این بنای فرهنگی با وجود اون که ساختاری امروزی داره ولی با ساختمون های سنتی حواشی و منطقه‌ش خوب کنار هم نشستند.

‘wright conversion’ by elmo swart architects in durban, south africa

all images courtesy elmo swart architects’wright conversion’ by south african architects elmo swart architects is an expansion project to a three-bedroom thatch cottage in durban, south africa. including the addition of a new bedroom, two studies, a multi-use entertainment space and an art gallery, the design features a continuous surface that wraps around the structure to form a fluid floor, wall and roof form.
exterior view

situated within a grouping of dense and mature trees, the design maintains the natural materiality of the site while establishing a modern presence with its form and structure. the tilted plane which run the length of the house utilizes thatching in contrast to the fluid steel frame that envelops the interior space. the outdoor terrace connected to the new bedroom incorporates a straw-like material that forms a permeable shelter over the outdoor shower.

the art gallery is arranged in a linear fashion, serving as a tunnel that connects the entrance driveway to the valley on the other side of the site. clad on both sides by expansive glazing, the tunnel is a transparent medium that establishes sight lines towards the surrounding landscape. a parking space large enough for two cars is generated by the partially cantilevered structure outside.

back elevation

private outdoor terrace

view from terrace

main bedroom

interior view

(left) view of art gallery
(right) entryway

circular-faced window

in context

floor plan

cross section

longitudinal section

طراحی ساده و دوست‌داشتنی داره این خونه.
پیوستاری که میان فضاها (بیرون و درون) با انتخاب متریال چوب اون هم به صورت تخته های موازی برای کف‌پوش فضاها ایجاد کرده؛ سطوح بی آلایش و صاف و ساده فضاها، فضاهای واسط باز و نیمه بازی که بخش های مختلف رو به هم پیوند دادن و دست آخر المان های محدود قاب کننده ای که منظر و حریم اطراف رو تعریف کردن ، همه از نکاتی بود که در این کار مطلوب دیدم.

'house in savion' by alex meitlis, savion, israel
all images courtesy of alex meitlis

israeli based architect alex meitlis has recently completed 'house in savion', a single family residence located outside 
of tel aviv, israel. the structure's crisp white exterior is encompassed by a wood plank wraparound veranda and bordered 
with walls of varying heights. diverse overhead conditions create different outdoor spaces, partially screened with tree canopies
or fully exposed to the sky. the remaining grounds contain a garden, open lawn and swimming pool.

bounded entry walk allows trees to penetrate wooden planks

the dwelling's facade allows daylight to strategically illuminate, enabling the sun penetrate in the winter months and provide 
shade for comfortable use during harsh summer weather. the ground floor accommodates a continuous living room, open plan 
kitchen and dining area. a low profile free-standing wood partition allows a dramatic openness generating the central spine 
of the house allowing the inhabitant's extensive wood art collection to give a consistent warm character. large operable windows 
open to adjacent terraces and garden spaces introducing outdoor elements into the interior creating a dialog between the environments 
and framing the natural surroundings.

exterior corridor leads to main entrance


living and dining space

dining area


partially screened kitchen

view to garden from kitchen

concealed hallway and stairs


view of veranda from bedroom


path to pool area

swimming pool


stairs leading from bedroom to garden

stairs leading to upper level

glass wall blurs the boundary between interior and exterior spaces

entrance to living space from veranda

wrap around veranda

rendering of pool

rendering of exterior

floor plan / level 0

floor plan / level 1







project info:

architect: alex meitlis
location: savion, israel
description: single family house
enclosed space: 420 m2
site area: 2100 m2
completion date: january 2011

خیلی مهمه وقتی قرار داری در کنار یا نزدیک یه بنای باستانی طراحی کنی، با توجه ملاحظاتی که دنیای امروز برای بناهای باستانی درنظر می گیره، چیزی هم‌نوا و در عین حال کم‌نوا طراحی کنی که به قامت بنای اصلی خدشه وارد نشه.
درست مثل موسیقی پشت زمینه برای یک سمفونی بزرگ که نباید اصل رو تحت شعاع قرار بده....
این موزه جدید آکروپولیسه که سال 2009 به بهره ‌برداری رسید.
توجه : جهت قسمت فوقانی بنا به قصد احترام به سمت مجموعه تاریخی آکروپلیس چرخیده (نه اینکه چرخیده باشه!! ولی اینطور احترام گذاشته معمار به این مجموعه باستانی).

New Acropolis Museum / Bernard Tschumi Architects

© Courtesy of Bernard Tschumi Architects

Architects: Bernard Tschumi Architects
Location: Athens, Greece
Associate Architect: ARSY
Bernard Tschumi Architects Team: Bernard Tschumi; Architect and Lead Designer Joel Rutten; Project Architect, Adam Dayem, Aristotelis Dimitrakopoulos, Jane Kim, Eva Sopeoglou, Kim Starr, Anne Save de Beaurecueil, Jonathan Chace, Robert Holton, Valentin Bontjes van Beek, Liz Kim, Daniel Holguin, Kriti Siderakis, Michaela Metcalfe, Justin Moore, Joel Aviles, Georgia Papadavid, Allis Chee, Thomas Goodwill, Véronique Descharrières, Christina Devizzi
ARSY Team: Michael Photiadis; Principal, George Kriparakos, Nikos Balkalbassis, Philippos Photiadis, Jaimie Peel, Niki Plevri, Maria Sarafidou, Makis Grivas, Elena Voutsina, Manoulis Economou, Anastassia Gianou, Miltiadis Lazaridis, Dimitris Kosmas
Structure: ADK and ARUP
Mechanical and Electrical: MMB Study Group S.A. and ARUP
Civil: Michanniki Geostatiki and ARUP
Acoustics: Theodore Timagenis
Lighting: ARUP, London
General Contractor: Aktor
Project Area: 21,000 sqm
Project Year: 2003-2009
Photographs: Courtesy of Bernard Tschumi Architects


Located in the historic of Makryianni district, the Museum stands less than 1,000 feet southeast of the Parthenon. The top-floor Parthenon Gallery offers a 360-degree panoramic view of the Acropolis and modern Athens. The Museum is entered from the Dionysios Areopagitou pedestrian street, which links it to the Acropolis and other key archeological sites in Athens.

site plan

With 8,000 square meters (90,000 square feet) of exhibition space and a full range of visitor amenities, the Acropolis Museum tells the story of life on the Athenian Acropolis and its surroundings by uniting collections formerly dispersed in multiple institutions, including the small Acropolis Museum built in the 19th century.

© Courtesy of Bernard Tschumi Architects

The rich collections provide visitors with a comprehensive picture of the human presence on the Acropolis, from pre-historic times through late antiquity. Integral to this program is the display of an archeological excavation on the site: ruins from the 4th through 7th centuries A.D., left intact and protected beneath the building and made visible through the first floor. Other program facilities include a 200-seat auditorium.
Principal Design Features

Designed with spare horizontal lines and utmost simplicity, the Museum is deliberately non-monumental, focusing the visitor's attention on extraordinary works of art. With the greatest possible clarity, the design translates programmatic requirements into architecture.

© Courtesy of Bernard Tschumi Architects

Light: The collection consists primarily of works of sculpture, many of them architectural pieces that originally decorated the monuments of the Acropolis, so the building that exhibits them is a museum of ambient natural light. The use of various types of glass allows light to flood into the top-floor Parthenon Gallery, to filter through skylights into the archaic galleries, and to penetrate the core of the building, gently touching the archeological excavation below the building.

© Courtesy of Bernard Tschumi Architects

Circulation: The collection is installed in chronological sequence, from pre-history through the late Roman period, but reaches its high point (literally and programmatically) with the Parthenon Frieze. The visitor's route is therefore a clear, three-dimensional loop. It goes up from the lobby via escalator to the double-height galleries for the Archaic period; upward again by escalator to the Parthenon Gallery; then back down to the Roman Empire galleries and out toward the Acropolis itself.

exploded axo

Organization: The Museum is conceived as a base, a middle zone and a top, taking its form from the archeological excavation below and from the orientation of the top floor toward the Parthenon.
The base hovers over the excavation on more than 100 slender concrete pillars. This level contains the lobby, temporary exhibition spaces, museum store, and support facilities.

© Courtesy of Bernard Tschumi Architects

The middle (which is trapezoidal in plan) is a double-height space that soars to 10 meters (33 feet), accommodating the galleries from the Archaic to the late Roman period. A mezzanine features a bar and restaurant (with a public terrace looking out toward the Acropolis) and multimedia space.

The top is the rectangular, glass-enclosed, skylit Parthenon Gallery, over 7 meters high and with a floor space of over 2,050 square meters (22,100 square ft). It is shifted 23 degrees from the rest of the building to orient it directly toward the Acropolis. Here the building's concrete core, which penetrates upward through all levels, becomes the surface on which the marble sculptures of the Parthenon Frieze are mounted. The core allows natural light to pass down to the Caryatids on the level below.


آبشار رنگین کمان ،‌ خوزستان ، اهواز

پنجشنبه 28 مهر 1390 08:28 ق.ظ
طبقه بندی:معماری و شهرسازی، 

یه کار طراحی شهری خیلی خوب در ایران خودمون، خوزستان اهواز.

مدیرعامل سازمان زیباسازی شهرداری اهواز گفت: " آبشار رنگین‌کمان کارون طولانی‌ترین آبشار مصنوعی در کشور است که طول آن از یک‌سو ۱۵۰ متر و از سوی دیگر به ۲۰۰ متر می‌رسد و در کناره‌های پل هفتم اهواز ایجاد شده است. " 

" در این پروژه ۶ الکتروپمپ ۹۰ کیلواتی، آب را به بالای پل انتقال می‌دهند و پس از فیل‌تر کردن، آب از ارتفاع ۳۵ متری به صورت آبشار در ۲ ردیف به پایین سرازیر می‌شود. ۲ هزار و ۷۵۰ نازل تمام‌استیل در این آبشار استفاده شده و روشنایی و نور‌پردازی این آبشار هم از طریق۷۵۰ لامپ LED و ۸۰ پروژکتور رنگی اجرایی شده است...
لوله‌های استفاده شده برای مکش آب از جنس فولاد با قطر ۱۲ اینچ هستند. یک هدر مکش به قطر۲۰ اینچ هم استفاده شده و لوله‌های رانش از جنس پلی‌اتیلن با قطرهای ۱۰ و ۱۴ اینچ هستند. سیستم الکتریکال این آبنما بسیار دقیق‌ نصب شده و از تابلوهای برق «سافت‌درایو» در آن استفاده شده و پست برق ۷۰۰ کیلو واتی هم برای این آبشار به‌کار رفته است. "

شفافیت معاصر!!!

پنجشنبه 28 مهر 1390 08:18 ق.ظ
طبقه بندی:معماری و شهرسازی، 

شفافیت یکی از مهم‌ترین گم‌شده های بشر معاصر در معماری غربیه. این حرف به این معنا نیست که پیش از این در میان فرهنگ‌های مختلف این صفت در معماری نادیده گرفته می شده.
واقعیت اینه که پیش از دوران مدرن و دست‌یافتن به مصالح نو، چیزی که از شفافیت مورد نظر بوده به عبارتی تدابیر معمارانه برای سبکی حجم ها و به عبارتی معماری بوده اما در دوران معاصر مصالح جدید طمع شفافیت به معنای شیشه‌گون بودن رو در دل معمارها ایجاد کرد.
یعنی معمار عصر جدید به نوعی حتی برای اثبات تفاوت خودش با سنت معماری ماقبلش، به سمت این شفافیت هجوم برد و در میانه‌ی جریان مدرن ما حتی خونه‌هایی رو داریم که با عنوان خانه‌ی شیشه‌ای به تمامه از شیشه ساخته شدند و تمام موضوعاتی نظیر حریم و فضای داخل و خارج رو به چالش کشیدند.
این پست 15 تا بنای شیشه‌گون و شفاف رو که هر کدوم به نوعی (واقعی یا فریب‌ناک) شفاف هستند در خود داره.

Crystal Castles: 15 Glittering Glass Buildings

They shimmer in the sunlight, require no artificial lighting during the day and blur the lines between indoors and out, welcoming the landscape into lobbies and living rooms. These 13 buildings make stunning and often unusual use of large amounts of glass, whether choosing it as a facade material around a more conventional building, capitalizing on its dreamy diaphanous effects or using it to visually expand a space (sometimes at the expense of privacy).

Basque Health Department Headquarters, Spain

(images via: archdaily)

The Basque Health Department Headquarters building in Bilbao was in need of an energy-efficient update, but rather than tearing down the whole building and starting anew, Coll-Barreau Architects gave the existing building a faceted glass facade that not only insulates the building, brightens it up and enables ventilation, but also makes a dramatic street-side statement. The unusual shape of the facade was partially the result of strict city zoning rules.
Kanagawa Institute of Technology Glass Building, Japan

(images via: archdaily)

The lines between indoors and out are blurred in the crystalline Kanagawa Institute of Technology studio and workspace, designed by Junya Ishigami and Associates. With floor-to-ceiling glass, the building is totally transparent, giving students an incredibly bright space in which to work during the day, and turning it into a veritable art installation at night. Inside, supportive columns are arranged to subtly define 'zones' of the building without walling them in and cutting them off from the rest of the space and all of that natural light.
Netherlands Institute for Sound and Vision

(images via: archicentral)

Conceived as a perfect cube with half of it buried beneath the surface of the earth, the Netherlands Institute for Sound and Vision in Hilversum is a dreamy vision in modern stained glass, gleaming in shades of red, blue and yellow. Housing a museum and offices as well as the national broadcasting archives, the interior design is a conceptual translation of Dante's "Divine Comedy" with blood-red corridors and an atrium that architects Willem Jan Neutelings and Michiel Reidijk call their "inferno". The colored glass panels that seem abstract from afar are actually famous images from Dutch television.
Parc du Futuroscope, France

(images via: wikimedia commons)

Vienne, France glitters with a series of brilliant glass buildings that together form Parc du Futuroscope, a theme park based on multimedia, cinematographic futuroscope and audio-visual techniques. The faceted cinema is harsh and jagged, calling to mind crystal shards, while L'Omnimax is a sphere encased within a glass box. A third structure, L'Imax 3D, is covered in mirrored glass tiles.
Selgas Cano Architecture Office, Spain

(images via: archdaily)

Most of us work in uninspiring office spaces that seem to have been designed with blandness and disconnection from nature in mind. We can only dream of gazing up at the treetops like the lucky workers who spend their days in the Madrid offices of Spanish architecture practice Selgas Cano. The tube-shaped office is sunken into the ground and features one long wall of windows, giving occupants the feel of being completely immersed in the woods.
Farnsworth House by Mies van der Rohe, Illinois

(images via: archdaily)

Now considered a classic example of use of glass in clean modern residential architecture, the Farnsworth House by Mies van der Rohe is a pavilion with all-glass walls that tie the residents to their peaceful woodland surroundings. The trees surrounding the home, which is located on a secluded 10-acre site just outside of Chicago, provide some semblance of privacy. The home is raised to be as light as possible on the land. Said van der Rohe of his design, "Nature, too, shall live its own life. We must beware not to disrupt it with the color of our houses and interior fittings. Yet we should attempt to bring nature, houses, and human beings together into a higher unity."
Glass Cube House by Santambrogiomilano

(images via: design buzz)

Could you live in a glass cube such as this, where even the walls and stairs are transparent? Designed more for aesthetics than practicality, the Glass Home by Carlo Santambrogio and Ennio Arosio was built to showcase the pair's 'Simplicity' line of furniture. While it's difficult to imagine living life quite this – transparently – the building itself, viewed as an art object, is quite beautiful to behold.
Bloch Building, Nelson-Atkins Museum of Art, Missouri

(images via: stevenholl.com)

Steven Holl's stunning addition to the Nelson-Atkins Museum of Art in Kansas City consists of five interconnected frosted glass boxes that occupy the sculpture park of the much more conventional existing museum. At night they become like paper lanterns in the grass, luminous and seemingly ephemeral. The 'Bloch Building' brings the museum, built in 1933, firmly into the 21st century, not only with its unusual exterior but with the visually engaging yet appropriately blank white gallery space inside.
La Estancia Glass Chapel, Mexico

(images via: archdaily)

When a young architect from Bunker Arqutectura wanted to get married at La Estancia Gardens in Mexico, the site owner thought that having the architect design a new chapel for the grounds was an utterly romantic idea. Less romantic were the seemingly endless arguments that followed over the design of the structure; the owner wanted it enclosed and air conditioned, the architect envisioned it open to the elements. The owner preferred a traditional look, the architect desired a modern aesthetic. What resulted is a compromise. To prevent an unwanted greenhouse effect, Bunker used U-profiled glass panes that fit together as a single membrane, allowing ventilation.
Feria Valencia Convention and Exhibition Center, Spain

(images via: salva del saz)

Resembling an oblong glass bubble from above, the Feria Valencia Convention and Exhibition Center reflects into a perfect sphere when viewed from the opposite side of the shallow pond that leads up to its entrance. In fact, the stunning glass structure is only the building's roof. Most of the four-story convention center is underground.
ItHouse by Taalman Koch, California

(images via: inhabitat)

This gorgeous prefab house is located in a serene desert setting outside of Joshua Tree National Park in a planned community called Three Junipers. The itHouse, by Taalman Koch Architects, is primarily constructed of glass panels that fit into aluminum frames. Powered solely by photovoltaic and solar thermal energy, the house is off-grid and has a relatively small footprint at 1600 square feet.
X House by Arquitectura X, Quito, Ecuador

(images via: archdaily)

Designing their home without a site in mind, Adrian Moreno Nunez and Maria Samaniego Ponce focused on a design that would fit pretty much anywhere: "an open ended box, whose spatial limits would be the eastern and western ranges of the Andes." They chose glass because it provides an unlimited sense of space and, in their year-round temperate climate, would not pose any problems with greenhouse effect or lack of sufficient insulation.
Langen Foundation by Tadao Ando, Germany

(images via: wikimedia commons)

Located in Neuss, Germany at the Raketenstation Hombroich, a former NATO base, the Langen Foundation is a museum storing the collection of Oriental Art and Modern Art. Visitors enter this Tadao Ando-designed complex through a cutout in a curving concrete wall, their eyes immediately drawn to the building's distinctive glass envelope. This envelope not only provides covered corridors around the concrete core, but also reflects on the shallow man-made pond upon which it is partially set.

کاربری مسکونی + پلان + برش

پنجشنبه 21 مهر 1390 06:59 ب.ظ
طبقه بندی:معماری و شهرسازی، دکوراسیون داخلی، 

خیلی مساله ساده‌ست. ما گرفتار سیری تمدنی شدیم که بسیاری ارزش‌ها و خوبی ها رو از ما گرفته. از طبیعت دورشدیم. کیفیت زندگی هامون به شدت افت کرده. کالبد زندگی‌هامون غفلت‌زا و خلسه آوره و ....
خب یه عده قائل به بازگشت به قبل از این خراب‌کاری ها هستن. نظیر سنت‌گراها و ...
اما مادامی که در این نقطه هستیم، هر راه‌کاری برای احیای ارزش‌های محیط مسکونی، قابل بررسی وشایسته دقته.
قبلا هم اینجا نگاه های متفاوتی به مکان زندگی و خونه رو با هم دیدیم.
این جا طرحی دیگه از خانه داریم که به جز نکات مثبت عدیده ای که در ساخت و طراحی داره نگاهش به مساله خونه متفاوت از نگاه مرسومه‌.

'minna no ie' by mamm-design in tokyo, japan
all images courtesy mamm-design
image © daici ano

japanese architecture practice mamm-design has shared with us images of 'minna no ie',
a two-and-a-half storey dwelling in a residential district of tokyo, japan. situated on a 4.5m by
12m plot bound by neighbouring buildings, the design seek to provide a space that seemingly
expands beyond its borders by inserting a six meter-high garden room at its center.

street view
image © daici ano

unassuming in its presence, the white house features a small cantilever which shelters
the street level terrace below. a stretch of floor-to-ceiling glazed doors serve as the main entrance,
and provides a transparent view of the garden room within. finished with a slate-toned
brick flooring, a feeling of an outdoor plaza is established for the open space. a tree planted
at the center of the floor further provides a sense of a garden. large roof lights illuminate
the interior, and naturally shifts the atmosphere throughout the trajectory of the day.

interior view of garden room
image © daici ano

pivoting around the main room, private programs are arranged on an offset platform system.
an atelier hosted in the cantilevered volume looks out over the garden room while a small
study space and bedroom are stacked on the opposite end of the layout. conscious of
preserving a feeling of openness, every area of the house has a direct connection to
the multi-storey void, and are devoid of wall partitions or doors. a strong relationship is
created between the inhabitants through visual and audio correspondence.

aerial view
image © daici ano

views from elevated platform
images © daici ano

image © daici ano

images © daici ano

image © daici ano

image © daici ano

image © daici ano

image © daici ano

garden room at night
image © daici ano

view of entrance
image © daici ano

site map

floor plan / level -1

floor plan / level 0

floor plan / level +1

longitudinal section

این جا ژاپنه.
زمینی به مساحت 69 مترمربع در منطقه ای شبه روستایی.
یه نگاهی بکنین به خودمون. ما تو ایران اگه چنین زمینی دست مون بیاد -حتی امروز تو دل خیلی روستاها- چه می کنیم باهاش!؟
یه چهارطبقه با جعبه پله و نمای سنگ. هر واحد 40 مترمربع. یه خونه‌ی بسازبفروشی به تمام معنا که هیچ خبری از زندگی مسلمونی و انسانی توش نیست. تازه ما برای ساخت چنین چیزی اصلا کم خرج نمی کنیم. چیزی قریب به 150 تا 200 میلیون تومان!!!
اما دیگه هیچ وقت کیفیات متفاوت زندگی نظیر این خونه رو نمی تونیم تجربه کنیم. دیگه چه برسد به لطافت و ملاحت معماری سنتی ایرانی اسلامی مون!؟

'house in kaijin' by fuse-atelier, funabashi, japanall images ©  fuse-atelier

japanese architect shigeru fuse of fuse-atelier has recently completed 'house in kaijin', a single family residence located
in funabashi, japan. a ground level void within a monolithic boundary creates the dwelling's street entry. a tree is planted
within the veranda which mediates the street and interior, and continues to rise and pass through the successive floor plates.
a six meter tall concrete wall with minimal window penetrations bounds the site and structure's perimeter blocking views of
the cluttered and densely developed urban landscape and redirecting attention inward to the simple and open spaces.

front facade

an open plan living area and kitchen creates a spacious and unified first floor. large glass doors slide to reveal the outdoor
terrace permeated by the canopy of the tree planted within the ground entry's garden. natural light filters through the exposed
shaft and reflects throughout the interior's monochromatic and pristine white surfaces. the open riser glass tread staircase
leads to the upper level bedrooms which return to a cavern like space providing privacy to the inhabitants.

entry garden and veranda at street level

view of entrance from ground floor

stairs to first level

first level living space, kitchen and terrace

living space and outdoor terrace

open air terrace

living and kitchen space

view of living space from kitchen


glass open riser staircase

view of terrace from stairs

view of first and second level from stair landing

stair leading to bedroom levels

upper bedroom levels

entrance illuminated at night

entrance at night

at night

site plan

floor plan / level 0

floor plan / level 1

floor plan / level 2

floor plan / level 3


project info: 

location: funabashi, chiba pref., japan
type: houses-residential
architects: shigeru fuse,  fuse-atelier
design team: fuse-atelier + musashino art university/fuse-studio
structural engineers: konishi structural engineers.
main contractor: shishido koumuten
site area: 69.96m2 
building area:
 39.19 m2
gross internal floor area:
 91.41 m2 
start of work:
completion of work: 2010
structure: reinforced concrete
floor: 3-storey

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