, regardless of the ‘competition’. But I mean, who doesn’t like Adjaye’s work? The man is on some 9th dan level status, and this is no exception.

It seems to me that the project functions as an ‘object building’ [like every-other building in DC], without being in-your-face about it’s presence necessarily - or being architecture for architecture’s sake. GO check out the other entries, and maybe you’ll feel me - I’m a fan of Diller Scofidio & Renfro, but give me a break [plus, I’m not letting them off the hook for Boston’s ICA - that thing is not what everyone made it out to be].

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I’m interested to see what’s going on with the patterning of this ‘crown’ thing - and of this undulating wooden [I think?] sculptural ceiling in the lobby. That, and maybe a more detailed explanation as to what makes this ‘African American’? I’m not sure it’s important that that plays a role in the actual form / appearance of the building - I’d just like to know how / in what ways it drove the design process.

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::images + info courtesy of Davis Brody Bond - http://architecture.myninjaplease.com

Dâu pagoda - Where Buddhism originated from Vietnam

by KTS. Trịnh chiến Thắng | 3:06 AM in , | comments (0)

Dâu pagoda is PhapVan, DieuUng or CoChau, of Thanh Khuong, Thuan Thanh district, Bac Ninh. How about 30km Hanoi. PhapVan pagoda with PhapVu, PhapLoi, PhapDien to contain the word four Phap. In addition to worship the Buddha of goddess worship: France Pagoda Third Van Dau, France Pagoda Third Vu Dau, France Pagoda Error Third Forum, France Pagoda Electric Third primitive.

It was built from the first principle in the Dau, under the Han luy called long, is a center of Buddhist Vietnam oldest. From the end of the VI century, Meditation sư Ti-ni-da-chi-save (Vinitaruci), a high background Nam, the colon has not yet convinced France, in the first Meditation Gender in Vietnam. Status oChua was raw Mac Đĩnh only stopped with the large scale in the XIV century and renovated several times in later centuries. In the court of power, and some portions of the engraved Tran, Le-time. Chua Hoa Phong tower with the famous, Legend has 9 floors, now only 3 floors, renovated in the year 1737. France Pagoda is a level as the origin of this ancient north, the pagoda is the first Buddhist Vietnam.

The pagoda is in the heart of the historical culture of the richness and level of home Kinh Bac. Which includes the ancient luy Lau, temples and tombs Sĩ nhiếp system pagoda tower, marks the central temple, palace, roads, wharves beach, street markets, hundreds of tombs and increasing furnace brick and tile, including ... witness of a long period of tens of centuries before and after Christ. Here is the capital of the District Transport, Communication is the Asia - central political, economic, cultural and Buddhist center of the ancient country.

Documents, the material remaining in the tank, especially the other "of France Chau Van Hanh Buddhist version", with 1752 year's results with research on the history of Buddhism in the history and Buddhist Studies have confirmed the tank is home of the Vietnam Buddhist ago appeared about 1800 years. At the beginning of resources, increase the doctor India, represented La Da phases, the area has Dau - News luy Lau, conducted dissemination Buddhism, founded the Buddhist center luy Lau - a center of Buddhism and oldest VN.

Pagoda tower was built next to the palatial citadel, temples radio, power supply, gác floor, Ben beach, busy street markets of urban luy long, the tank is a central system of pagodas and Buddhist worship despatch France (France Van Vu France, France Error, the French Electricity) - a feature unique in the combination of Buddhist India and popular beliefs of the Vietnamese in the area started. Tank into the center of Meditation Gender Ti-ni-da-chi-store, where pillars of many high-growth Vietnam, India and China come to study, compiled, translated in Buddhism, where increased training . The Ly-Tran, tank renovated to expand the large scale that people are in the original Mac Đĩnh Chi. The king, the same frequency of fine female dynasties back often to visit pagodas, Buddhist ceremonies, the island, the self.

Dau Pagoda Festival every year on April eight lunar-day celebration of Buddha Man Nuong form of lower female children. This is one of the Buddhist festival of the delta region and Northern du.

Through the changes in history, citadel, temples long palace center luy Lau is completely wasted. But not with Hoa Phong tower reaching high and hundreds of ancient pagodas still exist with time.

Especially ngôi Hoa Phong tower reaching 3 floors high, the system compatible France Van (ie initial), Kim Dong Ngoc women, the Mac Đĩnh Chi, the Church ngai, Quang Thach compatible, gravestone ... the heritage arts quarter and represented by the Le. Notably, the carving ván "Co Van Chau France Phật issued" a source of data is particularly important to help the research history in Buddhism.

Impressive Dau Pagoda

Dù ai đi đâu về đâu Hễ trông thấy tháp chùa Dâu thì về

Nearly two thousand years with the changing times and changes, may create now landscape tank has many other ancient. Heard, before the path to the beautiful pagoda. Through the three due to the wide beach and located between two long rows pond in the shade of ripe coffee rhythm class, the type of home she has found in Hoi An and some other places, pedestrian offering incense to the pagoda to worship Buddha . This is the pagoda was built early in Vietnam, right from the first centuries after Christ II.

Like many Temples in Vietnam, the tank kept the style of the country, the architecture of traditional East Asia. Four rows of the contact rectangle surrounding three ngôi Main Street Money, natural flavor and power. Hau Road xưa hours no longer available, but visitors are still pagoda witnessed forty time in settling the two sides described property. Centreboard pagoda tree is spread Hoa Phong tower. Tower type building with large tiles on the past, is to manually nung which color of some sam birth. Time to get on the six floors of the tower, now only three floors below, but in reputation, standing firm in the bottle thousand years. Stamp oldest remaining temple archeologist be determined from the Tran, first up is the biggest in 1313, of King Tran Anh Tong.

According to research school, with tank, namely the self-Dien, France letter, self meditation, ancient Asia from ... can life with the legend Man Nuong, one key to open deep level of cultural Kinh Bac. So, with the pagoda Nương Man is but a tank, tank, primitive pagoda, pagoda Forum despatch France: France Van Vu France, France Error, Electric France. Is the exchange flow of two Buddhist culture, one to India, one from the northern, where each is the "capital city" of the Vietnam Buddhist than ten centuries, first; with many famous professors with the bath Phật mùng eight months in every year:

Dù ai buôn bán trăm bề Nhớ ngày mùng tám thì về hội Dâu.

One of the impressive hard to forget where it is the colossus worship. Tuong Van prestige of France, taciturn, color co-hun. Beautiful face with dark mole to the proposal on the image to her impressive dancer, home to West Trúc where Cội source of good ideas in need, from Germany's - Bi - Hi - Xả. France with the Vu features the pure Vietnamese, Germany level, high. Especially two colossus Kim Dong Ngoc Nu put the two main mosques power pad to the village women of the country where this relationship. Designs the girdle ong oily, vành tissue on the diseased and soft, the clothes reaper three new range with seven new fraud Thuot tha ... Father he was very fine, delicate profits when setting the worship Kim Dong Ngoc Nu. Here, we encountered a beautiful flower in the Buddhist idea of the network, a form of spiritual culture imported, with spiritual, mental common, pure-minded. We also see here again a clear proof for the more cultural variables, the capitalization value of the spirit when you enter the.

On tank, the Thuan Thanh, as our bathroom is in the air over the old mark by more floors historical levels - culture. Here, urban stronghold Lau past the line Thien Duc Oanh pad the list of Hai Ba Trung start against the invasion of East Hán the first century. This river bookmark Tố of poetry to "rivers of flowing Dau, poems that lơ Lau luy to stop again." Here again, the land Rich Keo - with stories of her lass two modest, beautiful and become nhiếp y Lan clever, supervising the country, helped the king đánh vision. But there is Pen Thap Ba Buddha with thousand eyes, thousand famous hand; is a subtle East, where the soul of the beginning any circumstances always smiling on the gold paper messages. Moreover, the river road, "In the past white sand flat glass" time is almost as smooth had passed the historic wharves shore. And from the tank, we can turn horizontally in Thien Thai mountain or river on the other side of the road, offering incense to the King Ly life in there.

History has confirmed the location of the tank in cultural life, spiritual nation. Today, the tank is the State and the Church Buddhist Vietnam interested restored, to create respect worthy as "centers of Buddhist Vietnam" many centuries.

Phạm Quang Huân

Dinh Tay Dang, architectural essence of the Vietnamese

by KTS. Trịnh chiến Thắng | 5:52 AM in , | comments (0)

Western home is up from 16 th century with the box, place the column, because nóc ..., show creative quintessence of Vietnamese one. Tay Dang heads home in the series of Quang Oai, including the ancient village located on the hills of stone ong, an area of land Doai past, present under the capital Hanoi.

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Is up from 16 th century, the oldest type of Vietnam. Moreover, in addition to already, in cultural heritage objects of the Vietnamese, have not detected any works are made from wood is intact with youth's far more ancient. Size Ngôi original layout: aspects of rectangles, in time, the Church on the mezzanine in between. Tả Mac, Mac property, construction of string to the next. Wooden house structure featured by the due nóc pattern "gia chieng" with the bunker on the curve, there are two pillars with two bưng are touching the enemy. Overseas nóc because this can only be seen in some architecture's youth are very ancient as tank (Bac Ninh), and uncalled-Khe Mui Pagoda (Hanoi), Thai Lac Pagoda (Hai Duong).

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Visit Tay Dang, visitors may be attracted, the mother or by tens, hundreds of pictures in dragon engraved and Germany to follow the circle, set in bưng boats, the children, a role first balance, and paint. Ngôi not a home, the temple is a natural cultural variables to the dragon's. Roc gầy dragon body, human eye beyond the orbital, mouth wide há that no voice. It looked like the cõi heart away ... Ngôi home to 500 this year, visitors also encounter a France rarely seen items in the heritage architecture Vietnam: a range including the decoration of the smile in the painting aside, is connected with state riem placed under each set. The first female piper, pepper, causing the bottom out, out ... lunar Figure lotus, particularly pictures of flowers with tissue cúc tip wheeling state, touching on seven industrialization, road features very essence. Ngôi home village, which the poor and remote, but the king of creating a luxury, you right.

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Dang Dinh Tay also present the hit of the description and the eternal and living life generally: Ganh market to children, woodman, with cày, coral, boating, ghẹo son of the village girls, alcohol ... Language shows the life of folk artists in touch with the language shown by the artists of the 20th century. Hits theaters on West wind đình Dang is with all four feet, with, under the mouth and smile well, the feeling of flight as làn wind, forget weight loss itself. The body column, xà, beginning balance, his seven home Western existing overcome refine the doors from: putrefactation, the destruction of flood and storm in the fire, destruction and the greed of life. The khúc, array pod vision that retain both a storehouse of creativity, sex and aspiration, as a witness.

Dinh Bang - The beautiful architecture home village north of origin

by KTS. Trịnh chiến Thắng | 4:49 AM in , | comments (0)

Dinh Bang is an image unique architecture nation. Talking about the position ngôi house, land north of the structure of the ratings as follows:

Thứ nhất là đình Đông Khang

Thứ nhì đình Báng, vẻ vang đình Diềm.

Khang Dinh East today is not. With the beauty of architectural scale, engraved art, decorative arts and the more valuable is the table Dinh, tourists see a fully architecture home village is built into the first half of century XVIII, while the other person no longer keep the look intact again.

How Hanoi 20km north, Dinh Bang village Dinh (Dinh Bang) Tu Son district, Bac Ninh (past the Village of France). Regionally spiritual homeland is the Ly khandhas (ie Ly Thai To), who founded the dynasty and the morning of Thang Long capital (in 1010).

Long, the potential of each of Vietnam, when talking about village not forget who referred to one home village, because that is the quintessence of wisdom, effort, the prosperity of the village, pride of the village, where witnessing and place the size of the village ... where the guy left, including sending girls, expressed interest situation.

"Qua đình ngả nón trông đình

Đình bao nhiêu ngói thương mình bấy nhiêu"

Dinh Bang, including clusters of cultural relics, most are relics of the Ly, creating a unique memorial, sounder history, with the size countries, including enough: house, temple, pagoda, Lang, Tam .... characteristics of cultural villages Vietnam.

A corner home roofs Dinh Bang village

Dinh Dinh Bang village is an ancient one home most famous of Kinh Bac, built in 1700 and the year 1736 was completed, by the beginning of the Thac Nguyen Luong, Dinh Bang people and wives erotic Nguyen Nguyen Thi Thanh Hoa in his purchase of iron wood villages offering construction, one may survive the (now home of the Nguyen Thac amount for trial before the Dinh Bang and still keep conservation) .

The home is where convergence cultural beliefs, the first house of worship many gods 3: High King's Son (Spirit Land), Ba Thuy Vuong's (Water Spirit), and Bach Le Dai Vuong (Spirit cultivation), is spirit of the residents are agriculture worship, wish the rain and wind for hoà lush crops. Every year on 12 lunar months of the open questions in an emergency for crops bội earnings. At home village people also worship chlorine (6 public have run into XV century. Later when Ly Bat De Temple is the only France in 1948, people received messages of eight because tidal the house of worship in Dinh Bang.

Dinh Dinh Bang is an image unique architecture nation, keep the image sovereignty of the type of flooring ethnic applied to architecture home village. Looking back the history from the first water, the image house floor is kept in the Dong Son bronze drum - a creation he fathers in the field of architecture houses. Can not bring one home do so after some ten centuries made against the floor on Dong Son bronze drum, but both realize that this form has room in trade, the inheritance and development of traditional architecture established since the first water.

Dinh Dinh Bang is a work of architecture, the first of three, including, the construction of two brick pillars to high - style cage, both sides have the reel invaluable roof, around the back yard wide, the two sides is two rows and tả vu vu. Like any other person, the most important Dinh Dinh Bang of architecture is the art of court Bai Road ('s house).

Bai road by Size rectangle, 20m long, 14m wide divided into seven hours, two bottles on a high platform bundle greenstone level two levels. Appears to do so by showing house through the roof toả width occupied 2 / 3 total height and 6 row, 60 column, large and small have lim diameter from 0.55 to 0.65 are placed on a rock the green square region.

When entering the house, you are welcoming and are attracted to the book all the quintessence of the engraved art of XVIII century. The first travel book for all visitors is the large door Vong at the same time belong outside. Vong files covering a large, extended from the Upper to Lower wages and remote end of a horizontal open space. Vong door hit long been combined in sophisticated touches on all 7 classes, 9 subjects in command, from you .... above the door Vong is the wooden ceiling mask between the roof with a decorative bird Phuong xoe large wings to gold bonanza around it.

State decoration on architectural components other very diverse, sophisticated sculpt, chau mice, harmony. Frame structure is quite stable home, associated with different types mộng way husbands bed "deplorable, lower from". Each picture engraved in the works is a famous unique. Occupies as the threshold, more and more are rolling smoke: files "Bat-free code quần" show life, see the release of mineral and definition of peace through this land, and images of the individual horse. Salary for the art world, đực child, children, each child a ticket. The touch of the great dragon xao: Long still congress, Ngu long tranh chau, long Ngự natural Luc ... each picture, each picture describing how the proposal.

2 months in 1946 Uncle Ho visited and Dinh Bang is one of the locations expected to prepare Congress for the first meeting. Ngôi home more famous than so.

Through more than 200 years since the start up, now home to Dinh Bang went to life is emotional and pride of the North in particular land, and the country in general.

Top teen Typical 2007

by KTS. Trịnh chiến Thắng | 4:23 AM in , | comments (0)

Xem hìnhThe selection of this year not only by beautiful design, but also by the criteria to serve the business. This is the 10th year, BusinessWeek and Architectural Record and held the vote this.

There are more than 100 buildings around the globe have been on the list to select the 10 most typical. Criteria this year is set higher every year. The buildings outside of this impressive features in the architecture, must meet the for each activity for which it serves, from the office, commercial center, sports, museums ... The judges are the architects, journalists from BusinessWeek and Architectural Record.

1. Headquarters of InterActiveCorp in New York award-winning special. Works by groups KTS Gehry Partners Architecture Studios implementation. Many have compared the 10 storey high with a boat is no wind, is conveniently located near the Manhattan. This is a building is deemed to create the new image in the 21st century. Building fully automated, all activities are designed based on web applications. Interior has been reached is the U.S., help is not through. Corridors of public buildings are considered the world's largest with the walls of video resolution is very high.

2. Center performing arts for young people in the Toronto office KTS Kuwabara Payne McKenna Blumberg performed.

3. Head of Investigation Department of the U.S. population in Suitland, Maryland State KTS by Skidmore, Owings and Merrill design.

4. Center Navy Federal Credit Union's Heritage Oaks Center, building one in Pensacola Florida by state KTS ASD group performed.

5. Center Performing Arts four seasons in Toronto by the KTS group Diamond and Schmitt made.

6. Building Hearst Tower in New York by the group KTS Norman Forster and colleagues perform.

7. Building headquarters Hubbell Lighting Greenville, SC KTS by McMillan Smith and colleagues make.

8. Of the SJ Berwin in London group hok architects.

9. Skiing Baseball San Diego Padres Ballpark Company Architecture Antoine Predock.

10. Gardiner Museum in Toronto (Canada) by KTS group Kuwabara Payne McKenna Blumberg design.

Ken Maher received Architecture Awards Top National Australia

by KTS. Trịnh chiến Thắng | 4:06 AM in , | comments (0)

With devoted to 'shape the natural landscape and cultural landscape, creating one of the' public space is the symbol 'of the city and "ensure the best design in all the building on three floors, architect Ken Maher has been awarded architecture leading Australia's national Academy of Architecture of Australia Awards 2009 Gold Medal for Architecture

The role of honor in the celebrations in Sydney, President Academy of Architecture Australia, Howard Tanner said that he is honored to announce an architect famous, landscape architect and owner policy designed urban Professor of HASSELL Ken Maher has Award winning Gold Medal in 2009.

User Award winning Gold Medal for architecture Architecture Association of Australia 2009: Ken Maher

On architecture, Ken Maher famous with more than 38 years the creation of a series of prominent projects in Sydney, Canberra, Adelaide, Brisbane, Melbourne and China. Only in Sydney, projects his projects include improving the Luna Park in northern Sydney, Olympic swimming pool in the North Sydney, Olympic station at Homebush, the building of the Academy National Arts (NIDA) and railway new Epping Chatswood. Abroad, he has an idea of the city center will be sustainable improvements in chiết Giang, China and heads the group designed a subway station in Singapore. In Melbourne, he is designing a new work extremely spacious for ANZ Bank in the Docklands.

Canberra Museums, Photograph: Patrick Bingham Hall

No less important, he is also known as the advocate for the 'commitment' and collaborate on architecture, operating one of the largest offices of Australia, the main contribution to the goods on urban design at both the state and Australia. He has the introduction of the Policy Planning Environment Country (SEPP) 65 in New South Wales (NSW), documentation of the design and the use of the investigation designed to enhance the development across Sydney. When awarding this, Mr. Tanner said that the Council judges Gold Medal completely trust Ken "for excellence in all areas." Comments of the judges has been quoted again: "Many architects discuss issues of public, but very few people can drive the change towards a positive nature and construction as Ken Maher . As Chairman of Consulting Urban Design by NSW Premier, he resolved the issue should settle the complex issues between the government and stakeholders intimate effectively. Results of the policy planning environment SEPP 65 countries, showing the Passion of architects with large projects in developing residential areas and ensuring the conditions of design and impact of the environment.

Parking Fox Studios, Photo: Patrick Bingham Hall

Of 49 th and awarded annually since 1960, Gold Medal Award is the highest architectural record the contributions of prominent architects have designed or operating the building quality, or who make the difference to contribute to the progress of architecture. Those who received the recent resolution of the architects have excellent performance as Richard Johnson, Kerry Hill, Glenn Murcutt, Jorn Utzon, Gregory Burgess, Keith Cottier, Brit Andresen and Peter Corrigan.

Academy of National Arts (NIDA), Photo: Patrick Bingham Hall

Australia who praise famous prize by Professor Maher including Mrs. Sydney Mayor Clover Moore, former director of NIDA-John Clark, and each is managed NIDA-Elizabeth butcher. Ms Moore said: "Very few architects in Sydnay have many server community gained awards and urban projects such as Ken Maher. I know Ken has over 10 years and has observed with 1 of admiration for work quietly but very clever in the shape of the cultural and natural landscape of Sydney. "She also added that:" When writing this, I remember on a talk by Ken Maher in the city in 2006, sustaining named Sydney (Sydney sustainability), then he outlined the 6 suggestions for creating a sustainable city in the future. All 6 proposals which has now been clearly identified in the Vision Sustainable Sydney 2030 in the city. Kent have strong understanding of the issues in Figure 1 of the city and he has influence beyond the city limits from a specialist's normal. "

Bể nơi Olympic phía Bắc Sydney, Ảnh: Patrick Bingham Hall

For his devoted for building NIDA, Ms. Clark and Mr. butcher said: "No one is acknowledging that contribute to the Ken architecture with Australia as well as knowledge capital and knowledge extremely large His. However we want to emphasize that the artists stage children present and the future are trained at NIDA, he owes all 1 Acknowledgments. We believe that other people will also agree with the actor Ralph Fiennes, who has described the song Parade by Ken at NIDA is a great song that he most have been working there. " When comments design new ANZ headquarters in Melbourne, Chris Carolan's Bovis Lend Lease said: "In a few years ago, the design and Lend Lease in I was very honored to be collaborating with Ken and in Hassell building a new office for ANZ in the Yarra River in Melbourne's Victoria Harbor. This project will be completed by the end of this year. It is one of the house most modern and friendly to the environment. This is the most excellent Ken Maher, a belief that the many places set by his ability to put their ambitions into reality. "

Olympic Park Station, Photo: Patrick Bingham Hall

Ken Maher has worked in Australia and many other countries world after graduating university in NSW in 1970 with first class medal and the RAIA Award for design. Then he continued to complete postgraduate courses in landscape architecture and research environment. Projects he has earned the awards prestigious awards including merit Academy, Canberra Medallion in 1988, awards architecture Lachlan Macquarie in 1995 National Award Sir Zelman Cowen in 1998, Sulman Medals in 1998 and 2002, and awards for the architects of the National Academy of Australia. He was the winner in many competitions in the country, is a member of the board of examiners is designed respected trainers and professional design. Currently he is professor of architecture at universities in NSW and often have articles on architecture.

Equipment based Westpac Place, Sydney, England: tyrone Branigan

Professor Mahner go around Australia for more than six months ahead to talk about his experience and architecture. This trip is co-founder of Institute, Steel BLUESCOPE funding. He will speak in Melbourne on Monday 11 / 5, Canberra - Wednesday 13 / 5; Hobart - Thursday 2 / 7; Adelaide - Wednesday 26 / 8; Perth - Thursday 27 / 8; Brisbane 5-second / 10; Darwin-Wed 7 / 10. He will present to speak on items AS Hook in Sydney last month to 10.

Some work by Ken Maher:

NSW - Sydney: Olympic Swimming Pool in the North Sydney, Olympic Park Station; Academy National Arts (NIDA); Pearl fe and Chifley Square, Car Park Fox Studios; transition Liverpool Street / Parramatta; Deutsche Bank (by Foster and Partners); public parks Victoria, Zetland, the master plan Cooks Cove, Sydney; Project shows strategies for sustainable Sydney 2030, Office Building, 2 Fitzwilliam Street, Parramatta; Equipment Headquarter Westpac, Sydney; railway route Epping Chatswood, Parramatta Civic Place, Sydney.

ACT: Bruce Psychiatric Hospital, Canberra Theater.

SA: the master plan river Precinct; Vision Center Box Port Adelaide and urban design, structure waterfront Promenade Shade, the master plan of Adelaide University, Vision Center Port Adelaide and urban design framework market.

VICTORIA: ANZ Headquarters, Docklands.

QUEENSLAND: Urban Area Kelvin Grove, Ideas urban design Northbank.

WA: BHP Tower, Perth, research design urban cultural center; Riverside Project, Common and Waterfront Hillside Precinct, Perth, Perth Metrorail Station, William St & Esplanade, Perth

CHINA: Expand Ningbo city center and new city; It designed the Exhibition Center Tianjin;

INDIA: ANZ Headquarters, Bangalore, India

SINGAPORE: 4 stations underground, Singapore Circle Line

In addition to the this project, HASSELL has the main works in all states of Australia and have influence in Asia. Council judges Gold Medal in 2009, President academia architecture national Howard Tanner, Former Chairman Alec Tzannes, Richard Johnson, who the Gold Medal in 2008 with 2 architects famous Elizabeth Watson-Brown and Greg Howlett.

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