Friday, December 19, 2014
Thursday, December 18, 2014
Monday, December 15, 2014
Abteiberg Museum, Monchengladbach.
|Therme Vals, Vals.|
Opera House, Oslo.
Friday, December 12, 2014
Typical Fire Escape Stair,
Sometimes stairs seem to be a problem for a good design, however, throughout history great architects made the most of them. From Michelangelo’s Laurentian Library to Asplund’s Law Court stairs, this architectural element has come to the center of discussion and design. In 2014’s Venice Biennale, curator Rem Koolhaas decided to work on the Fundamentals of architecture. Some of these elements had been forgotten by being regarded through parametric design or super modern ways of understanding life. Whether considered through religious ideas of ascension or mathematical concepts of proportion, stairs are not only used to connect two different stories but also as an aesthetic component or a story teller.
Laurentian Library, Florence.
Law Courts, Gothenburg.
In New York City, stairs have always been a representative element and continue to inspire architects and artists to this day. The fire escape stairs were not built for any aesthetic reason but it is impossible to imagine a hundred-year building in SoHo without them. Over the last decades, many architects have been working in this neighborhood with the same element in different and innovative ways. Heatherwick and Koolhaas designed two of the most interesting stores in the city, Longchamp (2006) and Prada (2001), respectively. In these cases, the stair is not just a mean to rise above two different levels but a component that defines the entire space and makes architecture interact with the products for sale and the visitor.
Being contemporary is not just using avant-garde materials but using them with a contemporary thought of space, living and always looking back to history to have a proper vision of the future.
Thursday, December 11, 2014
Monday, November 24, 2014
Tuesday, October 28, 2014
Monday, October 27, 2014
Wednesday, October 8, 2014
SoHo's roots lie in textiles and manufacturing, with many of these structures remaining and re-purposed as unique office spaces with high ceilings and exposed brick, now adapted and suited for tech and design companies.
Our building at 137 Varick still shows an advertising remnant of the past. Once housing a paper company, the building now comprises a diverse collection offices for architects, contractors, web developers, stock traders, publishers and more.
Friday, September 26, 2014
New building coming soon? It seems an old building coming soon.
Why do some architects design buildings based on the old style?
I strongly believe that a building must represent their own time. We are in a new century.
Old buildings are beautiful because were built in past, with old techniques.
We CAN NOT keep buildings that look old.
This is a perfect example
Friday, September 19, 2014
Here are a few bad and good examples.
The Midtown West train station once rivaled and possibly exceeded Grand Central Terminal in grandeur. The beautiful, classic station was demolished in favor of a smaller, modern facility tucked under a new sports arena (Madison Square Garden). One of the most frequented gateways to the city that was once a grand monumental entrance, became a crowded, claustrophobic experience in a station that is now ridiculed and dreaded by travelers. Virtually nothing was preserved as a reminder of what once was. One positive result of this scenario was the increase in awareness for Historic Preservation Societies, saving countless other buildings from the same fate in the name of "progress."
This high-rise commercial building for the Hearst Corporation, replacing their old much smaller headquarters on the same site. Norman Foster was commissioned to expand their space into a much larger tower. The original 1928 cast-stone facade was braced while the interior was demolished. This preserved facade was then incorporated into the new 2006 design, creating a dynamic juxtaposition between the old and the new and implying a concept of the new growing from out of the past.
Now the most visited modern art gallery in the world, the Tate Modern in London is housed in the former Bankside Power Station. This adaptive reuse, gave the building a whole new program life while retaining a majority of the former facility. Additions are small, subtle, and respective of the overall architecture of the structure.
Wednesday, July 30, 2014
Thursday, July 24, 2014
Monday, July 21, 2014
Now, the U.S. Interstate highways are much different from the beautiful boulevards of Paris. But Paris did something else right. Where highspeed thoroughfares are needed, Paris went underground and away from the city center to do so. This prevented the destruction of neighborhoods and street life. Yes there are cost implications, but it makes you wonder how much business was lost by destroying or isolating whole neighborhoods that never recovered with the method the U.S. chose.
Tuesday, July 15, 2014
In other words, a new building should be discernible as a new construction, but it should be designed using ratios, patterns, and materiality that allow it to become a harmonious part of its context. Done right, contemporary urban infill projects can fill voids and provide a unique contrast within historic city blocks.
The following are some considerations to designing new construction in historic districts. As an example, we will use our recently completed Jersey City project at 93 Bright Street.
Site, Setting, and Height
Although there are some voids in the streetscape, there remains a fairly consistent street wall. A proposed building should be set at the front property line to maintain this condition. Design decisions can be lead and subsequently justified by using lines and proportions from neighboring buildings. In the diagram below, the brick massing is flush with the property line in plan. In elevation, the top of the brick form matches with the neighboring building’s cornice. The taller, recessed aluminum façade then adds an additional floor to the building while bridging the height gap between its immediate neighbor and the height of the tallest neighbor on the opposite side.
At 93 Bright it was decided to make the windows appear vertical to match the existing window shapes, but they are actually wide horizontal bays that allow in much more natural light. The bays are disguised with wood screens to make the bay appear as separate vertical-oriented windows. At street level a store front concept was borrowed and adapted from a local building.
Wednesday, May 28, 2014
Aldo has acquired over 20 years of experience in construction management in the NY/NJ area working his way up from his beginnings as a carpenter. He has now successfully overseen all phases of construction in a vast array of project types and scales for some of the largest construction management firms in the country and alongside some of the largest and most renown architecture firms in the world.
He has excelled in implementing tactics and scheduling that improve efficiency throughout the construction process. His background in construction allows him to account and prepare for all activities required during construction, avoiding costly changes and ensuring the architectural concept is maintained. With this strategic planning, supervision, and value engineering, he strives to improve efficiency and quality, ultimately resulting in higher client satisfaction. We are certain that Aldo’s knowledge and expertise will further assist JMA in its quest to become the most exceptional full-service design-build architecture firm possible.
Some of the notable projects under his supervision include:
- Foley Square Federal Building
- Grand Central Terminal Renovation
- JFK Airport Renovation
- Rutgers Stadium Renovation
- Floyd Bennett Field Renovation
- Museum of Natural History Addition for Hayden Planetarium
- Kings County Hospital Addition
- FedEx Ground Shipping Facility
- LEED Certified School