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Showing posts with label Architecture. Show all posts
Showing posts with label Architecture. Show all posts

Sunday, January 26, 2025

Porto: A Timeless Journey Through History, Monuments, and Architecture

 The Historical Roots of Porto

Porto, often called "The Invincible City" (Cidade Invicta), is one of the oldest cities in Europe, with a history that dates back more than 4,000 years. The area was first settled during the Bronze Age, with archaeological findings suggesting early habitation near the Douro River. By 300 BC, the Celts had established small settlements, but it was under Roman rule, starting around 136 BC, that Porto began to flourish. Known as Portus Cale, it served as a crucial point along trade routes connecting the Roman Empire's northern provinces to the Mediterranean.



After the fall of the Roman Empire, the city was successively ruled by Visigoths and Moors until it was reclaimed by Christians in the 9th century. Porto’s name and the surrounding region of "Portugal" derive from Portus Cale, underscoring its role in the nation's origins. By the 12th century, Porto became a vital center for shipbuilding and maritime trade, providing vessels that supported Portugal's famed Age of Discoveries. One notable explorer, Prince Henry the Navigator, commissioned many of his expeditions from Porto’s shipyards in the 15th century.

In modern history, Porto played a crucial role in Portugal’s political struggles. It was a stronghold during the Liberal Wars of the 19th century, earning its nickname for withstanding a year-long siege during this period. Today, Porto’s past is deeply etched in its streets, monuments, and landmarks, inviting visitors to explore the intersection of history and progress.

São Bento Train Station: A Palace of Azulejos

São Bento Train Station, located in the heart of Porto, is a masterpiece of Beaux-Arts architecture, built to replace a former Benedictine monastery. Construction began in 1900, and the station officially opened in 1916, after years of meticulous planning and design. Though its exterior reflects the grandeur of early 20th-century European architecture, the true marvel lies inside.

Adorning its walls are 20,000 azulejo tiles, created by Jorge Colaço, one of Portugal's most renowned ceramic artists. These tiles span over 551 square meters and took 11 years to complete, making São Bento a breathtaking fusion of functional infrastructure and artistic achievement. The azulejos depict pivotal moments in Portugal’s history, including the 1140 Battle of Valdevez, showcasing the fight for independence, and the 1387 marriage of King João I and Queen Philippa of Lancaster, which solidified the Anglo-Portuguese Alliance.

Cultural scenes fill other panels, illustrating grape harvesting in the Douro Valley and market day festivities that reflect the essence of Portuguese rural life. For commuters and visitors alike, São Bento serves as both a gateway to northern Portugal and a cultural landmark, handling over 13 million passengers annually. Its unique blend of art and functionality ensures its place as one of Europe’s most iconic train stations.

The Luís I Bridge: A Marvel of Engineering and Beauty

The Luís The First Bridge, often considered a defining symbol of Porto, connects the city’s Ribeira district to Vila Nova de Gaia, famed for its Port wine cellars. Completed in 1886, the bridge was designed by Teófilo Seyrig, a student of Gustave Eiffel, whose influence is evident in the intricate ironwork.

The bridge spans 385 meters, making it one of the longest of its kind during its time. It features two levels: the upper deck is reserved for pedestrians and the Porto Metro, while the lower deck accommodates cars and foot traffic. Each level provides spectacular views of the Douro River and Porto’s colorful riverside architecture.

The Luís The First Bridge was a transformative addition to Porto’s infrastructure, easing the transport of goods and people between the bustling Ribeira district and the wine lodges of Vila Nova de Gaia. Its durability and aesthetic charm have ensured its enduring status as both a practical asset and an architectural icon, drawing countless visitors each year.

Architectural Gems and Iconic Landmarks

Porto’s streets are an open-air museum of architectural styles, from medieval to modern. The Sé Cathedral, a Romanesque fortress-like structure dating back to the 12th century, showcases the city’s medieval origins. Just a short walk away is the Clérigos Tower, designed by Nicolau Nasoni. This Baroque bell tower, standing at 76 meters, offers one of the best panoramic views of Porto, rewarding visitors who climb its 240 steps.

In contrast to its historical monuments, Porto is also home to innovative contemporary architecture. The Casa da Música, designed by Rem Koolhaas and completed in 2005, is a striking modern concert hall that juxtaposes the city’s historical charm with cutting-edge design.

Porto’s Art Deco treasures, such as the Majestic Café, further enrich its architectural landscape, providing glimpses into the city’s cosmopolitan era of the early 20th century.

The Douro River and Port Wine Legacy

Porto’s identity is intrinsically tied to the Douro River. For centuries, traditional rabelos carried barrels of Port wine from the vineyards upstream to Vila Nova de Gaia for aging and storage. This tradition began in earnest in the 17th century as English merchants sought a reliable source of fortified wine during their conflicts with France.

Today, the Port wine industry remains a cornerstone of Porto’s economy and cultural identity. Visitors flock to wine lodges in Gaia, where they can learn about the intricate production process and enjoy tastings of this world-famous product. The Douro Valley, a UNESCO World Heritage Site, draws tourists who want to explore the terraced vineyards that supply Porto’s famed export.

Porto: A City That Captures the Heart

Porto is a city where every corner tells a story. From the intricate tiles of São Bento Train Station to the soaring arches of the Luís I Bridge, it offers a blend of history, culture, and modernity that captivates visitors. With its warm people, vibrant streets, and timeless traditions, Porto remains a treasure trove for anyone eager to explore the soul of Portugal.

 More about urban history:

The Rise and Fall of Public Squares: Why They Mattered Then, and Now

Wednesday, January 8, 2025

How Shipping Containers Revolutionized Urban Life

 Shipping containers: simple metal boxes, yet they’ve reshaped cities and economies in profound ways. From revolutionizing global trade to creating modern architectural marvels, let’s dive into how these steel giants have transformed our urban landscapes.


Port of Rotterdam: The Birthplace of Containerization

The Port of Rotterdam in the Netherlands became a global pioneer in container shipping during the 1960s. This port, now the largest in Europe, played a crucial role in adopting containerization—a method of transporting goods in st
andardized containers. This innovation revolutionized global trade by drastically reducing shipping times and costs. For example, before containerization, unloading a ship could take up to 10 days, but with containers, the same process now takes mere hours.

The economic ripple effect was massive. By the 1970s, Rotterdam was handling millions of TEUs (twenty-foot equivalent units) annually, becoming a hub of global commerce. The efficiency of containers also reshaped port cities. While cities like Rotterdam boomed, others struggled; smaller ports couldn’t keep up with the infrastructure demands of containerization, leading to economic shifts across regions.

Container Architecture: From Cargo to Creativity

Beyond ports, shipping containers have been repurposed into innovative urban structures. Their affordability, durability, and modular design have made them ideal for architectural experiments.

In London, the Boxpark Shoreditch turned shipping containers into a vibrant shopping and dining complex. Opened in 2011, this “pop-up mall” offers an affordable space for small businesses, making it a model for urban revitalization.

In Johannesburg, the Drivelines Studios repurposed 140 containers into a chic residential complex. These apartments are eco-friendly, cost-effective, and perfect for addressing urban housing challenges in growing cities.

Even beyond these examples, containers are used for schools, offices, and emergency shelters worldwide. Their versatility showcases how urban planners can repurpose industrial tools to meet modern needs.

The Downsides of Containerization

However, the rise of containerization hasn’t been without drawbacks. Container ports require vast amounts of space and heavy machinery, often displacing communities and altering cityscapes. For instance, the expansion of the Port of Los Angeles led to increased air pollution and the displacement of nearby neighborhoods. The benefits of containers often come at an environmental and social cost, reminding us that urban innovations must balance efficiency with equity.

Conclusion: Metal Boxes, Infinite Potential

From the bustling Port of Rotterdam to container homes in Johannesburg, shipping containers exemplify how innovation can reshape cities. These unassuming steel boxes have connected the world, transformed architecture, and driven urban economies. As we rethink urban spaces, the journey of the humble shipping container reminds us of the endless potential hidden in everyday objects.

 More about architecture: 

SPACE EFFICIENCY IN HIGH-RISE OFFICE BUILDINGS

Wednesday, June 27, 2012

SPACE EFFICIENCY IN HIGH-RISE OFFICE BUILDINGS

by Ayşin SEV and Aydan ÖZGEN

High-rise office buildings, which are developed as a response to population growth, rapid urbanization and economic cycles, are indispensable for a metropolitan city development. In 1930, Clark and Kingston (cited in Klaber, 1930) made the following observations The skyscraper: A study in the economic height of modern office buildings: “Given the high land values in central business sections of our leading cities, the skyscraper is not only the most efficient, but the only economic utilization of certain strategic plots. An exhaustive investigation… has conclusively demonstrated that the factors making for diminishing returns in the intensive development of such plots are more than offset by the factors making for increasing returns…” (Klaber, 1930).
This statement holds true for today; however, the relationship between cost and benefit is more complex in today’s global marketplace. The political ideology of the city plays an important role in the globalization process (Newman and Tornely, 2005; Abu-Ghazalah, 2007). The current trend for constructing office buildings is to build higher and higher, and developers tend to compete with one another on heights. Tenants also appreciate a landmark address and politicians are conscious of the symbolic role of high-rise buildings. The international and high technology styles have accompanied nearly all new tall buildings and became landmark of our cities (McNeill and Tewdwr-Jones, 2003). Nonetheless high-rise office buildings are more expensive to construct per square meter, they produce less usable space and their operation costs are more expensive than conventional office buildings. The space efficiency, as well as the shape and geometry of the high-rise building need to satisfy the value and cost of the development equation. Space efficiency, which is determined by the size of the floor slab, dimension of the structural elements and rationalized core, goes along with the financial benefit.
By the end of 1990s, at more than 30 stories, net to gross floor area ratios of 70-75% were common in office buildings (Table 2) (Davis Langdon and Everest, 1997). However, Yeang (1995) stated in his book “The Skyscraper: Bioclimatically Considered” that net-to-gross floor area should not be less than 75%, while 80% to 85% is considered appropriate. Wherever the tall building is being constructed, achieving suitable space efficiency is not easy, since it is adversely affected by height as core and structural elements expand to satisfy the requirements of vertical circulation and resistance to lateral loads. Space efficiency can be increased by the lease span, which is defined as the distance between the core and exterior wall.
Factors affecting the design of high-rise buildings vary from country to country, such as local climate, zoning regulations, cultural conditions, technological opportunities, and etc. For instance, in Germany, where building codes dictate shallow floor slabs of 8.0 m, efficiencies of 60-70% are common, whereas London’s Canary Wharf Tower, can achieve a netto-gross ratio in excess of 80% with floor slabs of 2500 m2, and 11.0 m lease span. In this respect, when the high-rise office buildings of Turkey are investigated, conceivable space efficiency is not achieved when compared with the examples from the world. As Watts and et al. (2007) stated in their article that “fat is happy”, the highest office buildings of Turkey are happy, however, they are not so successful in respect to space efficiency. Therefore this research tends to compare and reveal the similarities and differences between the tallest office buildings at abroad and in Turkey in terms of space efficiency.
Canary Wharf Tower

Canary Wharf Tower, by Destinys Agent


more about architecture:

Will Chicago finally get a new supertall skyscraper?

The Heights: Anatomy of a Skyscraper (Book Review)

The Heights: The Anatomy of a Skyscraper

Montjuic Communications Tower built for the 1992 Olympics in Barcelona

The Professional Practice Of Landscape Architecture: A Complete Guide To Starting And Running Your Own Firm

For the Record: The First Women in Canadian Architecture

Performance Architecture: The Art And Science Of Improving Organizations

Ebook: Service-oriented architecture: A planning and implementation guide for business and technology

The Skyscraper, Green Design, & the LEED Green Building Rating System: The Creation of Uniform Sustainable Standards for the 2 1 st Century or the Perpetuation of an Architectural Fiction?

The Skyscraper, Green Design, & the LEED Green Building Rating System: The Creation of Uniform Sustainable Standards for the 2 1 st Century or the Perpetuation of an Architectural Fiction?

by Stephen T. Del Percio

On March 28, 2000, one hundred commercial office buildings throughout the United States received an Energy Star Label, "the federal government's highest symbol of excellence for energy efficiency and environmental conservation.To qualify for Star status, which certifies buildings in the top quarter of comparable buildings in terms of energy efficiency, a building must meet certain energy performance criteria; it must also satisfy minimum standards for healthy indoor air quality. The Environmental Protection Agency (EPA) and the United States Department of Energy (USDOE) created the designation in 1998 "as an incentive for the [real estate] industry to reduce demand for electrical energy use and, thereby, help lower greenhouse gas emissions.
Four Times Square, a forty-eight story post modem office tower in the heart of Manhattan's Times Square, was one of the recipients of an Energy Star Label. The Durst Organization, its developer, chose a site that at the time seemed highly incongruous to the stringent, globally conscious, environmental construction standards it required of the entire project team. Completed in 1998, the building was America's first environment-friendly, large-scale green construction project, and it quickly became an important focal point of the ongoing controversy over the purported benefits of sustainable design. Notably, the tower's success as America's first green high-rise indirectly led to the creation of the United States Green Building Council's (USGBC) Leadership in Energy and Environmental Design (LEED) Green Building Rating System for high performance buildings.8 The critical acclaim that the building's innovative sustainable design concepts received, in both architectural and academic circles, encouraged developers across the street at Three Times Square to adopt similar green standards for their new high-rise office building. Boston Properties, the developer of the final two office towers in the Times Square redevelopment scheme, chose not to incorporate green elements into either of its structures despite the acclaim Four Times Square had received.
The overwhelming lack of uniform green design elements in America's most important modem high-rise buildings, in spite of substantial guidance for developers and contractors provided through programs like LEED," has led some to suggest that the purported economic and environmental benefits of such construction are illusory. This suggestion is erroneous. The necessity for green design in responsible twenty-first century architecture becomes frighteningly clear upon an examination of the impact high-rise construction has on the natural environment; the construction, maintenance, and operation of residential and commercial buildings in the United States produces numerous negative externalities which wreak havoc on the natural ecosystems in which those structures are erected. Moreover, many universally accepted global environmental problems have been directly or indirectly associated with the
built environment. Buildings occupy significant amounts of land, modify natural hydrologic cycles, contribute to global climate change, affect biodiversity, contribute to soil erosion, have major impacts on water and air quality, and are sources of major quantities of solid waste. It follows that promoting green buildings is essential to the ecological future of both our country and our planet.


Times Square

more about architecture:

River gyms and stackable cars: The future for sustainable design

Architecture: Domes Throughout History- Domes of the Past, Present and Future

Book review: Designing for Civil Defense in the Cold War

A New Architectural Standard for Sustainable-Minded Companies

The Subversive High Rise Designs of Rem Koolhaas and OMA

CN TOWER A Monument to Canadian Architecture

Will Chicago finally get a new supertall skyscraper?

Tuesday, June 19, 2012

River gyms and stackable cars: The future for sustainable design


Speaking about the Future of Sustainable Design, Joachim and Chicago architects Adrian Smith and Gordon Gill painted a dramatically innovative and greener future.
“We’re looking at a more holistic, pluralistic approach,” said Gill, speaking after the event. The Chicago partnership of Adrian Smith + Gordon Gill Architecture is doing just that.
In a planned retrofit of Chicago’s Willis Tower (formerly known as the Sears Tower), the partners propose to reduce electricity use by 80 percent, the equivalent of 68 million kilowatt hours or 150,000 barrels of oil per year.
Smith and Gill presented a string of similarly mind-boggling statistics throughout a half-hour lecture that covered wind-farms built into high-rises, self-insulated structures that operate like thermos bottles to eliminate air conditioning and green roofs.
Their Chicago Central Area De-Carbonization Plan even proposes to create an emission-free downtown by 2030.
Smith said that when people think of climate change, they don’t realize that buildings contribute a whopping 50 percent of carbon dioxide emissions to the atmosphere, beating out the more commonly-conceived villain: vehicles.

read more
 
Willis Tower(tallest building in North America) Willis Tower Willis Tower Willis Tower, Chicago



more about architecture:

Architecture: Domes Throughout History- Domes of the Past, Present and Future

The Heights: Anatomy of a Skyscraper (Book Review)

Will Chicago finally get a new supertall skyscraper?

A new architectural landmark in Barcelona: Torre Telefónica Diagonal ZeroZero by EMBA

The Multicultural City and the Politics of Religious Architecture: Urban Planning, Mosques and Meaning-making in Birmingham, UK

Print Reading for Architecture & Construction

On Architecture: Collected Reflections On A Century Of Change


Digital Drawing For Landscape Architecture: Contemporary Techniques And Tools For Digital Representation In Site Design


Vernacular Architecture And Regional Design: Cultural Process And Environmental Response

Monday, June 18, 2012

Architecture: Domes Throughout History- Domes of the Past, Present and Future

via Yahoo Voices

Throughout history, domes have been used in architecture throughout the entire world. There is evidence of domes used in architecture dating back to c.1250 BC and earlier. Domes are continuing to be used as elements in architecture and are being constructed to this date. Throughout the past and present domes have been used for everything ranging from tombs to cathedrals. However there is one recurring theme in past dome structures, most of the past dome structures have been constructed for a religious purpose, whether it be burial or worship.
Millennium Dome
The people of ancient times never had the types of technology that we have now, in the modern world, nonetheless the ancient people were able to construct their own dome structures. One of the most famous ancient dome structures is the Treasury of Atreus, which was constructed in c.1250 BC. The Treasury of Atreus was constructed as a tomb for Agamemnon. Although this tomb was a dome, and nowadays we commonly think of structures above ground, the main cavity of the Treasury of Atreus was constructed underground. The Treasury of Atreus is different from the domes we commonly think of nowadays, not only because of the fact that the building was underground but also because of the fact that the general shape of the Treasury of Atreus has more of a pyramid-like essence to it. Taking a bit of a fast forward in time, one of the next famous domes constructed, the Pantheon is currently the oldest standing dome structure in Rome. The Pantheon, constructed in 125 AD, was constructed as a place for the worship of roman gods, which is another example of dome buildings being constructed for religious reasons.
The Millennium Dome (2491)
The Middle Ages were a time of little or no learning or growth, however architecture still survived. During this period the Romanesque and Gothic styles of architecture were the two most prevalent. Romanesque architecture commonly used barrel vaults, small windows very high up, and was mainly designed for strength and protection. Although Romanesque buildings were designed for strength and protection, the dome shape was still a common occurrence, however not as common as domes used in the Gothic style of architecture.

Millennium Dome Millennium Dome London Millennium Dome 2006-01-28 - United Kingdom - England - London - Millennium Dome 2006-01-28 - United Kingdom - England - London - Millennium Dome Millennium Dome
more about architecture:

Friday, February 24, 2012

Book review: Designing for Civil Defense in the Cold War


The Cold War years are usually presented in terms of the military force and an ever expanding resource of military equipment. This of course includes foremost the nuclear weapons both sides the West lead by the U.S. and the NATO and the Communist East lead by Russia.
Architecture however, played an important role in cicvil defence and the preparation for a potential third world war. There was far less attention payed to the fact that all nations had programs running to prepare their societies for the case of escalation. Tensions there were enough.
Nuclear war was the ultimate danger and with images and evidence form Hiroshima and Nagasaki preparation was part of civil defence programs also in the U.S. In a new book Fallout Shelter: Designing for Civil Defence in the Cold War published by University of Minnesota Press, David Monteyne presents these U.S. programs from an architectural perspective. This detailed investigation ranges from the propaganda to built examples and examines closely the role of the architect as the middle man between government and civil society implementing a plan that is further reaching than simply the provision of shelter.  
As Monteyne points out in his introduction it effectively is a contract between citizens and government exchanging provision for shelter and quality of live for cooperative behaviour. He refers to Foucaults biopower as a political relationship. Essentially building shelters was and in some cases still is, as we'll discuss further on, the physical implementation of goals and powers of the welfare state.
The book explores in seven chapters the background, the planning, the implementation and the potential influence of shelter provision programs in the U.S. The programs were mostly about information and education but of course also aiming to build shelter provision. For this the architects were a key alley and the American Institute of Architects (AIA) launched a series of design competitions together with the Office for Civil Defense (OCD). The aim was to promote good planning and preparation for shelter provision. A series of designs were presented as winners, both built and as projects. 


more architecture book reviews:

The Heights: Anatomy of a Skyscraper (Book Review)

The Heights: The Anatomy of a Skyscraper

Sunday, February 19, 2012

John Peponis explains: What do we Mean by Syntax in the Spatial Analysis of Architecture?


In this video John Peponis describes the meaning of Syntax in the Spatial Analysis of Architecture. You can watch it here.

Once design aims are stated, the analytical techniques and measures embedded in UCL Depthmap, Taubman College Syntax-2D, KTH Place Syntax and Spatial Positioning Tool, Figueiredo’s Mindwalk, Shpuza’s Qelize, Georgia Tech Spatialist and Spatialist_Lines, or other similar computational tools for spatial analysis can be used to evaluate alternative design proposals, or to assist their further development and refinement. The more sensitive the tool is to design geometry the more precise and thus the more fully developed the input must be prior to analysis and measurement.
In their present state, these tools cannot be used to generate a design proposal, except through an analysis of the spatial structure of the relevant context; for example, the connectivity of the environment of an urban site; or, the shape of a building shell as it frames the design of internal circulation. Nor can they be used to facilitate the formulation of design aims other than in general terms. It is not always clear whether they can be usefully applied to preliminary design diagrams.

I would maintain that this is not an entirely unpleasing state of affairs. The original aims of space syntax as a program of architectural research never included the replacement of design intuition or imagination by some “expert system”.


more about Space Syntax:

Social exclusion and transportation in Peachtree City Georgia

MEASURING WALKING. TOWARDS INTERNATIONALLY STANDARDISED MONITORING METHODS OF WALKING AND PUBLIC SPACE

Flat City; a space syntax derived urban movement network model

QUANTIFYING THE QUALITATIVE: an evaluation of urban ambience

Thursday, February 9, 2012

A New Architectural Standard for Sustainable-Minded Companies

by

For the past decade, architects and developers—and even lawyers, policymakers, and product manufacturers—have lined up for the LEED (Leadership in Energy & Environmental Design) credential, proudly adding it to their names and business cards. A lengthy, points-based checklist earns buildings a similar certification, complete with fancy placards boasting Platinum, Gold, or Silver certification as LEED buildings and developments. Although it has its critics, LEED is unequivocally the standard for green building. Along with the sustainability movement, LEED has transformed the relationship between environmental concerns and the built environment.
For the past few years, a small group of grassroots design professionals has been developing similar criteria to represent and measure not just the environmental side of design, but also social and economic factors. The group first hatched its plan during a meeting in the ivory tower of ivory towers, Harvard University, at the Graduate School of Design. SEED, as its called, is a blatant play on LEED.

Bangkok architecture, by thailand_photos

more about architecture:

The Subversive High Rise Designs of Rem Koolhaas and OMA

CN TOWER A Monument to Canadian Architecture

Montjuic Communications Tower built for the 1992 Olympics in Barcelona

A new architectural landmark in Barcelona: Torre Telefónica Diagonal ZeroZero by EMBA

The Multicultural City and the Politics of Religious Architecture: Urban Planning, Mosques and Meaning-making in Birmingham, UK

Interaction of Architecture and Society: City Individuality under changeable informal Effect Conditions

Friday, January 20, 2012

The Subversive High Rise Designs of Rem Koolhaas and OMA


Rem Koolhaas and OMA are perhaps best known for the controversy and spectacle of the CCTV Building in Beijing, the Seattle Public Library, and the sci-fi designs in the Middle East, but I think some of their most successful buildings are the subtle subversions of the classic high rise. There’s a—I don’t quite want to say “deftness”—to his high rise work, but there is a definite sense of wit that’s often missing from contemporary architecture projects at this scale. This embrace of ironic banality is evident in the recently announced 23 East 22nd St. building in New York, the 111 First Street tower in Jersey City, and the unbuilt Zac Danton office building in Paris’ La Defense district.
Seattle public library, by Rem Koolhaas, photo by alexabboud

OMA’s first building in NYC, 23 East 22nd St. (we really need to get this building a name) lampoons the skyscrapers of Manhattan and the building codes that require setbacks from the street as a building rises in height. 23E22 takes the setback one *ahem* step further, and actually steps back, looming over the adjacent low-rise buildings. But you can still sell it by saying the “asymmetrical from simultaneously provides views of Madison Square Park whilst maximizing light penetration to the neighbors below.” Well played, OMA. You’ve convinced people that an ironic game of peek-a-boo at the scale of one of the world’s largest city is really all about practicality.

Seattle public library, by Rem Koolhaas, photo by Frankphotos



Seattle public library, by Rem Koolhaas, photo by moyix

Seattle public library, by Rem Koolhaas, photo by Virtual Farm Boy

Seattle public library, by Rem Koolhaas, photo by moyix

Seattle public library, by Rem Koolhaas, photo by Virtual Farm Boy

Seattle public library, by Rem Koolhaas, photo by Virtual Farm Boy

Seattle public library, by Rem Koolhaas, photo by Frankphotos

Seattle public library, by Rem Koolhaas, photo by Virtual Farm Boy

more about architecture:

Revit Architecture 2010: No Experience Required

Design For Flooding: Architecture, Landscape, And Urban Design For Resilience To Climate Change

On Architecture: Collected Reflections On A Century Of Change

Cuba Libre: Contemporary Architecture in Havana

Linked Hybrid by Steven Holl Architects, and designing for the occupation of space in contemporary Beijing

Master of Landscape Architecture, University of Texas, Arlington

CN TOWER A Monument to Canadian Architecture


Towering above the Toronto, Ontario, skyline like a giant needle piercing the sky, the CN Tower rises 555.3456 metres (1,822 feet 1 inch) from the shores of Lake Ontario, entering itself into the record books as the world's tallest free-standing structure. (There are other taller stuctures in the world, but they are not self-supporting.)
Sprouting out of the earth like a three-pointed star, the 'steel-reinforced, lost-tensioned concrete' structure tapers to the base of the Sky Pod 365.76 metres (1,200 feet) above the ground. Glass-front elevators whisk visitors up the outside walls of the tower in just over one minute as they watch the earth disappear below them and the horizon stretch out before them. As they step out into the lower observation level, a 120 km (75 mile) vista greets them.
CN Tower, Toronto, photo by jphilipg
The Sky Pod is actually seven separate levels, including broadcast facilities, a revolving restaurant, and two observation levels. One level is fully enclosed for the more 'faint-of-heart' visitors, offering them at least a feeling of security, while the other is partially opened, allowing visitors to fully experience the sensation of dizzying heights by looking down along the 'Y' legs of the tower.
Looking north, the city of Toronto appears as a scale model with the tallest skyscrapers pointing upwards far below. Toward the south (and during perfect weather conditions) the city of Buffalo, 158 km (98 miles) away as the crow flies, can be seen.

read more
CN Tower, Toronto, photo by francois.sorrentino

CN Tower, Toronto, photo by Jonathan Ziapour

CN Tower, Toronto, photo by compscigrad
CN Tower, Toronto, photo by rsambrook

CN Tower, Toronto, photo by Ana Paula Prada



more posts about architecture:

A new architectural landmark in Barcelona: Torre Telefónica Diagonal ZeroZero by EMBA

Montjuic Communications Tower built for the 1992 Olympics in Barcelona

The Professional Practice Of Landscape Architecture: A Complete Guide To Starting And Running Your Own Firm

For the Record: The First Women in Canadian Architecture

Performance Architecture: The Art And Science Of Improving Organizations

Ebook: Service-oriented architecture: A planning and implementation guide for business and technology

Montjuic Communications Tower built for the 1992 Olympics in Barcelona

via A View on Cities

Calatrava designed a gracious and slender steel tower that soars 136 meter high (446 ft). The tower is set on a round brick platform which holds the telecommunications equipment. The design of the arched entrance to the platform is based on the shape of a human eye. The base is covered with ceramic shards, a mosaic technique known as trencadis. This technique was often used by the Modernistá architects; examples can be found all around Barcelona and in particular at Gaudí's Parc Guëll.
The pylon, set at an angle of 17 degrees, is connected to a ring-shaped element which holds the transmitting dishes. Like many of Calatrava's works, the whole tower is sparkling white.

Montjuic Communications Tower, Barcelona, photo by boldorak2208

Montjuic Communications Tower, Barcelona, photo by boldorak2208

Montjuic Communications Tower, Barcelona, photo by mirsasha

Montjuic Communications Tower, Barcelona, photo by wallygrom

Montjuic Communications Tower, Barcelona, photo by pixelblume
Montjuic Communications Tower, Barcelona, photo by mirsasha

Montjuic Communications Tower, Barcelona, photo by cesar casellas

Montjuic Communications Tower, Barcelona, photo by Ganymedes Costagravas

more about architecture:

Contemporary Arts Center, Cincinnati, Ohio, by Zaha Hadid

The House that Shaped an Architectural Generation: Frank Gehry’s First ‘Deconstructivist’ Building

Fractalled: The Interstitial Spaces And Frank Gehry

Ian McHarg, Landscape Architecture, and Environmentalism: Ideas and Methods in Context

The Multicultural City and the Politics of Religious Architecture: Urban Planning, Mosques and Meaning-making in Birmingham, UK

A new architectural landmark in Barcelona: Torre Telefónica Diagonal ZeroZero by EMBA