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15 Cards in this Set
- Front
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Text NotesBrick/Stone/TerracottaRecycling+New Asian Architecture |
A dilemma that faces architects of many “developing nations” is therapid replacement of traditional skilled labor with standardized buildingtechnology, most often resulting in the homogenization of buildingmaterials, systems, and construction methods not to mention socialand environmental strategies. This conflict between technology andlabor, tradition and progress, the local and the global, is expressedperhaps most poignantly in Wang Shu’s Ningbo History Museum, inwhich the rubble of ancient Chinese villages is used to clad a modernconcrete structure that houses a museum of Chinese history. While anincredibly moving and powerful statement, the writing is literally on thewall: we are witnessing the death of a material culture. |
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Dimitris Pikionis 1887-1968 working in the early 1960s |
-Saint Dimitrios Loumbardhiaris church12th c. small church of the vaulted single-aisle basilica type. -According to tradition, the surname "Loumbardiaris" (the Bombardier) is dueto the fact that the church was saved by a miracle around 1640-1650, whenYusuf, the then Turkish commander of the Acropolis, bombed the churchfrom the Propylaea of the Acropolis. |
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Saint Dimitrios Loumbardhiaris church |
- reorganization old fragments and ruins - what is original, what is new - element of destruction - on the exterior he added marble and ceramic decorative themes to the monument -inegrated the remains of the ancient habitations that were on-site - work was done without preplanning, on site, using skilled craftsmen |
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Wang Shu |
Wang Shu, Chinese architect and founder of Amateur ArchitectureStudio, has been just announced as the recipient of the2012 Pritzker Prize.In my opinion Wang Shu’s architecture presents a contemporaryand rich in the tradition of Chinese architecture. -Represents the dilemma that faces architects of many “developing nations” |
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Wang Shu |
-Past and present simultaneously represented -Carried out through recycling of materials -Project began with earlier projectsTiled Garden in the Venice Biennale -Materials that come from the demolition of existing building for a new campus -600,000 tiles shipped to Venice |
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Ningbo Historic MuseumWang Shu - Amateur Architecture |
-Building amidst the city of Ningbo – New York-like -Need for a historical museumContrast to the endless high risesChina has 20 cities bigger than Chicago -By contrast the building is Low, dark and unreflective.Made from recycled materials -Counteract the idea of a “no memory zone” -Wang Shu talks about “time”A building as a reminder of time and memory |
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Ningbo Historic Museum Wang Shu |
-Language of valleys, streams caves etc. -It provides direct exposure to the materials.Study of “5 scattered houses” -Residents will make up problems and knock down old houses.Get compensated by the government. -Ningbo Historic Museum gathered tiles from demolished houses to make the new city ofNingbo. -Began with research in particular craftsman understanding of unpredictable materials. |
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Ningbo Historic Museum Wang Shu |
-Terracotta roof tiles, horiz. ashlar, horiz. block, verti. block, concave brick, ashlar masonry, stacked pebbles -Façade system of Wapan masonry reinforced concreteand linear concrete panels. |
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Ningbo Hisotric Museum Wang Shu |
-Compressive strength of the Wapan was low andrequired concrete ledges integrated into the façade at3m intervals -The Wapan acts as a weather barrier -Cataloging and arranging recycled elements -Everything built off scaffolding by hand. -The linear concrete panels emerge in as the indication of the panels change. |
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Ningbo Historic Museum Wang Shu |
-Reality rather than utopianAlternative to fast- track construction -Support of the craft,Otherwise in 10 years it will be gone. -Initially clients and locals were incensed by the museumNow people visit the museum and find relics of their old home |
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Niyang River Visitor Center Standardarchitecture + Zhaoyang Architects |
-River Terminal and Visitor Centre - Linzhi, Tibet, China, -Ticket office and bathrooms nighttime shelter for local travelers not able to leave because ofbad weather. -Set on a path which connects the river with several villages in the Tibetan region of Linzhi -Connects “architectural” credo of the Standardarchitecture studio with the local native lithicculture. |
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Niyang River Visitor Center Standardarchitecture + Zhaoyang Architects |
-Lithic - of the nature of or relating to stone. -Inner public space is “carved” out from the irregular-shaped volume -Central courtyard connects openings, responding to the orientations and circulation -The “carving” accommodates three major interior functions- aticket office, a dressing room for rafting and toilet -Revitalize traditional stone architecture without bowing to the picturesque |
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Niyang River Visitor Center Standardarchitecture + Zhaoyang Architects |
-The use of local materials and Granite stone collected in the vicinity -Local culture of highly colored pigments obtained with natural powders -Simple volumes marked by deep openings where sunlight penetrates from different angles andcreates constantly changing perceptions. -Color transitions highlight the geometric transitions incumbent in the space. |
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Niyang River Visitor Center Standardarchitecture + Zhaoyang Architects |
-Techniques of the Tibetan vernacular -600mm thick load-bearing wall is erected -400mm thick walls at both sides of the openings work as buttresses, -Increasing the overall structural stability -Bigger spans are made from several small logs bonded together. -Steel angle to support the stone |
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Niyang River Visitor Center Standardarchitecture + Zhaoyang Architects |
-A 150mm thick layer of Aga clay covers the waterproof membrane. -Aga clay is a vernacular waterproofing material. -It stiffens when tampered with water and works as another layer of waterproofing and heatinsulation. -Its plasticity allows gutters to be shaped. Roof drainage is well organized with these guttersand channel steel scuppers. |
