Cultural centre design brief

Text description provided by the architects. The project lies in the birthland of this characteristic town - Yunqi Town, Hangzhou. To actively embrace imagination, a once unfinished industrial park has now become a technology hub of cloud computing, big-data and artificial intelligence. We want to make breakthroughs from its origin instead of constructing another generic exhibition center. By nature, an exhibition center is a vehicle for urban cultural life.

In fact, exhibition centers in China tend to adopt a pompous design, being pinned with the hope that dimensions and unique looks could fully highlight the ambition of a city. However, from the perspective of an individual, these features often intimidate and discourage people.

Therefore, in the process of designing the first-stage of Yunqi Exhibition Center inwe came up with an atypical exhibition center design that abandoned specific models and so-called sense of ceremony.

The RIBA International List 2018 - A Closer Look: Cultural Buildings

We contrast the refreshingly concise exterior with a blurred boundaries, which opened up the space and made it accessible for everyone. In leisure time, large numbers of people come here every day to take a walk, rest, meet up and play around.

Everywhere you can see their presence. There are even spontaneous shows going on. Therefore, the building turned from a makeshift structure from design to completion it took only three months, original plan was to tear it apart afterwards into a permanent building representing the entrepreneurial spirit of the town.

There was no modelling to begin with. The plan caused instant controversy and opposition. However, hidden behind it was our reimagination of urban large-scale public building design paradigm, which had already gone above and beyond an exhibition center itself. Today, almost every city owns an exhibition center, which requires the support of a huge amount of urban resources. On the other side, the inertial thinking and typical characters of traditional exhibition centers make them hard to be utilized in any other ways, causing a huge waste of resources invisibly.

Can higher resource utilization rate be achieved, by sharing the same body with other types of urban public facilities or by integration of some sorts? It presents itself as a huge low rooftop covered in lawn, giving it as low a profile as possible and attracting people to approach it.

All around the building sit a multitude of gentle grassy slopes, and thus the whole roof appears to be an extension of the horizon, openly welcoming people to walk onto the rooftop. People enter from the bottom of one building, then exit on top of the other without realizing it. A harmonious and interesting dialogue is thusly initiated at the same site. In order to control the height of the roof so that people can easily access, the design embedded one-third of the 9-meter-high exhibition hall underground, which makes people walk down when entering the venue.

This has created a strong contrast from the ceremonial large step of the previous convention centers. This idea has once again suffered a huge controversy, and for several times we were asked to overthrow and redo the building.Click here to subscribe our monthly Leisure eNewsletter to receive extensive coverage of news, trends, analysis and commentary about community-based leisure and entertainment venues.

The physical environment can either contribute to children's development and support staff and parent goals or create a permanent impediment to the operation of a high quality program. Designing a high-quality, developmentally appropriate child care facility is a highly complex task which requires specialized and unique skills.

The design and layout of the physical environment, which includes the building, interior finishes, outdoor spaces, selection of equipment and room arrangement has a profound impact on children's learning and behavior and on teachers' abilities to efficiently do their jobs.

Children need age-appropriate physical environments that support and promote child-directed and child-initiated play.

The environment must promote and positively support the child's interaction with space, materials and people. Teachers and caregivers also need highly functional, easy-to-use environments. When the environment supports both and is working for children and adults, it is easier for adults to focus on facilitating each child's play and learning. Facilities that fail to support a high quality program are usually the result of well-meaning intentions gone awry.

The problem can usually be traced to both the expertise of the design participants and the design process. The product can only be as good as the process that creates it and the expertise of the design participants. The first problem is that architects and designers who understand the principles of design often have little knowledge of child development and the operation of child care centers.

Many times architects and designers create and choose designs that look good to them but may not be functional and practical in a child care center.

Some buildings end up being architectural monuments that are over-designed with too much of the money being spent on the outside facade.

Another limitation of architects is that they often do not understand that children just cannot adapt to inappropriate design like adults. Although there are anthropometric charts to assist them in making design elements the appropriate heights and depths, architects fail to understand, for example, that a toddler sink which is too high is unusable and one that is too low is unsafe since the children will climb inside.

Second Stage of Hangzhou Yunqi Town Exhibition Centre / Approach Design (ZUP)

Children cannot adapt to design errors in height or depth. It simply must be age-appropriate the first time to work successfully.

The second problem that contributes to poor design is that the directors and teachers who know children and understand their needs rarely know how to translate their teaching and administrative skills to the design of space and the language used by architects and designers.

Most child care practitioners may not be able to offer the best design solutions because they do not have a broad enough experience base. Due to being hampered by their existing paradigms, practitioners may be unaware of many solutions or may not be able to understand the downside of a particular solution.

It is truly difficult to think of things you have never seen or read about. Add to the problem that practitioners do not speak the same language as architects and designers, and you will see why the multitude of details which can produce a high-quality, developmentally appropriate facility fall through the cracks. The third problem that contributes to poor design has to do with the design process itself.Text description provided by the architects. As part of the former Soviet Union, the urbanism and architecture of Bakuthe capital of Azerbaijan on the Western coast of the Caspian Sea, was heavily influenced by the planning of that era.

Zaha Hadid Architects was appointed as design architects of the Heydar Aliyev Center following a competition in Elaborate formations such as undulations, bifurcations, folds, and inflections modify this plaza surface into an architectural landscape that performs a multitude of functions: welcoming, embracing, and directing visitors through different levels of the interior.

With this gesture, the building blurs the conventional differentiation between architectural object and urban landscape, building envelope and urban plaza, figure and ground, interior and exterior. Fluidity in architecture is not new to this region. In historical Islamic architecture, rows, grids, or sequences of columns flow to infinity like trees in a forest, establishing non-hierarchical space.

cultural centre design brief

Continuous calligraphic and ornamental patterns flow from carpets to walls, walls to ceilings, ceilings to domes, establishing seamless relationships and blurring distinctions between architectural elements and the ground they inhabit. Our intention was to relate to that historical understanding of architecture, not through the use of mimicry or a limiting adherence to the iconography of the past, but rather by developing a firmly contemporary interpretation, reflecting a more nuanced understanding.

Responding to the topographic sheer drop that formerly split the site in two, the project introduces a precisely terraced landscape that establishes alternative connections and routes between public plaza, building, and underground parking. This solution avoids additional excavation and landfill, and successfully converts an initial disadvantage of the site into a key design feature. Advanced computing allowed for the continuous control and communication of these complexities among the numerous project participants.

The Heydar Aliyev Center principally consists of two collaborating systems: a concrete structure combined with a space frame system. In order to achieve large-scale column-free spaces that allow the visitor to experience the fluidity of the interior, vertical structural elements are absorbed by the envelope and curtain wall system.

The space frame system enabled the construction of a free-form structure and saved significant time throughout the construction process, while the substructure was developed to incorporate a flexible relationship between the rigid grid of the space frame and the free-formed exterior cladding seams.

Cultural Centre for Norwegian Waterfront by Nuan Studio

These seams were derived from a process of rationalizing the complex geometry, usage, and aesthetics of the project. In this architectural composition, if the surface is the music, then the seams between the panels are the rhythm. Numerous studies were carried out on the surface geometry to rationalize the panels while maintaining continuity throughout the building and landscape.

They emphasize the continual transformation and implied motion of its fluid geometry, offering a pragmatic solution to practical construction issues such as manufacturing, handling, transportation and assembly; and answering technical concerns such as accommodating movement due to deflection, external loads, temperature change, seismic activity and wind loading. The lighting design strategy differentiates the day and night reading of the building.

The use of semi-reflective glass gives tantalizing glimpses within, arousing curiosity without revealing the fluid trajectory of spaces inside.How might architecture interpret cultural identity?

Shaneen Fantin explores the complexities of addressing aboriginal identities, ancestors and places through architecture.

This is an article from the Architecture Australia archives and may use outdated formatting. Detail showing a tub for artists to wash brushes or get water, and for people to fill up billys to make tea. Scenes from the opening of the Tjulyuru Ngaanyatjarri Centre, which Inside Out Architects designed to support and encourage existing living practices, etiquette and knowledge systems. Architectural interpretations of Aboriginal identity in the design of cultural centres, museums, keeping places, art centres and other buildings play an important role in informing how the architectural profession, the Aboriginal clientele, and the broader public perceive Aboriginality.

In contrast, this essay draws on another emerging body of built work to explore architectural processes and projects that might imbue architecture with Aboriginal identity through client involvement and authorization, through respecting Aboriginal social practices and revering existing places and histories, without attempting to abstract them into semiotic devices in form, plan or section.

Aboriginal place making and architecture. In traditional Aboriginal mytheopia and place-making an understanding of the relationship between an ancestor and a place — developed through learning verbal and graphic stories, songs and dances — is necessary before one can read an ancestor in a place usually in the natural landscape.

For example, in north-east Arnhem Land a low rock formation projecting from the ground might be a remnant of the travels of an ancestral shark, but unless one is privy to such information, the qualities of the shark cannot be seen in the geological formation. Other projects — such as the Tjulyuru Ngaanyatjarri Cultural and Civic Centre, by Inside Out Architects, and the proposal for the Musgrave Park Culture Centre, by Richard Kirk and Innovarchi — project the built environment as complementary but acquiescent to the social and political history of the Aboriginal people who use the buildings and to the significance of the places in which the buildings sit.

Leaving ancestors in the country. The significant meaning of Aboriginal places traditionally comes from their occupation and creation by ancestors, and their use and recognition by Aboriginal people over time. In a context in which a building is constructed adjacent to a significant site imbued by an ancestor, does the ancestor really need to be reproduced in a remnant or abstraction in the building? If the answer is yes, who does the building re-present the ancestor to? While working with Yolngu people in Arnhem Land between and I found that some client groups specifically wanted to avoid any reference to Yolngu ancestral histories in the design of buildings because they saw non-Indigenous architecture as just that — a non-Indigenous initiative or imposition.

These groups felt that ancestors and their histories were best left in the country. Whose ancestor, whose design? One of the issues often raised in discussions on design projects with Aboriginal groups is not whether to represent ancestors, but which ancestor or history to choose. Client groups are regularly comprised of different peoples who have different connections to places, histories and ancestors; hence the ancestors, stories and designs associated with particular peoples are not always appropriate for the entire group.

cultural centre design brief

The problem with applying iconic representations of ancestral beings to architecture and design is partly related to Aboriginal kinship and politics. When an Aboriginal ancestor or their remnants is depicted in the design of something — object, building or settlement plan — the group of people closely associated with that ancestor may claim custodianship over the design because it is an integral part of their identity.

Ancestral Beings, Dreamings, gave them for certain groups to hold in trust. Infringements of this copyright are in some places still met with vigorously applied sanctions. Having said this, Aboriginal groups who have suffered dispossession will often endorse the use of ancestral imagery in architectural design as recognition of their group Aboriginal identity.

The green sea turtle was seen as a unifying symbol for the client group not because of their connection to the story of the turtle and its place making, but because the turtle was one of their favourite foods. If the food of a particular client or user group is an adequate symbol from which to generate a design idea for a non-food related facility, what difference is there in deriving an idea from any other commonly held symbol?

Although there might be problems associated with custodianship and authority in using a particular symbolic reference in a building, another consideration should be the flexibility of ownership and use of a building over time.

Of course I am not suggesting that buildings that do not interpret or represent Aboriginal identity in direct ways are free of cultural associations and shackles; they are imbued with the technology, space and aesthetic of the culture and architect through which they are developed. Identity through occupation first, representation later. In making contemporary Aboriginal architecture, new places containing Aboriginal identity are created which did not exist prior to their design, construction and occupation.

This occurs when the physical and spiritual qualities of one place are invoked and applied to another spatial context, effectively creating the first place or a memory of it in the second location.

Place transfer is an important quality of ceremony grounds in contemporary Yolngu settlements in Arnhem Land; it allows people to summon their social identity and history even when they are distant from their ancestral homeland.

During the enactment of ceremony, practices such as dancing, playing music, and creating ground sculptures represent ancestral places and powers, and the ground becomes a referent for another distant place such as an ancestral homeland or tract of country. Moreover there is usually no need to use soil from the home country. Their context may well be inside a building, in an urban setting, or even a foreign land.

Daily activities such as meeting, talking, sitting, yarning, playing, working, painting and cooking are also processes that imbue a place with meaning and culture associated with the user group.

The Tjulyuru Ngaanyatjarri Centre at Warburton was specifically designed to support and encourage existing Aboriginal living practices, as well as kin-related Aboriginal etiquette and respect for the layering of Aboriginal knowledge systems.To be delivered on a Design team leaders, ARM Architecture and Topotek1have applied their international competition-winning concept to a site-wide Master Plan.

It will guide staged delivery of the project over the next 10 — 15 years. View the Master Plan. Subscribe to receive our 'at The Precinct' eNewsletter which contains all the latest Precinct news and upcoming events.

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cultural centre design brief

Skip to main content. Subscribe Subscribe to receive our 'at The Precinct' eNewsletter which contains all the latest Precinct news and upcoming events. Quick Links. Building Culture - international filmmaker Alex Chomicz documents Stage 1. View the Cultural Precinct Animation. Construction will start in mid-late for a completion. Future stages Council is working with HOTA, governments, business, arts and cultural organisations and the community to build partnerships, secure funding and activate what will be a must-visit artistic and cultural destination.

Join us on Facebook. Join us on Twitter.Alberto Bologna spotlights 10 key buildings from his book Chinese Brutalism Today, which examines the enduring trend of concrete architecture in China. Architect Baerbel Mueller and architectural designer Juergen Strohmayer have created a multi-use gallery for the Nubuke Foundation in Ghana. American firm Rand Elliott Architects has designed a new home for the Oklahoma Contemporary art centre covered in 16, extruded aluminium fins. Scaly aluminium cladding and projecting glass boxes wrap around Frank Gehry's Luma Arles tower, which is nearing completion in the south of France.

Detailed photos of 80 Chinese buildings feature in Kris Provoost's book Beautified China, which spotlights the country's current architectural boom. A s building designed by the late architect IM Pei to house Indiana University's art collection has received a sensitive update by Ennead Architects and architect Susan T Rodriguez that includes a new skybridge.

American studio LMN Architects has renovated and expanded a s, art deco-style museum in Seattlemaking sure to preserve "the architectural legacy of the historic building". Architecture practice Playze and design firm Schmidhuber covered the Ningbo Urban Planning Exhibition Center in eastern China in a skin of pale green glazed ceramic tiles.

An overhanging canopy shades the cascading exhibition spaces and outdoor terraces that make up Shigeru Ban 's gallery at the Tainan Art Museum. Canadian firm Diamond Schmitt Architects has revealed a new building for Ottawa 's public library system, featuring a curvilinear roof and glass walls that offer expansive views of the city.News: international heritage body UNESCO has launched a competition to design a cultural centre on the boundary of the Bamiyan Valley site, which housed two giant seventh-century statues of Buddha that were destroyed by Taliban militants in UNESCO has teamed up with the Afghan government's Ministry of Information and Culture to launch the Bamiyan Cultural Centre Design Competition for a building that will provide storage areas for archaeological and traditional artefacts, as well as space for cultural programmes and research facilities.

The heritage organisation said that the project would be a "cornerstone" in the nation's efforts to preserve its culture and build new cross-cultural connections that would help promote peace.

The cultural centre will occupy a prominent site in the edge of the Bamiyan Valley in the central highlands of Afghanistan — a key Buddhist site on the ancient Silk Road trading route. A number of historic structures and art works are scattered throughout the valley. The foothills of the cliffs along the valley are pockmarked with caves that were used as Buddhist monasteries, chapels and sanctuaries dating from between the third and fifth century.

The cliffs themselves housed two giant seventh-century carvings of Buddha, standing at 55 metres and 35 metres tall respectively. These occupied niches carved into the cliff face, which still remain following the destruction of the statues by the Taliban in Earlier this year, UNESCO stepped in to prevent an unauthorised team of German archaeologists from reconstructing the statues using iron rods, brick and concrete.

International and national entities are uniting around the idea that building a nation through cultivating culture is an important way to sustain peace and advance positive aspirations for the future. The brief calls for an adaptable space that can be of benefit to as wide a group of users as possible, hosting community events and civic meetings as well as serving as a public cultural and education facility.

The building will also need to provide space for arts advocacy work and "cultivate cultural exchange" between the country's different ethnic groups.

Architects, engineers, designers and students are all eligible to enter the single-stage competition as long as one team member is a registered architect. There is no entry fee. Financial support for the competition is being provided by the Republic of Korea. Dezeen Weekly is a curated newsletter that is sent every Thursday, containing highlights from Dezeen. Dezeen Weekly subscribers will also receive occasional updates about events, competitions and breaking news.

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