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Showing posts with label architectural renderings. Show all posts
Showing posts with label architectural renderings. Show all posts

Jean Nouvel's New National Museum Of Qatar





The Qatar Museums Authority has engaged Pritzker prize-winning architect, Jean Nouvel, to design a new National Museum that will preserve the original palace while creating an unprecedented 21st century institution celebrating the culture, heritage and future of Qatar and its people. The museum is presently closed during construction with an anticipated reopening in late 2013.


above left: the old National Museum Of Qatar and right, incorporating the old into the new in Nouvel's design

Jean Nouvel’s design manifests both the active, dynamic aspect of the Museum’s program and its crystallization of the Qatari identity, in a building that, like a desert rose, appears to grow out of the ground and be one with it.


above: a model of the proposed museum, now under construction

Prominently located on a 1.5 million-square-foot site at the south end of Doha’s Corniche, where it will be the first monument seen by travelers arriving from the airport, the building takes the form of a ring of low-lying, interlocking pavilions, which encircle a large courtyard area and encompass 430,000 square feet of indoor space.


above: Jean Nouvel's concept drawing

In its organization, the building suggests the image of a caravanserai—the traditional enclosed resting place that supported the flow of commerce, information and people across desert trade routes—and so gives concrete expression to the identity of a nation in movement. The tilting, interpenetrating disks that define the pavilions’ floors, walls and roofs, clad on the exterior in sand-colored concrete, suggest the bladelike petals of the desert rose, a mineral formation of crystallized sand found in the briny layer just beneath the desert’s surface.

Here are the computer generated images (by Artefactory) of the amazing and unusual looking new National Museum Of Qatar.

The Caravanserai Courtyard:

courtyard detail:

North view:

West view from Doha Bay:

South view:

Architect Jean Nouvel:


Commenting on his design, Jean Nouvel stated, “This museum is a modern-day caravanserai. From here you leave the desert behind, returning with treasured images that remain engraved on your memory. The National Museum of Qatar will become the voice of a culture, delivering a message of modernity, metamorphosis and the beauty that happens when the desert meets the sea.”

Details of the Building

The National Museum of Qatar building will provide 86,000 square feet of permanent gallery space, 21,500 square feet of temporary gallery space, a 220-seat auditorium, a 70-seat food forum / TV studio, two cafés, a restaurant and a museum shop. Separate facilities are provided for school groups and special guests. Staff facilities include a heritage research center, restoration laboratories, staff offices and collection processing and storage areas. The Museum will be surrounded by a 1.2 million-square-foot landscaped park that interprets a Qatari desert landscape.


above: North side entrance

Inspired by the desert rose, the interlocking disks that compose the building—some of them standing more or less upright and acting as support elements, others lying more or less horizontal—are of varying curvature and diameter. The disks are made of steel truss structures assembled in a hub-and-spoke arrangement and are clad in glass fiber reinforced concrete panels. Columns concealed within the vertical disks carry the loads of the horizontal disks to the ground.

Glazed facades fill the voids between disks. Perimeter mullions are recessed into the ceiling, floor and walls, giving the glazing a frameless appearance when viewed from the outside. Deep disk-shaped sun-breaker elements filter incoming sunlight.

Like the exterior, the interior is a landscape of interlocking disks. Floors are sand-colored polished concrete, while the vertical disk walls are clad in “stuc-pierre,” a traditional gypsum- and lime-blended plaster formulated to imitate stone.



Thermal buffer zones within the disk cavities will reduce cooling loads, while the deep overhangs of the disks will create cool, shady areas for outdoor promenades and protect the interior from light and heat. Steel and concrete, the main materials of the building, will be locally sourced and/or fabricated. The landscaping will feature sparse native vegetation with low water consumption. Through these and other sustainability measures, the Museum is working to achieve a USGBC LEED Silver rating.

The Museum’s gardens are specifically designed for the intense climate of Qatar. Plantings will include native grasses and indigenous plants, such as pomegranate trees, date palms, herbs and the Sidra tree, the national tree of Qatar. Landscaping will feature sand dunes and stepped garden architecture to create sitting areas and spaces for the Museum’s programs of tours and garden lectures.

Information about museum and building details courtesy of Qatar Museum Authority

Qatar is a peninsula located in the Persian Gulf.

More Steampunk Architecture From Dave Trautrimas - The SpyFrost Project



above: detail of The Radiant Proliferator

David Trautrimas, the Canadian artist about whose steampunk-like architectural art, The Habitat Machines, I blogged about once before, has a wonderful new series of work called The Spyfrost Project.

The Spyfrost Project
illustrates David's hypothesizing the origins of modern iconic appliances by reassembling them into top secret Cold War era military outposts. These hybrids of machinery and architecture stand as colossal weaponized ancestors to common objects, such as refrigerators, lawnmowers and washing machines.

Carbon Inversion Device:

detail:

Digital print on archival paper (framed). 30” x 20”. 2010. Edition of 14. $1400.00 each.

Micro Re-Instigator:

detail:

Digital print on archival paper (framed). 40” x 30”. 2010. Edition of 10. $2600.00 each.

Mnemonic Doppelganger:

detail:

Digital print on archival paper (framed). 22.5” x 35”. 2010. Edition of 12. $1725.00 each.

Seismic Conduction Tower (and detail):

Digital print on archival paper (framed). 20” x 30”. 2010. Edition of 14. $1400.00 each.

Storm Crown Mechanism:
detail:

Digital print on archival paper (framed). 40” x 30”. 2010. Edition of 10. $2600.00 each.

Terra Thermal Inducer:

detail:

Digital print on archival paper (framed). 35” x 22.5”. 2010. Edition of 12. $1725.00 each.

The Aurora Maker (and detail):

Digital print on archival paper (framed). 14” x 17”. 2010. Edition of 16. $925.00 each.

The Brilliant Device:

detail:

Digital print on archival paper (framed). 30” x 20”. 2010. Edition of 14. $1400.00 each.

The Fragment Accumulator (and detail):

Digital print on archival paper (framed). 20” x 30”. 2010. Edition of 14. $1400.00 each.

The Radiant Proliferator:

Digital print on archival paper (framed). 30” x 20”. 2010. Edition of 14. $1400.00 each.

The Toronto launch of his latest series will be opening at LE Gallery on Friday April 30th and the exhibition runs from April 28th to May 30th. In Europe, The Spyfrost Series will be exhibited at the Eckhart Gallery in The Hague, Netherlands from May 2nd to June 11th.

See David's Habitat Machines And Factories here.

ArchiTech's Future Perfect: Mid-Century Modern Design Drawings



above: Henry P. Glass, Wacker Plaza Lobby - View From Entrance
Pencil on tracing paper, 1955, 16 x 21 inche
s

ArchiTech is a historically comprehensive commercial gallery of architectural art, in Chicago's River North gallery district. Their recent show, Future Perfect: Mid-Century Modern Design Drawings opened January 9 and ends this weekend on May 30, 2009.



The majority of the works in the exhibition are those of late Chicagoan architect and designer, Henry P. Glass (for which the gallery also serves as the representative of the estate) but the show also includes a few works by Vincent Raney, Bertrand Goldberg and R.G. Martelet.

David Jameson, the gallery owner, describes the exhibit as follows:
Mid 20th Century Modernism's most flamboyant designers. Industrial and architectural drawings from post-war to post-moon landing.

Utopian visions were nothing new to America's architects and designers after World War II. However, triggered by an explosion of affordable real estate and hopeful consumerism, manufacturers of the post-war era followed an entirely different design approach. This new philosophy of sensuous shapes envisioned furniture, lamps and radios as almost living beings that could run out to the buyers' car.

Henry P. Glass was perfectly suited to this new visual language. Freed from his Nazi prison camp, he began his design career in America with drawings that practically walked off the paper and into production.

Television and tourism helped transform the new reality away from wartime into the future and that's where we wanted to live. Bertrand Goldberg created theaters, hospitals and apartment buildings that could have come from colonies on the Moon.

In the era when a man's vehicle could resemble his rocket ship to get there, Ron Martelet drew speedboats that could transform into their own transport trailers. His Jet-Skis of the 60s looked to be straight out of "Goldfinger."

What began as atomic nightmares transformed into space age dreams in "Techni"-colors that were no longer army drab but instead, pink, aqua and hues never before classified. Mid-Century Modernism was something completely different.

Here are some drawings from the gallery exhibit. Please click on the images to enlarge:


above: Henry P. Glass, Kling Studios Lobby
Pencil on tracing paper, 1946, 18 x 23 inches


above: Henry P. Glass, Kling Studios Director's Office
Pencil on tracing paper, 1946, 18 x 23 inches


above: Henry P. Glass, Hotel Flamboyant Typical Cottage,
Graphite on Paper, 1949, 21 x 42 inches


above: Henry P. Glass, Hotel Flamboyant
dimensions unknown


above: Henry P. Glass, Design for Hairpin Chair
Pastel and ink on toned paper, Circa 1940s, 9 1/2 x 15 inches


above: Henry P. Glass, DH1 Laminated Plywood Chair
Prismacolor on paper collage, 1966, 10 1/4 x 12 inches


above: 1958 Chair, Graphite on tracing paper, 1958
11 1/2 x 8 1/2 inches


above: Henry P. Glass, Night Table Lamp
Graphite on tracing paper, Circa 1949, 16 x 13 inches


above: Henry P. Glass, Desk Lamp
Graphite on tracing paper, Circa 1949, 16 x 13 inches


above: Henry P. Glass, Swingline Desk and Armchair
Pastel and colored pencil on tracing paper, 1949, 16 x 13 inches


above: Henry P. Glass, Eastern Knitters Sales Room
Watercolor and collage on toned paper with shaped mat, 1946, 20 1/2 x 30 inches


above: Vincent Raney, Detail of Theatre for Los Banos
Pencil on drafting linen, 1947, 15 x 16 inches


above: R.G. Martelet, Detail of Design B (Boat/Trailer Combination)
Prismacolor and chalk on toned paper, 1961, 16 x 30 inches


above: Bertrand Goldberg, Architect; Henry Gould, Delineator, San Diego Theater, La Jolla Marker on artist's board, 1969, 12 1/2 x 17 1/2 inches

click here to see more of David's notes on the Exhibition:


above: ArchiTech Gallery Owner David Jameson, photo by Jay King

ArchiTech Gallery

730 North Franklin Street
suite 200
Chicago, IL, USA
60654

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