Living Walls

Introduction:

Living walls (also called bio walls, ìmurî vegetal, or vertical gardens) are composed of pre-vegetated panels or integrated fabric systems that are affixed to a structural wall or frame. Modular panels can be comprised of polypropylene plastic containers, geo textiles, irrigation, and growing medium and vegetation. This system supports a great diversity of plant species, including a mixture of ground covers, ferns, low shrubs, perennial flowers, and edible plants. Living walls perform well in full sun, shade, and interior applications, and can be used in both tropical and temperate locations.
Benefits Of Living Walls:
  • Improvement of Air Quality
  • Reduction of Urban Heat Island Effect
  • Moderate Building Temperatures
  • Contribute to Carbon Dioxide/Oxygen Exchange
  • Stormwater Management (absorbs 45-75% of rainfall)
  • Sound Insulation
  • Building Envelope Protection
  • Habitat and Biodiversity
  • Aesthetics
  • Health (visual contact with vegetation has been proven to result in direct health benefits).

LEED points:

  • Sustainable Sites Credit 7.1: Landscape Design That Reduces Urban Heat Islands, Non-Roof (1 pt) Exterior green walls reduce the solar reflectance of a structure, thus reducing the urban heat island effect.
  • Water Efficiency Credits 1.1, 1.2: Water Efficient Landscaping (1 to 2 pts) Buildings can incorporate a stormwater collection system for irrigation of the green walls and other landscape features. Using only captured, recycled, or nonpotable water may enable the project to achieve this credit.
  • Water Efficiency Credit 2: Innovative Wastewater Technologies (1 pt) Green walls can be utilized as wastewater treatment media for gray water. Other features, such as the incorporation of compost tea from a composting toilet, is another way for green walls to aid in the reduction of wastewater.
  • Energy and Atmosphere Credit 1: Optimize Energy Performance (1 to 10 pts) Green walls can provide additional insulation and natural cooling, which reduces a building’s reliance on mechanical systems.
  • Innovation in Design Credits 1-4: Innovation in Design (1 to 4 pts) Green walls may contribute to innovative wastewater or ventilation systems.

Five scenarios were run with UFORE to assess the effect of both green walls and the urban forest on energy consumption.  The scenarios were designed to reflect the impact of different levels of intensification that could occur under Ontario’s new Regional Growth Management Strategy or under any Smart Growth strategy to contain urban sprawl.

  • Scenario 1
    BASELINE: this scenario was based on the reductions in energy consumption provided by existing trees and shrubs in Midtown.
  • Scenario 2
    No Trees: this scenario examined the effect on energy consumption in Midtown when all trees were removed from the area.
  • Scenario 3
    No Big Trees: this scenario examined the effect when all big trees with a diameter-at- breast-height greater than 22cm were removed from the area.
  • Scenario 4
    Trees off Buildings: this scenario examined the effect when trees that provided shade to buildings (within 3-5 meters) were removed.
  • Scenario 5
    Green Walls: this scenario examined the effect when existing trees and shrubs were removed and vertical “hedges” or walls of Juniper species were added within 3 meters of residential (medium and low) houses.
ITC Royal Gardenia
ITC Royal Gardenia

The Royal Gardenia:

  • The Royal Gardenia is the worlds largest LEED Platinum rated hotel.
  • The Royal Gardenia deals with this in a bold and unique way. For a start, the hotel’s Atrium lobby is not air-conditioned. Leading you into the hotel is just a simple glass arch. There are no doors and the whole lobby is wind-cooled. In addition to a square lotus fountain in the middle, the lobby features vertical hanging gardens with a mix of plants that are watered using drip irrigation.
  • The hotel is one of the first hotels in India to create the concept of vertical hanging gardens that are located at the main lobby and the Cubbon Pavilion, the coffee shop. These gardens rise towards the ceiling. Lighting is provided from natural sources or through an energy efficient lighting system.

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PRACTICAL APPROACH OF VASTU SHASTRA IN ARCHITECTURE

AUSPICIOUS  DAYS TO START CONSTRUCTION

  •  SUNDAY:  FEAR OF FIRE
  • MONDAY:  PAECE, PROSPERITY & HAPPINESS
  • TUESDAY:  NEGATIVE  EFFECTS
  • WEDNESDAY:  GOOD FOR WEALTH, FAME & FAMILY
  • THURSDAY:  LONGLIFE, NAME & FAME
  • FRIDAY:  MENTAL PEACE & HAPPINESS, FUNCTIONS
  • SATURDAY:  LOSS OF WEALTH, PEACE & LIFE.

AUSPICIOUS  MONTHS TO START CONSTRUCTION

  • MARCH-APRIL(CHAITRA):  FEAR OF FIRE
  • APRIL-MAY (VAISHAKH):  AUSPICIOUS
  • MAY-JUNE ( JAISHSTHA ):  FEAR OF DEATH
  • JUNE-JULY ( ASHADHA ):  LOSS OF DOMESTIC ANIMAL
  • JULY-AUGUST ( SHRAWANA ):  GOOD FOR FAMILY
  • AUGUST-SEPTEMBER ( BHADRA ):  ILLNESS & TROUBLES
  • OCT-NOVEMBER ( KARTIKA ):  PROSPERITY
  • NOV- DEC ( MARGASHEESHA ):  TROUBLES, FEAR
  • DEC-JAN ( PUASHA ):  FEAR OF FIRE & PROBLEMS

IMPORTANCE  OF  COLOURS  IN  VASTU

  • DARK  RED:    LOVE & AFFECTION
  • MEDIUM  RED:  HEALTH & FULL OF LIFE
  • BRIGHT RED:  DESIRE
  • DARK PINK:  FESTIVITY, MORE FEMANINE
  • MEDIUM  PINK:  TENDERNESS & SOFTNESS
  • DARK  ORANGE:  AMBITIOUS
  • MEDIUM  ORANGE:  FIGHTING SPIRIT & ENTHUSIASM
  • LIGHT  ORANGE:  WITH SPEED
  • DARK  BROWN:  APPROPRIATE
  • MEDIUM  YELLOW:  GOOD
  • LIGHT  YELLOW:  INTELLIGENCE
  • DARK  YELLOW:  ENERGETIC
  • LIGHT  GOLDEN:  HUMANITY
  • MEDIUM  GOLDEN:  PROSPERITY
  • DARK  GOLDEN:  LUXURY
  • MEDIUM  GREEN:  OPENNESS & PRACTICAL
  • DARK  GREEN:  INNOCENCE
  • MEDIUM  BLUE:  IDEAL
  • DARK  BLUE:  HONESTY  &  DEVOTION
  • LIGHT  BLUE:  PEACE LOVING
  • LIGHT  MEDIUM  BLUE:  KINDNESS
  • LIGHT  BRINGEL:  TENDERNESS
  • DARK  BRINGEL:  LUXURY

DESIGNING PROCEDURE AS PER VASTU

  • MARK NORTH DIRECTION ON THE SITE PLAN
  • PUT BRAHMA ESTHAN ON THE SITE PLAN.
  • ARRANGE VARIOUS ZONES OF VASTU OVER THE SITE PLAN.
  • PUT MAIN GATE IN THE  PLOT FROM THE ZONE OF HIGH POSITIVE ENERGY.
  • ALLOW THE SET BACKS TO BE LEFT AS PER DEV. AUTHORITY NORMS
  • ENSURE THE RECTANGULARITY OF THE PLOT, LIMITISE THE DESIGNING ONLY IN RECTANGULAR PORTION, REST MAY BE LEFT FOR REMEDIES.
  • ARRANGE THE SPACES AS PER VASTU TO MEET THE REQUIREMENTS OF THE CLIENT.
  • ENSURE THAT MAIN ENTRY DOOR ( DEHRI ) FACES NORTH OR EAST  DIRECTION.
  • NORTH AND EAST OF THE PLOT SHOULD BE LEFT OPEN IF POSSIBLE FOR POSITIVE ENERGIES TO FLOW IN.
  • SOUTH AND WEST MAY BE PLANNED HEAVY TO CHECK THE FLOW OF NEGATIVE ENERGIES IN THE PLOT.
  • PUJA IN N-E ZONE OF THE PLOT, ONE SHOULD FACE EAST WHILE PERFORMING PUJA.
  • WATER BORING IN NORTH TO EAST (AVOIDING EXACTLY N-E) ZONE.

 VASTU : RESIDENTIAL COLONIES

 HOW TO DESIGN A RESIDENTIAL COLONY :

  • LOCATE  NORTH  DIRECTION ON THE SITE PLAN
  • LOCATE THE CENTRE-POINT CALLED BRAHMA ESTHAN
  • LOCATE ENTRY GATE OF THE COLONY IN THE MOST POSITIVE ENERGY ZONE PRACTICALLY AVAILABLE.
  • THE LAYOUT PLAN SHOULD BE PREPARED IN SUCH A WAY THAT THE CENTRE POINT CALLED BRAHMA ESTHAN SHOULD NOT FALL IN ANY PLOT, IT SHOULD BE IN OPEN SPACE SUCH AS PARK, ROAD AND PREFERABLY THE INTERSECTION OF ROADS, WHICH CAN BE  SUITABLY LANDSCAPED.
  • THE LAYOUT PLAN OF THE COLONY SHOULD BE PREPARED IN SUCH A WAY THAT THE HOUSES MAY FACE EAST, NORTH OR WEST.
  • SOUTH FACING PLOTS SHOULD BE AVOIDED DURING LAYOUT-PLANNING.
  • NORTH-EAST ZONE MAY BE PLANNED AS OPEN SPACE FOR PARK, PLAYGROUND, TOT-LOT ETC.
  • THE WATER BORING SHOULD BE DONE IN WATER ZONE, BETWEEN NORTH AND EAST.
  • STORAGE OF WATER IN OVER HEAD TANKS SHOULD BE PLACED IN NORTH, NORTH-WEST ZONE.
  • THE ELECTRICAL METER, TRANSFORMER, GENERATOR ETC. SHOULD BE PLANNED IN SOUTH-EAST ZONE OF THE ENTIRE LAYOUT.
  • THE SLOPE OF DRAINAGE SYSTEM SHOULD BE PLANNED FROM WEST TO EAST AND SOUTH TO NORTH TO THE EXTENT POSSIBLE.
  • NORTH-WEST ZONE IS RECOMMENDED FOR ANY COMMUNITY SEPTIC TANK OR SOAK WELL, IN CASE THE SEWER SYSTEM IS NOT AVAILABLE.

  VASTU  IN  COMMERCIAL  BUILDINGS:

HOW TO PROCEED FOR DESIGNING OF COMMERCIAL  BUILDINGS AS PER VASTU

  • MARK CENTRE POINT OF THE PLOT, LAY NORTH DIRECTION OVER THE SITE PLAN AND PUT ALL THE VASTU DIRECTIONS OVER THE PLAN TO DIVIDE THE LAND INTO VARIOUS VASTU ZONES.
  • LOCATE ENTRY GATE OF THE COMMERCIAL BUILDINGS IN THE MOST POSITIVE ENERGY ZONE PRACTICALLY AVAILABLE, PREFER MAINGATE FROM NORTH, NORTH – EAST OR EAST DIRECTION.
  • PLACE LOT OF OPENNESS IN EAST AND NORTH ZONE SO THAT MORNING SUN LIGHT IS AVAILABLE IN ABUNDANCE IN THE COMMERCIAL BLDG.
  • THE BUILDING SHOULD BE HIGH IN SOUTH AND WEST ZONE.
  • HEAVY STORAGES, GODOWNS SHOULD BE PLANNED  IN S-W ZONE.
  • PARKING FOR VEHICLES IN NORTH – WEST ZONE, IT CAN BE PLANNED  IN THE BASEMENTS ALSO.
  • GENERATOR ROOM , ELECTRICAL PANEL ROOM SHOULD BE IN SOUTH-EAST ZONE OF THE BUILDING.
  • THE WATER BORING SHOULD BE DONE IN WATER ZONE, BETWEEN NORTH AND EAST.
  • THE SLOPE OF DRAINAGE SYSTEM SHOULD BE PLANNED FROM WEST TO EAST AND SOUTH TO NORTH TO THE EXTENT POSSIBLE.
  • MEZZANINE FLOORS SHOULD BE PROVIDED IN SOUTH OR WEST ZONES.
  • TOILET BLOCK SHOULD BE TOWARDS WEST, NORTH WEST ZONE POSSIBLY.
  • ENSURE THAT THE CENTRE POINT CALLED BRAHMA ESTHAAN OF THE PLOT SHOULD BE KEPT OPEN AND NO BEAMS, COLUMN OR WALL SHOULD CROSS OVER THE SAME.
  • THE COMMERCIAL PLOTS ARE GOOD WHOSE FRONT IS WIDER THAN THE BACK.

VASTU : INDUSTRIAL BUILDINGS:

  1. NORTH OR EAST FACING PLOTS SELECTED FOR INDUSTRIAL DEVELOPMENTS ARE BEST
  2. LOCATE ENTRY GATE OF THE COLONY IN THE MOST POSITIVE ENERGY ZONE PRACTICALLY AVAILABLE, PREFER MAINGATE FROM NORTH, NORTH-EAST OR EAST DIRECTION.
  3. GUARDS IN N-W OR NORTH DIRECTION
  4. PLACE LOT OF OPENNESS IN EAST AND NORTH ZONE SO THAT MORNING SUN LIGHT IS AVAILABLE IN ABUNDANCE IN THE INDUSTRIAL PREMISES.
  5. HIGH RISE TREES MAY BE PLANTED IN SOUTH AND WEST ZONE.
  6. HEAVY STORAGES, GODOWNS SHOULD BE PLANNED TO PUT UP IN S-W ZONE
  7. PARKING FOR VEHICLES IN NORTH- WEST ZONE
  8. ADMINITRATIVE BLOCK  IN THE INDUSTRIAL SET UP SHOULD BE ERECTED IN NORTH OR EAST ZONE OF THE PLOT, LOWER IN HEIGHT OF INDUSTRIAL PLANT.
  9. GENERATOR ROOM , ELECTRICAL ROOM SHOULD BE IN SOUTH-WEST ZONE OF THE INDUSTRY.
  10. STAFF QUARTERS IN S-E OR N-W ZONE OF THE INDUSTRIAL PLOT.
  11. THE WATER BORING SHOULD BE DONE IN WATER ZONE, BETWEEN NORTH AND EAST.
  12. THE SLOPE OF DRAINAGE SYSTEM SHOULD BE PLANNED FROM WEST TO EAST AND SOUTH TO NORTH TO THE EXTENT POSSIBLE.

INDUSTRIAL  PREMISES :  Ist CASE STUDY

IT IS A BIG INDUSTRIAL PLANT EXISTING AT KASHIPUR, UTTRANCHAL WHICH  MANUFACTURE STEEL, IT HAS GOT

  • ENTRY FROM S-E ZONE
  • N-E EXTENDED
  • FURNACE IN S-E, S ZONE
  • SOUTH, S-W AND WEST ARE HEAVY
  • NORTH, N-E AND EAST ARE COMPARATIVELY VERY LIGHT
  • LABOUR QUARTERS IN WEST ZONE.
  • CENTRE POINT IS FREE AND NOT LOADED.
  • WATER BORING IN EAST ZONE
  • FINISHED GODOWN TOWARDS NORTH ZONE

INDUSTRIAL  PREMISES : 2nd CASE  STUDY

LAYOUT PLAN OF AN  INDUSTRY :

  • THE MAIN ENTRY OF THE INDUSTRY IS EXISTING FROM THE ZONE OF   WEST AND SOUTH-WEST.
  • VAST AREA HAS BEEN LEFT AS OPEN IN S-W, WEST, AND N-W ZONE   AS SHOWN IN THE SITE PLAN.
  • THE ENTRY TO THE INDUSTRIAL UNIT IS ALSO FROM SOUTH   DIRECTION.
  • TEMPLE, DIRECTOR RESIDENCES, SCHOOL ETC. HAS BEEN   PROVIDED IN THE N-E ZONE.
  • THERE IS EXISTING ADMINISTRATIVE BLOCK  IN THE EAST DIRECTION
  • PART OF FACTORY, FINISHED GODOWN AND  LABOUR QUARTERS    ARE EXISTING IN S-E ZONE.
  • MAIN FACTORY AREA IS BETWEEN S-E AND SOUTH ZONE
  • WATER BORING IS IN  NORTH- AEST DIRECTION OF THE FACTORY

VASTU :HOTELS & RESTAURANTS:

HOW TO PROCEED FOR DESIGNING AS PER VASTU

  1. MARK CENTRE POINT OF THE PLOT, LAY NORTH DIRECTION OVER THE SITE PLAN AND PUT ALL THE VASTU DIRECTIONS OVER THE PLAN TO DIVIDE THE LAND INTO VARIOUS VASTU ZONES.
  2. LOCATE ENTRY GATE IN THE MOST POSITIVE ENERGY ZONE PRACTICALLY AVAILABLE, PREFER MAINGATE FROM NORTH, NORTH – EAST OR EAST DIRECTION.
  3. PLACE LOT OF OPENNESS IN EAST AND NORTH ZONE WITH PROPER LANDSCAPING.
  4. THE BUILDING SHOULD BE HIGH IN SOUTH AND WEST ZONE.
  5. PARKING FOR VEHICLES IN NORTH – WEST ZONE, IT CAN BE PLANNED  IN THE BASEMENTS ALSO.
  6. GENERATOR ROOM , ELECTRICAL PANEL ROOM SHOULD BE IN SOUTH-EAST ZONE OF THE PLOT.
  7. THE KITCHEN SHOULD BE ESSENTIALLY TOWARDS THE SOUTH-EAST ZONE OF THE PLOT. ESPECIALLY THE MAJOR COOKING SHOULD BE PERFORMED  EAST FACING. THE WASH AREA NEAR THE KIT. SHOULD BE TOWARDS NORTH OR EAST ZONE OF KITCHEN.
  8. THE WATER BORING SHOULD BE DONE IN WATER ZONE, BETWEEN NORTH AND EAST.
  9. THE SLOPE OF DRAINAGE SYSTEM SHOULD BE PLANNED FROM WEST TO EAST AND SOUTH TO NORTH TO THE EXTENT POSSIBLE.
  10. TOILET BLOCK SHOULD BE TOWARDS WEST, NORTH WEST ZONE POSSIBLY.
  11. ENSURE THAT ALL WCs SHOULD FACE SOUTH, S-W OR WEST DIRECTIONS ONLY WHILE IN USE. IN ANY CASE THEY SHOULD NOT FACE EAST OR NORTH DIRECTIONS.
  12. ENSURE THAT THE CENTRE POINT CALLED BRAHMA    ESTHAAN OF THE PLOT SHOULD BE KEPT OPEN AND NO    BEAMS, COLUMN OR WALL SHOULD CROSS OVER THE SAME.
  13. THE OWNER OF THE HOTEL, G. MANAGERS AND ACCOUNT   PERSONNEL SHOULD FACE NORTH DIRECTIONS WHILE   SITTING IN THEIR OFFICES.
  14. THE RECEPTION OF THE HOTEL SHOULD NOT FACE SOUTH   DIRECTION, IT CAN BE TOWARDS EAST, NORTH OR WEST   DIRECTION.
  15. PREFER THAT ALL THE BEDS IN THE ROOMS/SUITES MAY BE   PLACED IN EAST HEADED OR SOUTH HEADED WAY TO THE   EXENT POSSIBLE.
  16. IT IS IMPORTANT THAT ANGULARITY OF THE SPCES SHOULD      BE AVOIDED. PREFER THAT RECTANGULAR SPACES ARE        CREATED WHILE ANY DEVELOPMENT.
  17. THE INTERIORS, COLOUR SCHEME AND PLANTATIONS   SHOULD BE PROVIDED TO MAKE THE SPACE MORE LIVELY,   INCREASING POSITIVITY IN THE HOTELS.

VASTU :GROUP HOUSING  SCHEME

VASTU  IN  MULTY STOREYED RESIDENTIAL  BUILDINGS

  • LOCATE  NORTH  DIRECTION ON THE SITE PLAN
  • LOCATE THE CENTRE-POINT CALLED BRAHMA ESTHAN
  • LOCATE ENTRY GATE OF THE COLONY IN THE MOST POSITIVE ENERGY ZONE PRACTICALLY AVAILABLE.
  • THE LAYOUT PLAN SHOULD BE PREPARED IN SUCH A WAY THAT THE CENTRE POINT CALLED BRAHMA ESTHAN SHOULD NOT FALL IN ANY PLOT, IT SHOULD BE IN OPEN SPACE SUCH AS PARK, ROAD AND PREFERRABLY   THE INTERSECTION OF ROADS, WHICH CAN BE  SUITABLY LANDSCAPED.
  • THE LAYOUT PLAN OF THE MULTI STOREYED BUILDING SHOULD BE PREPARED IN SUCH A WAY THAT THE HOUSES MAY FACE EAST, NORTH OR WEST.
  • SOUTH FACING PLOTS SHOULD BE AVOIDED DURING PLANNING.
  • NORTH-EAST ZONE MAY BE PLANNED AS OPEN SPACE FOR PARK, PLAYGROUND,TOT-LOT ETC.
  • THE WATER BORING SHOULD BE DONE IN WATER ZONE, BETWEEN NORTH AND EAST.
  • THE ELECTRICAL METER, TRANSFORMER, GENERATOR ETC. SHOULD BE   PLANNED IN SOUTH-EAST ZONE OF THE ENTIRE LAYOUT.
  • THE SLOPE OF DRAINAGE SYSTEM SHOULD BE PLANNED FROM WEST TO   EAST AND SOUTH TO NORTH TO THE EXTENT POSSIBLE.
  • NORTH-WEST ZONE IS RECOMMENED FOR ANY COMMUNITY SEPTIC TANK OR SOAK WELL, IN CASE THE SEWER SYSTEM IS NOT AVAILABLE.

 VASTU OF JAIPUR

  • THE CITY WAS BUILD IN 1727 ACCORDING TO THE   SHILPSHASTRA,THE ANCIENT HINDU TRETISE ON   ARCHITECTURE,BY MAHARAJA SAWAI JAI SINGH II AFTER   WHOM IT IS NAMED.
  • JAIPUR NESTLES AMONGST THE HILLS OF THE ARAVALLI   RANGES,WHICH RUN DIAGONALLY ACROSS RAJASTHAN IN   A NORTH-EAST TO SOUTH-WEST DIRECTION,JUST WEST   OF JAIPUR. N-W IS “NAHARGARH FORT”.
  • JAI SINGH’S JAIPUR IS DIVIDED INTO SEVEN   RECTANGULAR SECTIONS BY WIDE,WELL LAID  MAIN   ROADS INTERSECTED BY STREETS.
  • THE OLD CITY IS ENCIRCLED BY A FORTIFIED WALL   WITH SEVEN GATES.OUTSIDE THESE WALLS IS MODERN   JAIPUR.
  • THE NORTH EAST OF THE CITY HAS VAST OPEN AREA.
  • A  HUGE   LAKE CALLED JAL-MAHAL WAS PROVIDED     TOWARDS THE NORTH-EASTERN ZONE OF THE CITY,   ALONGWITH A TEMPLE KANAK VRINDAVAN.
  • THE CENTRE POINT CALLED BRAHMA ESTHAAN OF THE   CITY FALLS IN THE VAST OPEN AREA  NEAR TO WHICH   IS THE TEMPLE “GOVIND JI”.
  • THE MAIN ENTRY IS IN THE NORTH EAST CALLED    “JORAWARSINGH   GATE”.
  • THE ENTRY FROM THE EAST DIRECTION DENOMINATE   THE RISING SUN HENCE NAMED AS “SURAJ POLE GATE”.
  • THE  ENTRY FROM THE WEST DIRECTION NOTIFIES RISING   MOON, SO NAMED AS  “CHANDPOL   GATE.”
  • THE SOUTH WEST HAS THE RIGHTLY PLACED   “TOPKHANADESH”,WHERE MANUFACTURING OF   WAEPONS WAS DONE.
  • SOUTH EAST HAD THE FORCES ,THE SOILDERS   KNNOWN AS “TOPKHANA HAZURI”.
  • THE PINK COLOUR PAINTED ALL OVER THE CITY   RENDERS THE ENVIRONMENT OF FESTIVITY,   TENDERNESS, PEACE AND PROSPERITY IN THE CITY.

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Mario Botta – Wellness Centre

“Architecture is not born through program, but through a specific situation of space,”

Introduction:

Mario Botta was born on April 1, 1943 in Mendrisio, Ticino (Switzerland) .

  • 1958  – Drawing firm training in Carmen Ulrich
  • 1969 – He graduated from the Department of Architecture, University of Venice
  • 1970 – Opening with a partner in Lugano
  • 1971 – Design of the famous Saint Vital River residential, fame
  • 1976 – State University of Technology in Lausanne, was appointed Visiting Professor
  • 1969 – Begins his independent career, opening a studio in Lugano.
  • 1982/87 – Member of the Swiss Federal Commission of the Fine Arts.
  • 1985 – Wins the “Beton Architecture Prize”, Zurich (Switzerland).
  • 1986 – Awarded the “Chicago Architecture Award”
  • 1988 – Wins the “Grade de Chevalier dans l’Ordre des Arts et des Lettres(Chevalier of the Order of Arts and Letters )” prize, Paris ( France).
  • 1993 -Wins the “Marble Architectural Award” in Carrara (Italy)

Biography:

  • Botta, the birthplace of Ticino  in the Mediterranean and Central Europe, the intersection of many different cultural practices, this particular environment created Botha eclectic temperament.
  • His modernism and postmodernism double impact under a variety of eclectic cultural approach taken in the absorption of Western culture, they also demonstrate sensitivity to local culture and history.
  • Studied  and practised new rationalism, and
  • Impressed by Le Corbusier and  studied and Kang Le Corbusier’s architectural Cubism prototype ideas

Works

  • Switzerland
    • Single-family dwellings in Canton Ticino, Switzerland  ( 1965)
    • Junior High School in Morbio Inferiore, Switzerland
    • Library of the Capuchin Monastery in Lugano
    • UBS Bank, Basel
    • National sports centre, Tenero
  • Japan
    • Watari-um Art Gallery, Tokyo
  • United States
    • Museum of Modern Art, San Francisco,
  • Israel
    • Cymbalista synagogue and Jewish cultural centre, Tel Aviv
  • Italy
    • New casino at Capione d’Italia
  • Botta tried to artificial means or change the situation in a certain balance in order to seek a new balance.

Philosophy:

  • Therefore, with the square and circle formation of the pure geometric forms is the basic elements of his architecture.
  • He show respect for topographical conditions and regional sensibilities and his designs generally emphasize craftsmanship and geometric order. Because he attempts to reconcile traditional architectural symbolism with the aesthetic rules of the Modern Movement
  • His design elements are:
    • Modernism
    • Symbolism
    • Regionalism
    • Culture
    • Light
    • Vernacular material
    • Diagonal axis
    • Spaces of poetry
    • Geometry
    • Revive an old Transformation
    • Topography
    • Social environment

He believes that architecture acts as a mirror of its time

Wellness centre – Berg Oase, Arosa , Switzerland, 2003-2006:

Project: 2003
Commissioned by:  Grand Hotel , Tschuggen
Area : 5,300 m²
Volume :  27,000 m³

  • The concept of the value of feeling good and taking care of yourself and of others has remained unchanged since the days of ancient philosophy. Today it is backed up by new technologies that offer us a range of different services: from the sauna to different types of massaging tubs. The aim of all this is to create a setting of great emotional content focusing on the common theme of water. 
.
  • Nestled in a basin at the foot of the Weisshorn mountain in the Swiss Alps is the Berg Oase wellness centre – a health spa linked to the five-star luxury Tschuggen Grand Hotel in the resort village of Arosa.

Design concept:

We imagined to build without building, to assert the presence of the new through the emergent parts  and to leave interred the great volume with the functional program. The cover of the hypogeal spaces becomes a stage marked by geometric vegetal presences that rouse the visitor curiosity. This particular context therefore suggested us an intriguing solution, of visual impact and, above all, of great respect for the surrounding village. The great volume disappears into the earth; only the vegetal and, at the same time, mechanical “antennas” emerge, marking the recreational and collective character of the structure.

The inner space appears as a terraced continuum with the slope to limit the excavation works

The different areas of Berg Oase are characterized by their interrelation and by their privileged relationship with the environment through technological trees that guarantee natural light and an extraordinary sight towards the landscape as well as becoming signals of the internal life at night through the artificial lighting that gives to the whole resort a magic atmosphere. The external spaces (sauna, solarium, swimming pool) are reachable directly from the swimming pools and set on an attractive terracing, dipped into nature.

The external spaces (sauna, solarium, swimming pool) are reachable directly from the swimming pools and set on a attractive terracing, dipped into nature. The new structure is accessible through a glass walkway from the existing hotel as well as (for the external visitors) from the entrance level to the hotel. The new building, beyond the “unbuilt space” of the “leaves”, resolves the relationship with the existing hotel and the ground through a great wall in natural stone. The external public space is therefore redesigned in order to create a cosy atmosphere and to solve the car parks problem thus discreetly integrated in the plan.

Interiors:

  • THE INTERIOR SPACE IS DIVIDED INTO FOUR FLOORS
  • The ground floor    houses most of the fitness facilities, part of the technical area and the wardrobe for external users who have direct access to this floor.
  • The first floor accommodates the technical areas and the treatment spaces: swimming pool technical area, cabins for body treatment and beauty cabins, solarium, hairdresser, shop, toilette, depots.
  • On the second floor  are located the connection glass bridge between the Tschuggen Hotel and the wellness centre, the reception, the staff spaces, the wardrobes for the users, the toilettes, and the “sauna world” with relax area.
  • The third floor houses the “water world” with swimming pool to swim and relax, the toilettes, the relax area, depots.

MATERIALS”

  • The building is made of a combination of Canadian Maple and duke white granite, used to clad the interior walls, floors (including the bridge floor), showers and pool, and also for the stairway.
  • Marble and granite treated stone to protect it from water and chlorine.
  • Care was taken to use natural minerals rather than synthetic chemicals for this process as the granite was to be used in a health and wellness environment. The stone also helps to create an atmosphere that combines the sanctity of a temple and that of a mountain cave.
  • Canadian maple triangular skylights provide the optimum level of acoustics  which mute interior noise and encourage quiet and a feeling of calm.

Botta’s architectural language:

  • Classical symmetrical layout,
  • Simple geometric shape,
  • Closed and thick walls,
  • skylight.

Conclusion:

As an architect of Post Modern Classicism ,he  has  give a lot to learn and the way he puts his philosophies into design giving it a very modern , different  and contemporary look . He shows the method to use vernacular means to give a contemporary look.

 

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MICHAEL GRAVES – WALT DISNEY WORLD

WALT DISNEY WORLD, DOLPHIN & SWAN HOTEL:

  • Location : Walt Disney world resort, Florida
  • Design started : 1987
  • Design completed : 1990
  • Area : 2- million sq. Feet
  • Structure : reinforced concrete & steel superstructure
  • Material : exterior insulation & finish system with painted murals.

About the building:

  • The 1,500 room walt disney world resort dolphin faces its composition project,the 758-room walt disney world resort swan hotel, across a large crescent shaped artificial lake.
  • Both hotels contain extensive convention facilities, restaurants,  and retail shops.
  • The colors and decoration of the two hotels suggest the character of florida resorts and provide a thematic context consistent with disney’s program for “entertainment architecture”.
  • Gigantic statues of dolphins and swans mark the ends of the hotel roofs, making the hotels visible and recognizable from a great distance.
  • Within the both hotels, the lobbies, ballrooms, guestroom corridors, restaurants, and the other areas experienced by hotel visitors are embellished bt a wide variety of patterned materials and custom-designed light fixtures and furniture,delighting the visitor with the unexpeted

Introduction:Michael Graves:

  • Date of birth: April 1934
  • Place of birth: Indianapolis in Indiana, USA.
  • Nationality: American
  • Education: received architectural training at the university of Cincinnati & Harvard University, won “the Rome prize” in 1960 & studied for 2 years at “American academy” in Rome.
  • Profession: began his practice in 1964 in Princeton, New Jercy.
  • Firm: Michael graves & associates, 1964, (a 75 persons firm)

Influences

  • Graves continues to turn to architecture itself for his inspiration.
  • He has a deep interest in existing architecture: – ancient, neo- classical, modern – & derives pleasure from reinterpreting it’s forms & compositions.
  • He gives credence to the basic tenet that there is no such thing as an original idea but that everything original is based on the reworking of what already exists.
  • One very strong influence on the work of graves is the interest in & appreciation of; the simple domestic rituals of life that one enjoys or ought to be able to enjoy, despite the speed at which technology is rustling us into the cyber space.

Japan travel:

  • Graves has been steadily developing his practice in Japan for the last 15 years.
  • He explains that Japan has “become a place to experiment a bit with abstraction. In Europe & America I’m probably a bit more conscious of historic context”. Because so often the cities we’ve been asked to design for there are completely rebuilt.
  • In Japan graves architecture was seen as ‘humanistic’ rather than ‘mechanistic’ i.e. In terms of materials & the anthropometric qualities of the building. He used man as the metaphor rather than the machine

Philosophy:

  • Grave’s language of architecture operates on a number of levels. It is meant to be legible & a part of everyday life.
  • Secondly, & certainly no less important although admittedly more understandable to the trained eye, is a passionate & sometimes playful interest in reworking the commonly accepted language of architecture into a uniquely personal expression of what it might become, without losing its identity.
  • The reworking of what exists into what is unknown but still recognizable is the goal.
  • Grave’s practice is practice in the literal sense of the word. He is constantly practicing the rules & principles of architecture.
  • He desires to create a pleasant, comfortable environment for the people in his building.
  • His continually evolving experimentation with architectural form & language at the level of abstraction & figuration, scale & color, size & structural system is such that, there is emergence of new ideas without denying existence of traditions.

Architectural style:

  • Graves has been an architect who is not simply concerned with formal manipulation a self- referential language but is equally occupied with a building’s significance with time & place.
  • He designs building in a near-populist attitude, so that non architects can recognize distinct architectural elements within their compositions & relate them in scale to their own bodies.
  • His early projects reveal distinct references to the environment that the buildings are a part of:-
    • a curve referring to the clouds above.
    • A mural expanding the perspective of a room.
    • a yellow rail referring to the sun
    • a terracotta base suggesting grounding in the earth.

GRAVES STYLE IN 1980

  • Graves strategy has been “to internalize the events  of the building”, identifying particular components     of the program that can be given formal emphasis. The result is that these large complexes become cities into themselves, self contained by somewhat inward looking.
  • Whether the emphasis of the building is primarily  horizontal or vertical, a hierarchial route is established through the repetitive spaces.
  • Relationship b/w indoors or outdoors by “pushing the wall as far out as it can get to make a bay window    that grabs the light” e.G. Humana building or by carving something out of the face of the building so people can literally go outside, e.g  Tazima building.

Architectural details:

  • Built form
    • Influenced by the roman style, Graves tried to create grand interior spaces but broken down to human scale.
    • Cubical facades treated in the classical three part division or tripartite form with the base, shaft & cornice.
    • In later projects, the strict form of the cube is broken.
  • WINDOWS:
    • It forms the basic element as surface texture, due to their proportion & repetition.
  • Façade:
    • Uses column as surface treatment & defining the cornice or the head of the building &   entrance.
    • Facades are symmetrical &  linearity broken by adding vertical bands of colors &   windows.
    • Uses square windows but tries  to achieve the principles of neoclassical style.

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Astoria Hotel Luzern- Herzog and de Meuron

So once again the stage is Luzern in Switzerland. The lady at the tourist information center in Luzern it seemed was an architectural enthusiast and knew a great deal about famous architects. It was she who told me about the existence of a building designed by the famous Herzog and de Meuron in Luzern.Yeah the very same architects behind Alliance arena and Bird’s nest stadium,Beijing.

So ignoring the time constraints i decided to have a look at the building.

It was tough getting info on this building. Seems like its not well documented yet.Below is a few info I have managed.

The extension to the Hotel Astoria is the first hotel project for Herzog & de Meuron: It is a striking sculpture with deep indentations and two faces.

This extension to the existing hotel hosts 12 light-flooded conference rooms with state of the art infrastructure, as well as 90 new and spacious hotel rooms which are especially desingned for global nomads.

So here is a slideshow of the snaps I have taken plus plans of the extension. Click here for the Plans.[astoria_grundrisse]

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