Jan 262014

a record-breaking 53 skyscrapers over 200 metres high were completed in Asia in 2013, accounting for three-quarters of the year’s tallest new buildings, according to the latest industry report.
The annual review from the Council on Tall Buildings and Urban Habitat reveals that 74 percent of worldwide skyscraper completions in 2013 were in Asian countries – a 19 percent increase on 2012 – and that the region now contains 45 percent of the tallest buildings in the world.
China accounts for the majority of this total, with 37 skyscrapers of over 200 metres spread across 22 different cities, including the lesser-known locations of Hefei and Xiamen that before this year had never contained buildings of this scale.
South Korea also plays a large role in the statistics with nine 200-metre-plus buildings completed in the last year, eight of which are located within a single complex in the growing city of Goyang.
The overall findings of the report were that worldwide skyscraper construction is back on the rise, in spite of a stall in 2012 that saw the total number of tall buildings fail to increase for the first time in six years, and that 2013 was the second-most successful year ever for skyscraper construction with a total of 73 buildings over 200 metres.
“By all appearances, the small increase in the total number of tall-building completions from 2012 into 2013 is indicative of a return to the prevalent trend of increasing completions each year over the past decade,” it reads.
“From 2000 to 2013, the total number of 200-metre-plus buildings in existence increased from 261 to 830 – an astounding 318 percent. From this point of view, we can more confidently estimate that the slight slowdown of 2012 – which recorded 69 completions after 2011’s record 81 – was a ‘blip’, and that 2013 was more representative of the general upward trend.”
The tallest building of the year was the 355-metre JW Marriott Marquis Hotel Dubai Tower 2 completed in Dubai, the city that now also houses the world’s tallest twisted skyscraper, the 307-metre Cayan Tower.
Only one of the 73 buildings over 200 metres was located in north America, while four were in Europe, including Renzo Piano’s The Shard in London and the Mercury City tower in Moscow. None were recorded in Australia, Canada or Saudi Arabia, although construction did begin on the proposed 1000-metre Kingdom Tower in the Saudi Arabian city of Jeddah.


 Posted by at 11:02 pm
Jan 262014

The century-old museum was severely damaged by the blast of a car bomb seemingly targeting the city’s police headquarters nearby.
The Museum of Islamic Art in Cairo was reportedly severely damaged Friday in a series of bombings in the Egyptian city area that killed at least six people.
At approximately 6:30 a.m. in the city, the Associated Press reports, a car bomb exploded next to the city’s police headquarters. The blast damaged the nearby museum, reportedly breaking windows, collapsing ceilings, breaking water pipes, and damaging the facade. Some of the museum’s artifacts were also damaged.
The museum’s current building, which was completed in the early 1900s and designed (according toWikipedia) by Alfonso Manescalo, reopened in 2010 following a $10–15 million renovation. Mohammed Ibrahim, Egypt’s minister of antiquities, estimates the repair costs from today’s damage would be double that, according to the Los Angeles Times.
While no group has yet claimed responsibility for the attacks, the bombings occurred one day before the anniversary of the uprising that began on Jan. 25, 2011, and led to the removal of Hosni Mubarak. As AP notes: “The attacks fueled fears of an increasing militant insurgency in retaliation for the military’s July 3 ouster of Islamist President Mohammed Morsi and the subsequent crackdown on his Muslim Brotherhood and other Islamists.”



 Posted by at 12:46 am
Jan 242014

Like art nouveau landscapes, traditional Japanese landscape and small gardens have a sense of privacy and enclosure. Unfortunately, this style has been largely misinterpreted in American residential plantings.

The stylish points most representative of a Japanese garden are the miniaturization of the larger natural landscape, the borrowing of surrounding views and foliage to expand the private space. And the prominence given to individual features, such as rocks, miniature trees, bridges, and garden structures.

Japanese gardens vary considerably, from the moss garden that feature hundreds of different types of mosses under a broken canopy of Japanese maples, to the famous Zen Royan-ji temple that has only a few carefully placed rocks within a raked field of coarse, gravelly sand, which is surrounded by a richly aged, tiled wall.

Garden in the Japanese style carefully employ texture and color, juxtapose geometric and free forms, and contrast enclosure with expansion. The overall character of such a garden speaks of simplicity and order, but doesn’t sacrifice the intricacies of a natural landscape. This is not an easy style to use well; when handled carelessly, it can resemble a miniature golf course rather than a sensitive reflection of nature. To create a garden in keeping with Japanese concepts, it is a good idea to make a concerted study of the subject. There are a number of excellent books devoted entirely to Japanese landscaping and several wonderful public Japanese gardens in various parts of the country.


 Posted by at 7:51 pm
Jan 152014

Transitional, or eclectic, style combines the best qualities of traditional and contemporary.

Transition decorating integrates elements from several styles, providing the warmth of traditional with the simplicity of contemporary. Exciting and more personal decors are often archived by blending styles, rather than slavishly following one theme

In transitional rooms, a mix of contemporary and traditional furniture can offer an effective contrast. For a balanced look,  the pieces of furniture can offer an effective contrast. For a balanced look, the pieces of furniture should appear similar in weight or proportion. Often, contemporary pieces of furniture are inspired by familiar traditional style, making them specially suitable for transitional decorating. The bed, for example, has some of the detailing seen in traditional furniture, but the glossy, white paint and the smooth lines give it a crisp, contemporary look.

Color can unify varied styles of furnishings so they work together. Repeat only a few of the colors and fabrics in the room, and avoid mixing several patterns.

Elements of a transitional bedroom

THE BEDDING ENSEBMLE is a mix of styles. The ruffled pillow shams, traditional in styling, are paired with a buttoned duvet cover for a more updated look; additional pillows with flanges complete the eclectic mix. A unified color selection blends the bedding fabrics, from contemporary pinstripes to traditional floral chintz.

A TRADITIONAL STYLE ARMOIRE mixes well with contemporary furnishings, provided the pieces in the room are similar in weight or proportion.

CLASSIC CURTAINS should be with a contemporary drapery pole. The leaded glass window provides added drama.

NIGHTSTANDS in transitional bedrooms can contrast effectively with the accessories. A traditionally styled nightstand can set off a contemporary lamp and picture, or a contemporary nightstand can provide a base for an old fashioned dried flower arrangement.

BASKETS are versatile and blend with many decorating styles, adding warmth to a room,


 Posted by at 10:46 am
Jan 102014


Location: Changsha, China


Design Principal: Wolf D. Prix

Senior Project Partner: Markus Prossnigg

Executive Coordinator: Lei Feng

Project Architect: Angus Schoenberger

Design Architect: Quirin Krumbholz

Project Team: Tyler Bornstein, Laura Ghita, Crystal K.H Tang, Xinyu Wan, Paul Challis, Veronika Janovska, Sorena Dumitru, Philipp Scherl

Structural Engineering: B+G Ingenieure / Bollinger und Grohmann Gmbh, Prof. Klaus Bollinger

MEP / HVAC: Buro Happold Ltd, Bath,UK, Steve Macey(Competition Phase)

Site Area: 150,000 m2

Year: 2013
Client: Changsha Xiandao Land Development and Construction Co., Ltd.


The building volume is integrated into a beautiful landscape scenery and positioned directly on top of a historical cement mining quarry pit and lake. In the design solution towards the South and East, the existing quarry pit is revealed and the sculpted shell of the Snow and Ice World spans 170 meters from cliff to cliff over a sunken and hanging garden creating a new functional leisure space of islands, water, cliffside pathways and ramps connecting the building to this natural heritage.
This unique framed open space in between architecture and landscape is also characterized through an impressive central glass cone providing controlled natural daylight down through the Ice World structure and on to the islands and water surfaces. A cantilevered outdoor swimming pool is part of the Water Park attractions and creates a 60m high waterfall into the quarry pit.
From the inside the leisure functions of the Snow and Ice World engage the space of the quarry pit with views through large glass façades to the natural cliff faces and hanging gardens, also with overviews to the water pools and islands below. At the same time visitors walking or standing on the Cliffside Pathways can also look into the building through the transparent façade; hence an interactive visual contact with the interior of the Snow and Ice World is created establishing more excitement and maximizing the existing value of the industrial heritage.
A separate sculptural 100m high tower on the South end of the site hosts a 5 Star-Hotel and is connected to the Ice World via a Grand Garden Plaza. Arriving from the city of Changsha over Pingtang Avenue, the Hotel tower will be the most significant iconic landmark for the entire Dawang Mountain Tourism Resort Center. It offers 270 high-class single and double bed suites, 60 Executive Suites with an Executive Club Lounge and a 6-room Presidential Suite, all with impressive views to Tongxi Lake, Dawang Mountain and into the Ice & Snow World.
A spacious central Lobby around the tower core opens up into the service plinth containing a bar and restaurant on level one, flexible and multifunctional conference areas on level two and the fitness and spa and beauty facilities on level three. The façade of the Fashion Hotel Tower is a specially designed, highly economical system providing state-of-the-art sun shading, natural ventilation and a unitzed, quick construction. The element façade system offers a maximum of flexibility to the inside room layout and allows a homogeneous appearance over the exterior façade.DAWANG MOUNTAIN RESORT CHANGSHA BY COOP HIMMELB(L)AU05 DAWANG MOUNTAIN RESORT CHANGSHA BY COOP HIMMELB(L)AU03 DAWANG MOUNTAIN RESORT CHANGSHA BY COOP HIMMELB(L)AU02

 Posted by at 6:44 pm
Jan 102014


Architect Nasser Murat Khan, the designer of Minar e Pakistan designed a cricket stadium in the historical city of Lahore, which was named as Lahore stadium. Mian Abdul Khaliq and company constructed this stadium in 1959. It is the lagest cricket stadium in Pakistan. In 1974, the Libyan president Muammar Qaddafi visited Pakistan and had a speech in second Organization of the Islamic Conference meeting held in Lahore. He supports Pakistan over the issue of having nuclear power and becomes very popular in Pakistani nation and government and the Lahore stadium was given the name of Qaddafi stadium after his name.

The 1996 Cricket World Cup was held in Pakistan. Before the commencement of World Cup in 1995-96, the stadium was renovated. Nayyer Ali Dada the most famous architect of Pakistan redesigned the Qaddafi stadium of the pattern of Mughal architecture by using red hand-laid brickwork and arches. The lower side of the stands outside the stadium was covered with Restaurants, offices and boutiques. The traditional concrete benches of the stadium were replaced by plastic seats and stadium was equipped with floodlights.

Qaddafi stadium Lahore is the main hub of Pakistani cricket activities. Headquarter of Pakistan cricket board situated in it. Many national and international completions have been held in it.

The Qaddafi stadium has hosted many historical cricket matches. The most famous of the match was 1996 world cup final played between Sri Lanka and Australia. Sri Lanka won that world cup. Three famous cricketers of world have made hat tricks at this ground includes, Peter Pethrick of New zeland and Wasim Akram and Muhammad Sami from Pakistan. Both of the Pakistani cricketers made their hat tricks against Sri lanka.

A memorable test match was played between New Zealand and Pakistan in 2002 in which Pakistan won by an inning and 324 runs. Inzama ul Haq made 329 runs in that match, the highest score made by any player on this ground. Pakistan’s fifth wicket partnership of 281 between Javed Mian Dad and Asif Iqbal was also a memorable one in Qaddafi stadium. They made it against New Zealand in 1976.

Highest team total on this ground in test matches was 699 runs by Pakistan made against India in 1989 and in one-day internationals, it was 357 by Sri Lanka against Bangladesh in 2008. No International T20s have been played on this ground.

In 2011 after the controversial and tragic death of Muammar Qaddafi the, cricket board think over changing the name of the stadium but after that it was decided that the name will remain unchanged.


 Posted by at 8:59 am
Jan 082014


Cmglee2A house is for life, not just for Christmas. That’s what Deborah Sarnoff and Robert Gotkin must have been thinking when they bought Robert Venturi’s 1969 Lieb House, an asbestos-shingled box emblazoned with a Pop Art number 9 beside the door. The house was earmarked for demolition when the couple acquired it for a dollar in 2009. They spent another $100,000 having it peeled off its site in New Jersey and shipped up the East River on the back of a barge, to its new resting place in Glen Cove, NY. The whole caper was recorded for posterity by Venturi’s son, Jim, in the film Saving Lieb House.

Not all houses have been bestowed with such benefaction. But maybe there’s another way in which architecture can help fend off the wrecking ball: what if the design of a house allows it to grow and change in conjunction with the needs of its occupants? The UK’s Lifetime Homes Standards encourage precisely such a principle, setting out a list of guidelines that have been adopted into the building regulations. The focus is on design features that make the home flexible enough to meet whatever comes along in life: a teenager with a broken leg, a grandfather with a serious illness, or parents dealing with an unwieldy Bugaboo.

This ideology fits with a long-lived tradition in modern architecture of adaptability and flexibility. The most groundbreaking example is Gerrit Rietveld’s seminal De Stijl–style house in a suburb of Utrecht. It was built in 1924 for Mrs Schröder, a widowed socialite with three children. Upstairs is a single dynamic living space that has the option of being left open or subdivided by a system of sliding and revolving panels. When entirely closed, the floor accommodates three bedrooms, a bathroom and a living room.

In the 1960s, the architecture of adaptability became bigger, more daring and more experimental. Archigram, a collective of architects, sought to fight the increasing sterility of modernism by designing hypothetical projects, fantastically drawn, inspired by the future. They imagined architecture as part of a solution for world problems. Buildings were giant transformers – they could walk, swim, float and join together. They were both independent and parasitic.

While these ideas remained firmly on the page, they came to influence the architecture of the home. Kisho Kurokawa’s 1972 Nakagin Capsule Tower in Tokyo is the world’s most direct relation, in concept and aesthetic. It comprises 140 prefabricated, self-contained modules plugged into a concrete core using high-tension bolts. Designed to attract the bachelor salaryman, the capsules could be connected and combined to create larger spaces or completely replaced as required.


More recently, this idea resonates in container cities across the world. Shipping containers have been reinvented and stacked on top of each other like Warholian baked-bean cans to create affordable home/office communities. The first example, Trinity Buoy Wharf in London’s Docklands, was completed in 2001 and provided 12 work studios over three storeys. Much like Lego, it can always be added to, and a fourth layer of containers was craned into position two years later. The same principle is now being applied to schools, community centres, and even a new ecological urban spa in San Francisco.

Now architects are creating homes that adapt to rising sea levels. The cedar-clad Floating House by MOS Architects on Lake Huron in Ontario, Canada, is currently the most beautiful. The water levels vary enormously throughout the seasons, so the house sits on a structure of steel pontoons that allow it to fluctuate along with the lake. Morphosis designed the similar Float House – made from polystyrene foam coated in glass fibre-reinforced concrete – in the aftermath of Hurricane Katrina for Brad Pitt’s Make it Right Foundation.


Taking a rather different transformative power to fight a turbulent future, KWK Promes’ Safe House in Warsaw has the ability to provide astonishing security. Constructed as a cuboid concrete monolith in Stealth Bomber grey, the building has two modes – open and closed. In defence position, huge movable walls operated by electric engines close into the property’s window and door openings, a roll-down gate barricades the south elevation and a drawbridge is wound up to create an island fortress.

Sliding House in Suffolk, by dRMM, was conceived out of joy and ingenuity rather than paranoia. Comprising three distinct parts – a house, garage and annexe – it has an enveloping structure on recessed railway tracks that can be peeled back or rolled over the building, like an architectural contraceptive, to provide differing combinations of enclosure and open-air living.


A similar sense of extendibility has been applied to the Living Room House in the chocolate-box German town of Gelnhause, designed by the architects Formalhaut. It is shaped like a child’s drawing of a house, with a steeply pitched roof, but that’s where the tradition ends. The house is clad with powder-coated aluminium and perforated with no less than 52 windows in a chequerboard pattern. Its main attraction is the bedroom, which is housed in a sliding drawer that can be pulled out over the street for alfresco sleeping.

modern contemporary architecture. It has a hovering platform that can be moved vertically through the various levels of the building on a piston, from the kitchen on the lower level all the way to the bedroom on the highest floor. Perhaps the ultimate expression of the Lifetime Homes idea, it was built for a client who was paralysed from the waist down following a serious car accident. “I want a complex house because the house will define my world,” he said. Whereas a building on one floor would have been the logical solution, Koolhaas chose instead to highlight the verticality of his design. Breezing past his wine collection and his books on a hydraulic magic carpet, the client had incomparable access to the things he loved. His adaptable house didn’t just help with his life. It enhanced it.


 Posted by at 7:10 am
Jan 072014

Now this is the museum you won’t be able to miss. Petersen Automotive Museum in Los Angeles is one of the most known car museums in California and now it’s about to become even more famous. Architects from Kohn Pedersen Fox Associates office designed amazing new modern facade for the museum, with the goal of turning this place into one of the most recognized attractions in the city. By the look of it, we don’t doubt it.
As stated on LA Times, Petersen Automotive Museum will spend $20 million on its new modern facade which is already approved by the authorities and should be done by their 20th anniversary in 2014.

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 Posted by at 1:35 pm
Jan 072014


Concrete lovers and futurists, this is for you. Famous A-cero architecture office from Spain designed this ultra modern home called Concrete House 2. It is fabulous residence literally built into the landscape. Combination of black concrete and green grass. Joaquin Torres and Rafael Llamazares, founders of A-cero office often seek for inspiration in the work of Le Corbusier and Mies van der Rohe, which is reflected in their earlier projects like The Memory House and Sotogrande House. But, instead of perfectly white colors like in Sotogrande House, this ultra modern residence is pure black futurism.
Even though some may say it’s too much atomic shelter-looking, I think this design fits perfectly in the futuristic atmosphere. You know, the post apocalypse times? Anyway, another thing I like about this home is landscape design. Slanted walls are perfect for green walls with the grass planted over. The same thing on the roof. This is also big step in sustainability since this creates great temperature isolation, no matter is it summer or winter. Plus, it looks nice, doesn’t it? Specially the grass stairs. This is one detail that really catched my eye. Interior design is of course, minimalist with gray-ish colors. Glass walls let in enough of daylight to light up the whole house and its futuristic interiors. Modern home theater? My favorite. It really looks like a lot of fun. What do you think?

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Jan 032014


Nayyar Ali Dada, renowned Architect, is the first and so far the only Architect from Pakistan to have received the Aga Khan Award for Architecture (1998). He has also been honoured with the President’s Pride of Performance Award in 1992. He heads the firm Nayyar Ali Dada & Associates in Lahore.
He was born Nayyar Ali Zaidi in 1945 in Delhi, India. “Dada”, a commonly recognized last name, was given to him by a teacher for his exceptional drawing and painting skills.
In an interview Nayyar Ali Dada shared his overview and opinions regarding the architecture profession in Pakistan today.
Historical Architecture and Preservation
The Archeology Department has done substantial work. We proposed and pushed for a Preservation Act in Gen. Jillani’s time, but sadly it was never promulgated by the Government of Punjab. We have a Conservation Society which has listed buildings in Lahore that need instant attention and those that form our heritage; but a lot more needs to be done. Meanwhile we have lost a lot of our cultural heritage, and will be losing more if these circumstances persist.
The Lahore Master Plan
Lahore has never had a proper Master Plan. Nespak did prepare a Master Plan some years ago, but it was not implemented, and now needs to be updated. Urban development has, unfortunately, continued to take place, but not following a plan and not involving the relevant people in key decision-making. Consequently, there is no concept of zoning, no consideration for sanitation, traffic, area development, whatever.
How would you define Architecture?
NAD: (In this country) it is generally considered as another technocratic field, such as structural engineering. The technical aspect is important; architecture, however, involves itself in relating design to the site and its surroundings, the region’s users and also the socio-politics of the area.
This profession is the art of dealing with a built space, which you craft with whatever technology you may choose, fulfilling the purpose for which it is built. A building is supposed to ‘sit ‘there at that time; it has to relate to the continuity of the past into the present, not just ‘fall from the sky’ and, at the same time, it must continue to belong to the moving times of the future. A building that is Modern today may be the heritage of tomorrow. It should not get outdated in three years, like a trend in fashion clothing. Since a lot of money is usually at stake, this is a serious and difficult business. That is why very few buildings are examples of successful architecture.
Building design is getting more and more difficult to deal with. Design is a process of validation where you keep searching for a meaningful, creative solution, adopting from the known vocabulary of forms and features, and adapting these to the needs of a changing society.
Architecture should not be confused with sculpture, for one’s pleasure. It has a serious purpose and must respond to the needs of its users. You may produce a creative fantasy, but you cannot ignore the purpose for which it is built.
I therefore feel that an architect owes a great responsibility towards the community in which he works. Our quality of life depends on the architecture around us. We are all consumers of space and the built environment, be it for leisure, learning, thinking, or residing. By the same reasoning, unsuitable or poor architecture obviously has an adverse effect on the quality of life. Half of the reason behind bad traffic, pollution and other environmental evils is due to bad architecture and planning.
There is a common thread that connects all your projects. How would you describe your design style?
NAD: I do not have a conscious style. About the Alhamra Arts Council, Lahore, people generally ask if I was inspired by the tomb of Shah Rukn-i-Alam in Multan. It could have been in my subconscious, as I greatly admire that building. However, the geometry and tapering walls of the Alhamra resulted from an analysis of its functions. They are highly suited to sound and vision. Any regional feeling in its architectural character is purely a coincidence.
People often say that they can recognize my buildings. I feel that there cannot be a set of simple rules in these fast-moving times. One has to adapt rapidly to change as it occurs and, over my lifetime, I too have adapted.
One of my recent projects is the Expo Centre at Johar Town, Lahore. The exhibition halls are high-tech buildings: Pre-engineered and prefabricated metal structures. Between these modern structures sits the Convention Centre, which is totally different. This building is not high- tech modern. Rather, it evokes a regional Identity in its materials and form.


 Posted by at 1:06 pm
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