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Blue Sky Home
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Blue Sky Homes, the green building company whose prototype property was featured in Dwellmagazine earlier this year, is set to commence its next project in January, with others in various stages
of development. In addition, noted architects such as Linda Taalman & Alan Kochthe couple behind
the famed, off-the-grid itHousehave begun using Blue Sky Homes revolutionary Blue Sky Frame
(patent pending) as the foundation for their own designs.Taalman-Kochhave two current projects
using the Blue Sky Frame: the Clearlake itHouse and the itHouse Cabin, both under construction inCalifornia. More images and description after the break.
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Blue Sky frame
The reason the Blue Sky Frame is so attractive to clients and architects alike is twofold: echo-friendliness and speed of building.
SPEED: The frame is made of cold-formed, light-gauge, galvanized steel (as opposed to the
traditionally used wood and/or structural steel). Unlike most prefab homes, all the steel elements(which are manufactured with up to 70% recycled metal) are factory-fabricated and shipped flat to the
construction site, whereerector-set-liketheyre rapidly bolted together without expensive site-
welding or waste. The entire frame goes up on Day One without a dumpster in sight! The house is
weatherproof and ready for interior work by Day Five, and construction is complete within six to eight
weeks.
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Clearlake itHouse
GREEN: Each house in the Blue Sky Homes online catalog also comes with a multitude of ultra-green
options. (An added green/speed bonus is that the Blue Sky Home is especially adept in steep or rugged
terrain, with the entire house being able to sit on just a few steel columns, avoiding expensive,
destructive, and time-consuming earth workand making any floor plan possible since no interior
walls are load-bearing.)
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itHouse Cabin
Simply put, nothing is built faster, stronger, greener, more flexible, or more durable than a Blue Sky
Home.
Prototype property
Blue Sky frame
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Clearlake itHouse
itHouse Cabin
Cite: Furuto , Alison . "Blue Sky Homes / Taalman Koch" 21 Dec 2010. ArchDaily. Accessed 19 Nov
2012.
Recommended:
World's Tallest Skyscraper To Be Built...In 90 Days
Connect:Homes Offers Affordable, Modern, Sustainable Homes
http://www.archdaily.com/246482/worlds-tallest-skyscraper-to-be-built-in-90-days/http://www.archdaily.com/238195/connecthomes-offers-affordable-modern-sustainable-homes/http://www.archdaily.com/97650/blue-sky-homes-taalman-koch/ithouse_cabin/http://www.archdaily.com/97650/blue-sky-homes-taalman-koch/clearlake_ithouse_blue_sky_frame/http://www.archdaily.com/97650/blue-sky-homes-taalman-koch/ithouse_cabin/http://www.archdaily.com/97650/blue-sky-homes-taalman-koch/clearlake_ithouse_blue_sky_frame/http://www.archdaily.com/97650/blue-sky-homes-taalman-koch/ithouse_cabin/http://www.archdaily.com/97650/blue-sky-homes-taalman-koch/clearlake_ithouse_blue_sky_frame/http://www.archdaily.com/97650/blue-sky-homes-taalman-koch/ithouse_cabin/http://www.archdaily.com/97650/blue-sky-homes-taalman-koch/clearlake_ithouse_blue_sky_frame/http://www.archdaily.com/238195/connecthomes-offers-affordable-modern-sustainable-homes/http://www.archdaily.com/246482/worlds-tallest-skyscraper-to-be-built-in-90-days/ -
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2012 AIA Housing Awards for Architecture
Le Coeur / StudioGreenBlue
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Bijlmer Park Theater / Paul de Ruiter
29 May 2009
Cultural Selected Works Paul de Ruiter The Netherlands
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Architect: Paul de Ruiter
Location: Anton de Komplein, Amsterdam, Netherlands
Project Architect: Paul de Ruiter
Project Team: Willem Jan Landman, Dieter Blok
Client: City of Amsterdam, Stadsdeel Zuidoost
Construction Advisor: Arup bv
Installations Advisor: Halmos bv
Acoustic Advisor: DHV-Dorsser Blesgraaf
Theater Advisor: Theateradvies bv
Urban Design: Rein Geurtsen & Partners bv bureau voor stadsontwerp /mecanoo architecten bv
Constructed Area: 1,953 sqm
Project Year: 2005-2007
Construction year: 2007-2009
Photographs: Pieter Kers
In 2004, Paul de Ruiter was invited to compete in the selection of the architect
who would design a cultural building in the southeast district of the city of
Amsterdam. This cultural building was to be a multifunctional building for four
users; a circus (Circus Elleboog), a theatre (Krater Theater), the Youth Theatre
School and the Theatre Workplace, all professional organisations in the field of
talent development, cultural education, production and programming.
On the basis of a presentation of his vision, including his proposal to work with a
dynamic programme of requirements, Paul de Ruiters architectural bureau was
selected by the city of Amsterdam, southeast district, to design the cultural
building.
ground floor plan
DYNAMIC PROGRAM OF REQUIREMENTS
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How can you ensure that a design process proceeds efficiently, decisively and
harmoniously when time is limited, but at the same time you must take into
account the divergent requirements and interests of four different users? Paul de
Ruiter developed a dynamic programme of requirements a flexible design
process with a plan that was not already drawn up in detail.
To identify the specific wishes of all the users and integrate them into the design
and to give the users a good idea of the architectural possibilities, several
workshops were held during the design stage. During these workshops, plans
were made with the users and the customer, and these were later reviewed at
regular intervals. This finally yielded a design that satisfied the requirements of
all the parties involved.
WORKSHOPS
The design process started with a study of the programme for the cultural
building. Paul de Ruiters architectural bureau built various scale models that
gave an indication of the different options for form and layout. With these
models on the table, it was possible to hold brainstorming sessions during the
workshops on what the building should look like and what functions it needed to
fulfill. In view of the location of the cultural building in a park, a recognizable,
pavilion-like building was chosen with a layout that could be adapted to the
various requirements of the users.
situation plan
MEETING PLACE
The site of the cultural building is specified in the urban development plan. The
building is located in the heart of the Bijlmer neighbourhood at the edge of the
Bijlmer park, beside the lake. It is public and accessible, and its position beside
the water gives extra dynamism to this image due to the reflections in the water.
To make it possible for performances to be held on the water as well, for
example on large floating platforms, steps that can be used for seating have been
placed at the waters edge. When no performances are scheduled, the steps
function as a meeting place, where cultures, generations and artistic disciplines
meet each other.
DYNAMICS
The cultural building consists of an ellipse shape, with the upper two floors
slightly displaced in relation to the ground floor. This provides a covered
entrance area located in a logical position in the urban development plans
routing.
The elliptical shape of the building did mean that it was necessary to search for a
financially viable way of reproducing this rounded shape in the partially glass
faade. The solution was found in a combination of wooden slats and vertical
aluminum strips placed against the steel and glass sections of the facade. Thismeans that the intersection points of the segmented faade are not visible and
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the building has a rounded, dynamic and somewhat abstract appearance that
changes continually as you walk around it.
RECOGNIZABLE DESIGN
During the day, the striking shape of the cultural building makes it clearlyrecognizable, while it is conspicuous in the evening because of its color, which
can be altered to fit the occasion. This is made possible by the use of LED
lighting. A line of light is fitted behind the steal faade in the faade, shining
downwards. Because this light shines against the steel faade and the wooden
slats, the building acquires an appearance of transparency, as if the light is
coming from inside the building. The illumination of the building increases the
level of safety and makes the cultural building clearly visible from the urban
surroundings.
DAYLIGHT
One requirement that was specifically identified during the workshops was the
need for daylight in the main auditorium. Lessons and rehearsals would take
place here during the day, and a good level of daylight access is very important
for the atmosphere and sense of orientation.
In the theaters that were visited for the workshops, the users often commented
on the lack of daylight, which although understandably kept out deliberately for
performances, is still very desirable during the day. For this reason, a glass
surround was created on the first floor all around the main auditorium. This
solution not only allows a maximum capture of light, it also makes it possible forparents and others who may be interested to watch lessons and rehearsals
unobtrusively. These windows can be darkened to keep out the light when
performances are held.
first floor plan
section 04
FLEXIBILITY
During the workshops, the most time, relatively speaking, was spent on
identifying the users wishes in relation to the main auditorium. Circus Elleboog,
for example, needed a space with a clear height of 7 meters for acrobatic, trapeze
and juggling acts, while the preference of the other partners was for a theater-
style auditorium. A solution was found by designing a rectangular auditorium
with two ear-shaped appendages beside the performing area a circus/theater
auditorium with between 162 and 277 seats. These two rounded areas on the
long sides of the main auditorium make it possible to use this in a range of circus
configurations and theater configurations, by making use of versatile wings and
movable seating areas.
MULTIFUNCTIONAL
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In addition to the main auditorium, the cultural building has a spacious foyer,
rehearsal rooms, three studios, storage rooms, dressing rooms, a sewing room,
meeting facilities and offices. The building accommodates the four user groups in
the dance class of the Amsterdam School of Arts. For all these users the three
storeys are arranged. The main auditorium extends to the height of all three
storeys and one of the studios is two storeys high.
On the top storey, the bridges for the operation of lighting and set management
are integrated into the concrete floor. This is a practical and inexpensive solution
that makes the bridges safe and easily accessible.
INSPIRATION
The design process for the cultural building was full of creativity. This was not
just due to the unusual approach, but was also and primarily a result of the way
the workshops were organized. Each workshop was held in a different,
unconventional theater, selected each time by one of the users. During a guided
tour preceding the workshop, the architect, users and customers were able to
analyze the advantages and disadvantages of that particular theater, and
inspiration was gathered for the brainstorming session. This then took place on
stage, and on more than one occasion, a performance was given to test the size,
functionality and acoustics of the space. There was no question of meeting
agendas and minutes; the idea was to give creativity free rein. At most, a list of
points was put together at the end of the workshop to act as a basis for the
following session. This was an extremely flexible, practically-oriented approach,
which resulted in an attractive and multifunctional design.
INTERACTION
As a result of the ample admission of light and the flexible layout, the cultural
building offers maximum scope for freedom and creativity. It radiates openness.
The building therefore plays an important role in facilitating the development of
talent, particularly in children and young people. The regular tenants (Circus
Elleboog, the Youth theatre school, the theatre workplace and Krater Theatre)
will work together in this building, creating an enormous level of synergy, a
melting pot of cultures. A place for debates inspired by the diversity of the
southeast district of the city of Amsterdam. To stimulate this interaction even
further, the outer wall of the auditorium, most of which runs through the foyer,
will be painted with blackboard paint, and chalks will be available everywhere.
Visitors, particularly children, will then be free to leave their message, comment
or greeting on the wall. The black outer wall of the auditorium also makes the
layout of the theatre clear and facilitates the feeling of orientation. It is obvious
that this is the dynamic heart of the cultural building.
The Bijlmer Parktheatre is made possible with help from the EU.
1075011892_pieter-kers-bijlmer-park-theatre-11 1075011892_pieter-kers-
bijlmer-park-theatre-11
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Architects:SAKO ArchitectsLocation: Beijing,ChinaProject Team: Keiichiro SAKO, Yoko FUJII, Hiroaki SAWAMURA, Jiye ZHANGLighting Design: Masahide Kakudate Lighting Architect & AssociatesSite area: 17,949 sqmBuilding area: 103,218 sqmProject Year: 2006-2008Photographs:Misae Hiromatsu
BUMPS in Beijing is an integrated project with four residences as well as a commercial building. The
traditional residence buildings in China are oriented south and north. With the increase in the density of
the buildings, the traditional method causes buildings too close to each other and the rooms facing tothe north can hardly get sunshine.
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situation plan
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Misae Hiromatsu
BUMPS in Beijing is rotated by 45 degrees from the north-south axis. This design can provide
optimum sunshine for each building and also can short cut the way to the central business areas fromdifferent directions.
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Misae Hiromatsu
Misae Hiromatsu
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The residence buildings are 80 meters height. Every two floors are set as a unit. Every unit is staggered
by 2 meters horizontally. Whole 80ms building is repetitions of these units. The setback areas are used
for terraces. Interlaced black and white units highlight the concave-convex faade and show a clearlineament of the building. All the windows are 1 meter square. Randomly placed windows weaken the
existence of all pillars and beams. Therefore, the appearance of the buildings look like stacked by lots
of small black and white boxes together
Architects:KHR arkitekter ASLocation: Jyllinge,DenmarkProject year: 2001-2008Client: Jyllinge MinighedsrdConstructed Area: 800 sqm
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The church of the holy cross was conceived as part of the landscape around Jyllinge. With its glassfaade facing the fjord and a fishing net dividing the space of the church, the design clearly takes the
history of the place seriously.
A good place to build a church
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The place has an emotional power with its spatial topography that seems to make time stand still and
let thoughts follow the horizon of the landscape as the link between the earthly horizontal level and the
boundless sky that encloses it all. This is a place with many layers far beyond what is physicallypresent. A good place to build a church.
The body of the church was conceived as part of the landscape. From the outside, the volume of the
building is experienced as two solid stones that form a composition with ecclesiastical overtones. A
composition in which the emphasis is on the nave of the church with the choir in dialogue with the old
church to the southeast.
Connecting with the fjord
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With its dominating view of the exterior, the interior shape of the church is experienced as an extensionof the landscape divided in twosumming up the earthly and the heavenly. The body of the church can
be further divided along the line light falls into the interior, using a transparent textile woven with a net
structure. This helps when the nave of the church is extended in a northwesterly direction to end in the
scenic amphitheatre structure that provides seating for outdoor events.
The central aisle through the church extends out into the intimate scenic space formed naturally
between church interior and the amphitheatre structure. This means the churchs ceremonial events can
be extended out into the landscape in contact with the fjord and the sky abovea range of elements
that combine to create a clear identity for the church in this special place.
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