Michael Palmisciano

The Library of the accessibility -Maison Bordeaux

The project of this library was born from the need to turn a house of the twentieth century in one of the twenty-first, in this case the Maison Bordeaux, based on the theme of accessibility. 

I with my group have chosen to include a library and therefore take the actions of getting the book and reading, making this accessible to all members of the family, children, adults and people on wheelchairs.

My final project shows three rotating libraries that not only make the book accessible but become a place in which to read, and most importantly become input doors from the platform to the three levels of the house. These libraries also overlooking the "emptiness" of the platform allow people who read in them being able to watch the rest of the house and the people who are inside.

I believe that creating a stronger connection between the main element of the house, the platform, and the rest of the house.

Chris Wilson

The idea behind this design is that the void between levels that was originally used for the lift is to now be used for a new form of access, access to knowledge – through books.

The lift shaft will be filled with a hollow volume constructed of books that are built around a steel frame. There is a combination of reused books, to create the aesthetic that the whole column is made solely from books, and the owners private collection that will be removable for reading. The reused books are drilled to create a hole in the middle, then threaded onto the steel rods, hiding the rods and giving the illusion of a structure made entirely from books.

 

The new drawings show the space more realistically, rather than just as a concept. It shows fenestrations in the walls to allow access, let light in and views out. The space is designed to be a place to escape the real world and get lost in the world of the book that you are reading. The structure creates a web of new interlinking spaces at different levels that allow the users creative freedom to adapt accordingly and choose their own area depending on their mood. The newly adapted design is intended to create desirable, comfortable spaces that are fun and exciting be in.

Hilal Aksu

exploring the area needed to sleep

final section

final plan

In re-thinking and re-writing procces of Villa Bollen Story, Bollen family decided to be more related with nature. Therefore, such as all the action areas, sleeping area should  also be renovated according to the demands. For this pupose, in the first step,I examined the area to sleep, wake up, and other related activities. 

Remembering that Bollen family’s first concern was “being with nature”, started think about how it is possible to be with nature in a country like Netherlands. The weather conditions were really hard and also there were some floods very often. Because of being under the sea level, the area of the house was in danger of flood. To avoid the floods, I proposed a construction elevated up from the ground level. This idea connected with the idea of being in nature and I decided to locate a glass surface on the floor. By this way, when the habitant wakes up, one of the first things that he see will be the soil; source of every thing; the most natural thing in the world.

The other important thing was natural light that the room gets in every day/night. Sun and moon have different positions during the year. To get the maximum heat and light in, I proposed a curved laminated glass window with maximum area. The another notion of curved window is to have the moon light directly on person while laying on the bed. This is the way that I came up with for the purpose of “being with nature” during 24 hours a day. In the day, room has daylight and in the night it has  moon light with also vision of shining stars..

Alfonso Melero Beviá

The children of the Villa Bollen have grown and they are really dependent on technology, they need a workspace itself, but this has caused increasingly distance themselves from their parents. It is therefore necessary a space to create a connection between the workspace of the children and activities of the parents, in a way that they can coexist and interact to foster family relationships.

In the renovation of the Bollen House one of the most important actions which involve its transformation to become a XXI century house is the action of working. This action depends on many factors and one of them is the position of the sun.

Once we know which is the ideal position of the sun for the activity we can use this knowledge to improve the performance that sun gives us by itself. Although the position is ideal, this does not mean that the amount of sunlight is so too, so we need a solar control system that enables us to adapt the light that the sun provides us depending on the context where we are and the needs of the moment.

The landscape surrounding the house must be present in all activities of daily life, even in the work, which also requires certain isolation from the rest of the house.

The result of the combination of these two requirements, solar control and relationship to nature, is a glass wall along with an adjustable opacity mesh that enables us to graduate the sunlight without losing the sight of the landscape outside.

Final detail in process...

The house already has a connection with nature, actually the problem is how to introduce the work area in the house keeping it isolated from the rest of the house but maintaining the relationship with it to foster family relationships and having a relationship with nature.

A variable opacity glass partition separates a room in work area and family area with visual but not acoustic connection between them. This glass allows people working to become completely isolated from the house and it becomes an element of family relationship and a working tool to project images on it. This space has two tables which cross perpendicularly the glass, so that they can move them for using them in both areas.

Silvia Capone

PRESS THE GRAPES

The vat for pressing the grapes was originally with a circular shape and slightly placed underground so as to limit the possibility of tipping during the action. Around it stood a sitting stone able to keep more stops the vat during the action and provide a place where you can sit and enjoy the view of the landscape. This sitting was flanked by spices and flowers that harked back to the taste and smell of the wine in order to create a space more attractive and pleasant.

The starting point of the evolution of this sitting-vat was its inclusion  in context, the area in front of the house. Within the context,  this element had difficulty about orientation respect to the landscape and to be enjoyed both in relation to its use as a seat and as a place for socializing and sharing. The circular shape allowed to put vats with a distance between their remarkable, it was necessary to take into account also the minimum distance required to possible steps and movements.

So I thought of creating a place where pressing the grapes become an action joint to sharing and to enjoy the landscape. I redesigned the area in front of the house to create a terrace with seats in tiers but that don’t  affect and distort the external space and don’t creating an obstruction between the house and the landscape.

These steps underground, to a depth that will allow man sitting still enjoy the surrounding view, create a space for socializing and sharing where it’s also put a table and eat a meal outdoors.

The prospectus of the landscape and of the house is unchanged, appear only sitting that act as restraints of the vats and from which to enjoy the view. The external paving stone refers to the material with which it is made the ruin while the vats have a rectangular shape in order to better relate with the seating and the design of the surrounding space. The terrace is surrounded by a garden of flowers and spices.

The action of press the grapes takes place in a common site where it’s possible share the experience with other people simultaneously. The concrete elements, that embrace the traditional circular wooden vats and prevent them from moving, are a seat or better a first large step of the terrace from which enjoy the landscape. There is a space for sharing and relaxing in which feel surrounded by nature and its perfumes and colors, but at the same time feel in it. In fact the underground terrace is composed of steps characterized in some areas by flowerbeds f. the arrangement of flowers and spices creates a unified design on the terrace and on the surrounding area.

Juan Antonio Alvarado Cano

First detali:

In this first detail is intended to preserve the previous idea of respecting nature. The trees cross the  house and thus acquire greater prominence. 

It is intended to produce a similar effect. with the opening of these elements was purchased;  In addition to a greater input of light, an approach more intimate to the outside from the inside of the House. It allows the fluidity and interaction with the outside in a different way.

This is has decided to maintain the performance of the closings and adapt them to the new element that we are introducing. the cover will adapt and will no longer be a water to tip towards the new item almost in its entirety. The metal surface responsible this is inserted inside the House. This element is generated from half ellipse revolutionized from its semi-major with double glazing which obstruct the thermal transmittance; the lower element is equal to the superior but adapting to the inside of the cylinder

Second detail:

Conditioning acoustically a particular enclosure (closed or open air) aims to achieve the sound coming from a source or sources is radiated equally in all directions making an ideal diffuse sound field. This uniformity is not always achieved and architectural acoustics, tries to approach the most to this ideal through certain techniques that exploit the qualities of absorption, reflection and diffusion of construction materials, ceilings, walls and floors and objects or other elements present in the compound. the main tool we have is to know specific reverberation time. This must be less than 2 seconds. the reverberation time, to make it useful, has calculated depending on a particular frequency, since it depends on the absorption coefficient of materials used and this coefficient depends in turn of the frequency. within the enclosures, it is essential to achieve an appropriate balance between the direct sound and the reverberant sound field. Therefore, a suitable acoustic conditioning means that the reflected waves are the least possible, so the absorption capacity of absorbent materials that will minimize unwanted reverberation or echoes that can hinder the unintelligibility of sound communication plays a role. the adequacy of the enclosure created in such a way that the acoustic conditioning favors does not pass and interfere the sounds generated by the instrument, with the ambient sounds or communication within the living space is important to our project. In addition, we want that this new element can melt not only with the environment natural but also sonically, and may thus vary. to decrease the time of reverberation of a precinct must increase the absorption of the same area, either by the introduction of furniture or the treatment of the surfaces of the room, and here is where we will be more than in our project. The reverberation time influences the acoustic properties of the room, since high values are that they are not subject to understand conversations.

Musical instruments are constructed in different ways for variety of sounds. The facts of wood and cueras, such as violins and guitars, produce a soft, calm sound. Metal, like the trumpet instruments, typically produce sounds shrill, giving melody to the song. Both musicians and architects, the materials used to evoke different emotional responses.

In this same way we structure our system formed from scales that can move and form different angles and compositions depending on the needs. Scales are distributed in such a way that the majority of positions from three types of scales (metal, wood, foam) can be developed. Moved by internal hubs, flakes may adopt angles from 0 ° to 90 °. This system can be manipulated manually as if a musical composition were; in addition, the degree of reverb sound and the way in which sounds are propagated depends on this composition.

Los instrumentos musicales están construidos de diferentes formas para poder obtener variedad de sonidos. Los hechos de madera y cueras, como los violines y las guitarras, producen un sonido suave y calmado. Los instrumentos de metal, como la trompeta, normalmente producen sonidos estridentes, dándole melodía a la canción. Ambos, músicos y arquitectos, usan los materiales para evocar diferentes respuestas emocionales.

De este mismo modo estructuraremos nuestro sistema conformado a partir de escamas que pueden moverse y formar diferentes angulos y composicones dependiendo de las necesidades. Se distribuiran de forma que puedan elaborarse la mayoria de  posiciones a partir de tres tipos de escamas (metálica, de madera, de espuma). Movidas por ejes internos, las escamas podran adoptar angulos desde 0º relativo a 90º. Este sistema podrá ser manipulado manualmente como si de una composición musical se tratase, además, el grado de reverberancia y la forma en que los sonidos se propaguen dependera de esta composición.

Javier Torres

Re-thinking the skylights:

- First draw:

    In this first picture it was tried to relate the music and the skylights. The movement of the trees caused by wind was used to the skylights to generate sounds that integrate nature into the home.

- Second draws:

 In these second drawing, the idea of the music disappears and we return to the purest essence of the house: the integration, coexistence between nature and housing. In this case the goal is to introduce the wind inside the house, and continuing with the idea of ​​using tree movement by wind, designing a lattice formed by wood slats that are connected to the skylights through a system of pistons. Thus when the wind moves the tree this will sway the woods as if they were waves. So the relationship between interior, exterior, home and environment will be strengthened.

   Moreover, this lattice can be used as a screen partially sagging to separate spaces, or completely off the hook as carpet.

First of all, thanks for your comments, some of you gave me the advice of continue working with the idea of music... After consider this idea I'm thinking on working with this solution: 

http://www.youtube.com/watch?v=by1_7jhkN78

This project has three constants:

- Object of study. Roof skylights.

- Way.Utilization of the wind which moves the tree.

- Objective. Integrating nature into the home. Introducing the outside inside.

Change, how obtaining the goal.

- First project. Try to introduce music by accordion.

- Second proposal. Introduce inside the movement of the waves and the leaves.

- Finally. Integrating both ideas together inside, the sounds (rain stick)and movements of external nature.

Cristina Carpintero López

First detail

Correction of the first detail

Mi intención es crear un nuevo espacio alrededor de las viñas que a la vez de proporcionar una zona de relax y de ocio no suponga una superficie menos de cultivo, puesto que esta estructura estaría cubierta de parras, dando así la protección necesitaría para poder disfrutar de ella al máximo.

EN PROCESO

Para poder expresarlo con exactitud pretendo mejorar el dibujo creando una nueva planta de situación y una sección longitudinal más detallada,  dándole más importancia al encuentro de la estructura y las parras con el banco y el suelo.

My intention is create a new place around of the vineyards which have two functions: proportionate a relaxation area and leisure and a new area of cultivation. To achieve this, the structure will be cover of grapevine, getting with this form the necessary protection for enjoy it.

IN PROCESS

I pretend to redrawing and create a new situation plant, and one longitudinal section with more detail. I want to draw another detail of the connection the structure with the floor.

En este último detalle muestro la evolución que ha sufrido la estructura desde ser un pasillo corrido con una simple construcción de madera hasta llegar a convertirse en cubos de barras de acero y listones de madera de 3x3x2 m. En ellos he querido crear un nuevo espacio sin perder el suelo de cultivo. Además he incluido una cúpula abatible de un material impermeable y transparente que permite la utilización de la zona en cualquier época del año.

In this detail I show the evolution of the structure, in the first time it was a corridor of wood but now it’s a cube with steel rods and wooden strips of 3x3x2 m.  In this cubes I want to create a new space without lost the cultivate floor. In addition I include a reclining cupola of a transparent impermeable material that affords the use of the area at any time of the year.

Águeda Contreras

FIRST DETAIL

October 2012

CORRECTION OF THE FIRST DETAIL

November 2012

The study of the action of the Wine Tasting takes note that this tasting is oriented not only to taste, but an enjoyment related to the five senses. To enjoy the perfection of the wines from this area wines we need a number of specific environmental conditions that accompany and complement whatever wine transmit to us. Each of the seasons and the changing landscape in them is like wine in various stages of fermentation, wine and the landscape changed and supplemented during the year. But not only the landscape (the visual), but also the weather conditions (temperature) affect this special time to taste the wine.

In the environment in which the house is, depending on the day and time these conditions may occur or not on the outside, I therefore need to create two types of places for tasting. Two places that can serve as a "shelter" for the taster, two different places.

One of them would be the "natural space": fully adapted to the field space in which the user is completely free to choose how you want to enjoy this moment. The other area is the "artificial space":  built that place where everything is controlled, where the atmosphere is right regardless of what happens on the outside.


IN PROCESS
The section of "artificial space" required a greater complexity and design of facilities that will allow full control of the environment.
And the section of "natural space" required a greater integration and mimesis with its surroundings.
In both cases, I think it is relevant as build support detailed character sitting in one case and in another (differences that have to do with lying on a couch or lying on the beach ..).

Final

En este detalle el "espacio artificial" ha sufrido modificaciones constructivas para que la climatización del espacio sea la más adecuada y con el mayor ahorro energético posible. Además los ocurecedores de los ventanales que ofrecerán la vista del paisaje al usuario han sido cambiados por unas cortinas transparentes de colores para adecuar el color del paisaje al tipo de vino.  
El "espacio natural" ha sido modificado de tal forma que en los bancos haya el mismo tipo de sombra que hay bajo las parras. para esto se ha añadido un techado que servirá de soporte a la parra.

Giuseppe Massacci

Maison a Bordeaux

Alicia Fernández Serrano

Primer detalle

First detail 

Desde el principio he considerado la bicicleta como objeto transformador de la Villa Bollen, situada en Holanda. Quiero que haya un límite más ambiguo entre el exterior, natural, y el interior. Crear continuidad al recorrido que se realiza en bici. En un principio pensé en simples modificaciones, cambiando la escalera del jardín por una rampa de acceso a la vivienda.  Y también un sistema de anclaje que se introducía en un muro.

From the start I considered the bicycle as an object transformer of the Villa Bollen, located in the Netherlands. I want to create a more ambiguous limit between the exterior, natural, and interior. More continuity to the route that is done by bike. At first I thought of simple modifications, changing the garden steps down a ramp access to the house. And also an anchoring system that was introduced in a wall.

Con más bicicletas (18 millones) que habitantes (16 millones), es uno de los modelos más visibles en las grandes ciudades de Holanda. En Ámsterdam, que suma 800.000 velocípedos de todas las épocas en el área metropolitana y otros 300.000 en el centro urbano, no son solo la imagen de marca de la capital. Tapizan calles y plazas por falta de espacio y se han convertido en un problema.

El 60% de los holandeses la usa al menos tres veces por semana. Un 80%, como mínimo una vez. Ya que en la cultura holandesa es tan importante la bicicleta, un objeto utilizado diariamente por muchos de sus habitantes, el 60% de los holandeses la usa al menos tres veces por semana y un 80%, como mínimo una vez.

Quiero hacer más ambiguo el límite entre exterior e interior mediante la bici, conectar el recorrido de la bici del exterior con el interior, crear una continuidad. Esto hará que sea más cómoda el comienzo de la acción. Aplicación de un revestimiento rugoso, obtenido mediante la aplicación de un mortero a base de resinas acrílicas de distintos colores. Espesor medio aprox. 2 mm.

With more bikes (18 million) than inhabitants (16 million), is one of the models most visible in large cities in the Netherlands. In Amsterdam, total of 800,000 cycles of all periods in the metropolitan area and another 300,000 in the urban center, they are not just the brand image of the capital. Lining streets and squares for lack of space and have become a problem.

In the Dutch culture is very important the bicycle, an object used daily by many of its inhabitants, 60% of the Dutch use at least three times a week and 80% at least once.

I want to do more ambiguous the limit between exterior and interior using the bike, connect the bike path outside with the inside, creating a continuity. This will make more comfortable the commencement of the action.

 También he pensado en un sistema de anclaje con docle uso, asiento y apoyo para las bicicletas.

I also thought of an anchoring system with dual-use, a seat and a support for bicycles.