UMA PONTE QUE NÃO É UMA PONTE

Middlesbrough Transporter Bridge

An iconic structure across the River Tees in the centre of Middlesbrough.

É uma ESTRUTURA METÁLICA com duas TORRES que suspende um CONTENTOR que transporta automóveis e pessoas, é como um ELEVADOR HORIZONTAL.

PONTE METÁLICA PEDONAL

Ponte de Bernard Tschumi sobre o caminho de ferro em La Roche-sur-Yon, França.

Mais informação em :
http://www.designlaunches.com/building/pedestrian_bridge_constructed_in_france_as_a_symbol_of_contemporary_urban_relationships.php

We have massive structures being built everyday, but very few of them have revolutionary social significance as the Pedestrian Bridge constructed by American architect Bernard Tschumi and French firm Hugh Dutton Associes. The bridge has opened in La Roche-sur-Yon in France, where it connects the old centre of Atlantic coast town with newer districts across the TGV railway tracks. The massive tubular lattice bridge is a collaboration between the fields of engineering and architecture, and expresses a dynamic vector in both its usage and urban perception. The Pedestrian bridge crosses above high-speed railway tracks, providing an important urban connection for the two. The dynamic characteristics of the complicated structure are expressed through finished materials and the bright-red orange color is chosen to emphasize the urban significance of the bridge as a pedestrian vector.

PONTE METÁLICA PEDONAL

 Bridge in Esch / Metaform Architects And T6-Ney & Partners

Mais informação em :

http://www.archdaily.com/96662/bridge-in-esch-metaform-architects/

ELEVADOR E PASSAGEM AÉREA URBANA

Urban Elevator in Galtzaraborda, Spain / VAUMM


Mais informação em :
http://www.archdaily.com/143104/urbanization-and-urban-elevator-in-galtzaraborda-vaumm/

PONTE PEDONAL METÁLICA

Bridge Building / Atelier PHILEAS
Ponte em Fontenay, França.


Informação de projecto em:
http://www.archdaily.com/91373/bridge-building-atelier-phileas/

CONCURSO PONTE PEDONAL AMESTERDÃO

Amsterdam Iconic Pedestrian Bridge Competition 


Imagens de um concurso de arquitectura recente para uma ponte em Amesterdão.
Atentem na forma como os projectos são apresentados e quais os elementos gráficos que os definem.


Mais informações e propostas completas em:
http://www.archdaily.com/218912/amsterdam-iconic-pedestrian-bridge-competition-winners/


João Pernão

JAMES TURREL SKYSCAPE

Sempre que existe uma relação entre exterior/interior através de um vão, existe a consciência da passagem do tempo pela alteração das condições luminicas do espaço (intensidade, direcção, qualidade_sol directo, enevoado, sombra, etc.).

James Turrel esplora este conceito no seu SKYSCAPE, tornando a percepção do céu "real" num acontecimento estético através da sua comparação com iluminação interior de diferentes cores.

Notem como Turrel desmaterializa a relação entre interior/exterior através da inexistência de uma espessura no vão: pelo seu desenho em ângulo agudo consegue-se uma aresta que determina a abstratização do vão.

João Pernão

The skyspace provides a quiet, meditative setting in which one concentrates on the view of the sky through a 9 ½ x 9 ½ ft. opening in the ceiling.  The rim of the aperture is knife-edge thin, which helps heighten the perception of the sky’s proximity.  It often appears that the sky has been drawn like a sheet tightly across the opening.  Italian limestone benches line the interior plaster walls of the skyspace.  They are heated during the winter, and the skyspace is air-conditioned in warmer months, providing a comfortable viewing environment year round.

Washing the interior walls of the skyspace with various combinations of red, green, blue, and yellow light, Turrell conditions the eye in a way that affects one’s perception of the sky’s color, distance, and density.  The sky seems to take on extraordinary colors and, framed by the knife-edge rim of the aperture, appears extremely dense and flat.  At sunrise and sunset, when changes in the coloration of the sky are most rapid and pronounced, the experience can be especially mesmerizing.  Just before sunrise, the lights inside the skyspace begin to change gradually, slowly shifting the perceptible hues and tones.  At sunset the changes are more dramatic, eliciting vibrant colors and sharper contrasts.  The light program becomes more active after sunset, cycling now more rapidly through a variety of colors, some seemingly impossible.  The entire system is coordinated by an astrological clock that constantly monitors the changing times of sunrise and sunset at the specific geographic location of the skyspace.  The interior lights of the skyspace do not normally change between sunrise and sunset.  However, if a photo sensor registers the external ambient light below a certain level during this period, it triggers a brief, quickly paced "storm" cycle of saturated colors and abrupt lighting changes. 

Turrell has programmed 10 different light cycles for the skyspace and is planning a total of 12.  With such a variety of lighting cycles playing against constantly changing atmospheric conditions, Tending, (Blue) displays a seemingly endless variety of moods and experiences.

Fonte: http://www.nashersculpturecenter.org/James/Turrell/Skyspace