AIO art in oblique architectural & design

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AIO art in oblique architectural & design

We are interior and architectural firm based in Armenia-Yerevan.

We are designers,developers and consultants for different projects in The Middle East, The Cis countries,The Russian Federation.We specialize in designing building and interior projects from A-Z and according to wishes of our clients and our creative team it makes possible to transform spaces in a new and sensuous way. In order to offer customers a more localized specialist service Architectural T

eam is flexible and and can organize local meetings with you and offer you sophisticated design and solutions.

Սիրով ձեզ ենք ներկայացնում ճարատարապետական ընկերությունը`հիմնադրված 2012 թվականին ՀՀ ք.Երևանում: Ունենալով բազմաթիվ մրցակիցներ` ընկերությունը կարողացել է իր ուրույն տեղը զբաղեցնել, ինչպես հայկական շուկայում, այնպես էլ նրա սահմաններից դուրս: Ընկերությունը կատարում է բնակելի բարձրահարկ շենքերի,առանձնատների , հասարակական –արտադրական տարածքների և ժամանցի վայրերի ճարտարապետական նախագծեր,ձևավորման բարձրորակ աշխատանքներ` համաձայն Հայաստանի Հանրապետության նորմերի և միջազգային ստանդարտների: Մեր աշխատանքում մեր հիմնական սկզբունքներն են հարմարավետությունը,ձևավորման լուծումների մաքսիմալ օգտակարությունը և ճարատարապետական ձևերի էսթետիկությունը: Թիմային աշխատանքի արդյունքում որոշումները իրենց մեջ ներառում են ձևավորման` ինչպես ավանդական մասնիկներ, այնպես էլ վերջին նորամուծություններ:

С любовью представляем вам архитектурную фирму Арт Ин Аблик основанная в городе Ереване Республики Армения в 2012 году.Имея много конкурентов ООО Арт Ин Аблик смогла достичь своего место не только в армянском рынке но и за её пределами. Фирма делает высококачественные строительные проекты особняков, высотных жилых домов, общественных и производственных объектов соответствии с нормами Армении и международной стандартов. Основной принцип нашей работы комфортность, уютность и эстетичность архитекторской решений. В итоге командной работы наши решения включают в себе как традиционные элементы, так и последние приобретения дизайнерской работы.

27/05/2016

Faculty of Fine Arts University of La Laguna.

The new Faculty of Fine Arts is located in a heterogeneous area, adjacent to the island highway and on the periphery of the University Campus. Our main challenge was to create a link between the new faculty building and its surroundings by working with the open public spaces and to increase the synergies between the academic complex and its urban context. The new building presents itself as an extension of the Campus’s public space, while creating an autonomous interior landscape of its own. A skin of suspended concrete slats adopts a curved shape which develops on the different levels protecting and wrapping the open space of the building. Campus circulation is collected and guided by a public plaza that extends through the building's main entrance and is transformed into a spacious terrace overlooking the inner courtyard. From the main entrance, circulation is continuous, following half-open, undulating corridors. The teaching areas are distributed along a continuous band accompanying the open corridors and dispose of mobile dividing walls that allow for creating classrooms of different sizes or even opening up the whole floor, depending on the needs. Adding to this flexibility in use are multiple spaces like the patio-gardens and open ramps, the covered galleries and the entrance terrace, conceived as open exhibition and teaching areas and places for social exchange. We like to see the new Faculty of Fine Arts as a building that offers ground-breaking, innovative spaces for experimental and creative education of future students of visual arts.

24/05/2016

Student Proposal for London's Bishopsgate Goodsyard Builds on the Legacy of Zaha Hadid.

In their semester-long project at Zaha Hadid’s final studio course at the Yale School of Architecture, students Lisa Albaugh, Benjamin Bourgoin, Jamie Edindjiklian, Roberto Jenkins and Justin Oh envisioned a new a high density mixed-use project for London's Bishopsgate Goodsyard, the largest undeveloped piece of land still existing in central London. The student team utilized biomimicry and sculptural structural members reminiscent of Hadid’s signature style to create a complex consisting of a high-density tower, a mid-rise block, a train station bridging the gap between these taller structures, and a park landscape that mediates between the existing viaduct and the various access points throughout the site. Each of the project’s four typologies retain an individual character, but are blended into a continuous field that allows programs to overlap on the urban scale. In this manner, living, working, recreation and transportation functions can coexist within the complex. Through their material studies, the team questioned the need and desirability of the traditional tower core, electing instead to break up the crucial tower elements—structure, elevators, stairs and mechanical systems—into individual strands. When articulated on the outside of the building, these elements give the tower a unique appearance from both street level and against the urban skyline that is never the same from two different viewing angles. This also frees up the tower’s center, allowing for crossed views, light and air not typically seen in skyscrapers. In the project’s base, shifts in scale allow different program types to blur from residential units to hotel units, corporate office to start-ups, large retail stores to cafés. Arched openings allow access to the public areas, and serve as touching down points for the structural and functional strands that give the buildings their character—a character that is both inspired by and contributing to Zaha Hadid’s ongoing legacy.

11/05/2016

A robotically woven carbon-fibre pavilion based on the lightweight shell encasing the wings and abdomen of a beetle is the second structure revealed this week from the team of architects and engineers at the University of Stuttgart. Like the Landesgartenschau Exhibition Hall unveiled on Tuesday, the ICD/ITKE Research Pavilion 2013-14 is a structure fabricated using a custom-built system of robotics, which were here used to create a series of modular fibre-composite components. The project was developed by academics from University of Stuttgart's Institute for Computational Design and Institute of Building Structures and Structural Design, who have previously collaborated a pavilion based on a lobster's exoskeleton and a structure modelled on a sea urchin's skeleton. "The project presents a novel approach to fibre-composite structures in architecture," explained ICD researcher and team member Marshall Prado. "It is based on the development of a robotic fabrication process for modular, double layered fibre composite structures, which reduces the required formwork to a minimum while maintaining a large degree of geometric freedom.This enabled the transfer of functional principles of natural lightweight systems to architectural structures," he said.The result is a double-domed pavilion with web-like walls and ceilings. It covers an area of 50 square metres, but weighs just 593 kilograms. "It offers not only a unique architectural expression and spatial experience, it is also extremely lightweight and resource efficient," said Prado.

27/04/2016

Happy 99th Birthday, I.M. Pei!

I.M. Pei! won a Pritzker Prize, has a career-spanning seven decades, and has designed some of the world's most iconic buildings. But today legendary architect I.M. Pei reaches another milestone: turning 99 years old! Noted for their rich materiality and understated elegance, Pei's buildings range from office towers to art museums to civic structures, and his distinct style has evolved over time.It is fortune to have such an accomplished architect still kickin'. Happy Birthday, I.M. Pei!

18/04/2016

Kisho Kurokawa.

Kisho Kurokawa (April 8th 1934 - October 12th 2007) was one of Japan's leading architects of the 20th century, perhaps most well-known as one of the founders of the Metabolist movement of the 1960s. Throughout the course of his career Kurokawa advocated a philosophical approach to understanding architecture that was manifest in his completed projects throughout his life. After completing his studies at the university of Tokyo under Japanese master Kenzo Tange in 1959, Kurokawa helped to establish the Metabolist movement, a loosely-affiliated group including Kiyonori Kikutake and Fumihiko Maki, with Tange himself connected to the group as both a member and a mentor. The principles of the Metabolists revolved around ideas of impermanence and change, and as the name suggests the movement was intended to have more in common with natural processes. These ideas were developed to be an elaboration of - and also a reaction to - the principles of the architects affiliated with CIAM, which had its final meeting in 1959. Kurokawa commented that the ideals of the Metabolists were inspired by a Japanese conception of building. In particular, the fact that most Japanese buildings were timber meant the devastation of the Second World War completely obliterated cities in Japan - that is compared to Western cities where at the very least, stone or brick remnants remained where buildings once stood. This observation, combined with the frequency of natural disasters in Japan, has meant that the Japanese are used to rebuilding cities from scratch, leading to what Kurokawa described as "an uncertainty about existence, a lack of faith in the visible, a suspicion of the eternal." The first opportunity to explore these ideas in depth as built forms came at the 1970 Osaka Expo, for which Kurokawa designed two pavilions, the Takara Beautillion and the Toshiba IHI pavilion. However, perhaps the most complete example of Kurokawa's design principles - indeed of the entire Metabolist movement - was the 1972 Nakagin Capsule Tower, a building made up of pre-fabricated micro-apartment "capsules" that were designed to be added and replaced as necessary during the building's lifespan. That the Nakagin Capsule Tower has recently been embroiled in a preservation debate, with few serious proposals to replace the units as the original design intended, demonstrates how well the theory of the Metabolists translated to the real world of property and construction. After the original Metabolist group disbanded in the early 1970s, Metabolist ideals came to be seen as a historical product of utopian 1960s thinking. In spite of this, Kurokawa never fully abandoned his commitment to Metabolist thought, adapting the ideas of natural systems and the life cycle of buildings to become a significant advocate for sustainable design in his later years. In 2007, he established the Kisho Kurokawa Green Institute at Anaheim University. Also in 2007 he ran to become governor of Tokyo, and although his bid was ultimately unsuccessful he was instrumental in establishing the Green Party in Japan.

14/04/2016

Crematorium Hofheide, in Holsbeek. Belgium

The Flemish plain contains a vast landscape which shapes a gentle swampy basin at this point of Hofheide. This basin is the setting for the Crematorium, underscoring it and propitiating the permanent formation of a larger reservoir, part of a walk through the park that spreads across the entire precinct, at the ends of which are two cemeteries (one for burials, the other for niches).
Strolling to the meeting point, walking in company, gathering together for consolation in a space that is as close to nature as possible, enhancing our sense that we are part of it, preparing the leave-taking ceremony, without any pre-established belief or culture in a space that provides shelter for grief, music, the embrace and words. The more functional aspects are set at a different level of pavilion so as not to hinder the outpouring of these sentiments.

13/04/2016

DH Triangle School.

The Triangle School stages relationships between people, place and education. The interactions between the three elements reveal the complexity of the architecture. Yet, they simultaneously function to make a simple point of intersection. Located in Namyangju, adjacent to Seoul, this high school building explores new possibilities of the educational architecture through the dialectical interpretation of such complexity and simplicity. The Triangle School implies the different characteristics of its three bordering sides. The playground to the north, the hill to the east, and the existing building to the west are three different surroundings. These factors lead to three different elevations - opened, closed, and compromised - which are arranged within the layout of the triangular building. The façade of the building with a transparent skin is defined by vertical louvers, an architectural device that maintains an appropriate balance between illumination and privacy. On the contrary, closedness is the way of responding to the existing building to the west which has different programs. It is a middle school building with a wholly separate operational system. Thus, this existing structure needs to be functionally distinct from the Triangle School. For this, based on the closed concrete wall, one single triangle-shaped window minimizes mutual interference, implying the geometry of internal space. Unlike the complex characteristics of the exterior with three different sides, the interior opens uniformly into the center of the building. On the second and third floors, which have classrooms, is a courtyard looking up at the sky. The transparent internal triangle that divides the courtyard is placed in different angles to the exterior triangle. This discordance creates vertical gaps between floors that connect them into a single space to provide an open view from any spot. This external space located in the center of the building creates a learning environment with a certain level of illumination and functions as a small courtyard with sunlight and wind. The triangular building will become a medium that enables open conversation as a flexible and playful social space.

07/04/2016

Foster + Partners' Slender Luxury New York Residential Tower Soars At 61 Storeys.

Scheduled to open by 2017, international practice Foster + Partners‘ ‘100 e 53rd street’ luxury residential tower will rise at 61-storeys on the corner of Lexington and 53rd street in Midtown Manhattan. Developed in partnership with Chinese developer Vanke and Aby Rosen of RFR, the slender building explores the dynamic between its urban context and its skyline. Formally, it responds to the precedent set by two neighboring twentieth-century modernist icons – SOM’s 21-storey lever house of 1952 and Mies Van der Rohe’s 38-storey seagram building of 1958. Exploring the ethos of modernist architect Mies Van Der Rohe’s of philosophy of rationality, simplicity and clarity, the tower’s minimalist geometric form is a result to blend with its distinguished neighbors. Access is marked by a recess beneath a canopy that sits harmoniously alongside the entrance and pavilion of the seagram building. A smaller structure will host a bar and restaurant, a spa and swimming pool. ‘From the floor of the atrium, the tower rises up like a soaring vertical blade, the view up creating a sense of drama and reinforcing the connection between the summit and the ground.’ An innovative glazed skin wraps around the building, concealing the structural elements which are further masked beneath integrated shadow boxes. To preserve the smooth appearance of the facade, opening vents in the glazing fold discreetly inwards. the pricing of the units 94 spacious units; starting at $3,350,000, with the larger apartments occupying the entire floor area of the higher levels. Complementing its sleek exterior, the space utilizes luxury materials, finishes with large glazing in all directions framing a constant view of the vibrant city scape.

06/04/2016

12 Projects that Explain Landscape Urbanism and How It's Changing the Face of Cities.

In his new book Landscape as Urbanism, Charles Waldheim, the John E. Irving Professor and Chair of Landscape Architecture at Harvard University’s Graduate School of Design, argues that in order to understand the twenty-first century metropolis, “a traditional understanding of the city as an extrapolation of architectural models and metaphors is no longer viable given the prevalence of larger forces or flows. These include ruptures or breaks in architectonic logic of traditional urban form as compelled by ecological, infrastructural, or economic change.” In other words, spatial constructions in urban environments should no longer be attached to intractable functions or intent on isolation, but should instead integrate into the fabric of the city. These types of projects must be flexible to the inevitable changes in functionality and purpose that are byproducts of economic change and evolutions in land-use intentions. The dozen projects featured here are exemplary of such practices, both in how they adapt to past interventions and in how they move beyond the notion of a static future for urban conditions that are perpetually in flux.

01/04/2016

Dame Zaha Hadid dies at 65.

Today, Iraqi-born architect Zaha Hadid, died at the age of 65 of a heart attack, in a Miami hospital. Her breakthrough project was the Vitra Fire Station, but her most famous works include Guangzhou Opera House, the London Aquatics Centre or the Jockey Club Innovation Tower. Zaha Hadid was the first woman and the first Muslim to ever win the Pritzker Architecture Prize. She was a 2 time winner of the Stirling Prize, in 2010 and 2011, and the first woman to win the top prize for the Design Museum Design of the Year Award, designated to the Heydar Aliyev Cultural Center in Azerbaijan. In 2015, she became also the first woman to be awarded the RIBA Gold Medal. Pioneer of parametric architecture, Zaha Hadid detested architectural constraints and had an unique take on architecture. Her legacy goes on not only through Zaha Hadid Architects, but through her students, since she was a teacher at the Harvard Graduate School of Design, the Hochschule für bildende Künste Hamburg, the Knowlton School of Architecture at Ohio State University, the Masters Studio at Columbia University and a vissiting professor at Yale School of Architecture. After 2000, Hadid had been teaching at the University of Applied Arts in Vienna, at the highly appreciated Zaha Hadid Master Class Vertical-Studio.

17/03/2016

Kengo Kuma's First Building in Australia Revealed.

Darling Harbour has commissioned Kengo Kuma to design a new civic and creative center in Sydney - the Japanese practice's first Australian project. The 30-meter-tall, wood-clad "Darling Exchange" will rise six stories and provide space for a ground-floor market hall, library, childcare center, makerspace, and additional program for start-ups, as well as a rooftop bar and restaurant. “Our aim is to achieve architecture that is an open and tangible as possible to the community, and this is reflected in the circular geometry that creates a building that is accessible and recognizable from multiple directions,” said Kuma. "The wooden screen wraps the exterior of the building in a dynamic and exciting manner, a historical reference to Darling Harbour originally being a hive of business activity and a focal point as a market exchange." The project will connect directly to a 2700-square-meter public "Darling Square," designed by Australian landscape firm Aspect Studios, which will serve as an "extension" to the building, according to BD Online. Both Darling Exchange and the Square are part of a $3.4 billion revitalization plan spearheaded by Lendlease that aims to transform the area into a vibrant community.

26/02/2016

China Takes Steps to Stop its "Weird Architecture".

China has become home to some of the world’s most outlandish architectural landmarks of the 21st century. Hangzhou is home to a replica of the Eiffel Tower, located in a luxury real estate development, and Shanghai’s World Financial Center is often referred to as “The World’s Largest Bottle Opener.” However, all of these zany designs may soon come to a halt following a directive issued by the State Council, China’s cabinet, and the Communist Party’s Central Committee on Sunday, reports the New York Times. The directive says “no” to any architecture considered “oversized, xenocentric, weird, and devoid of cultural tradition.” In their place should be buildings designed as “suitable, economic, green, and pleasing to the eye.” The directive also called for an end to gated residential communities. These guidelines were released after the Chinese government held a meeting to discuss issues related to China’s rapid urbanization. Currently, more than 700 million people live within China’s cities.The directive follows a nearly two hour speech given by Chinese President Xi Jinping in the fall of 2014, calling for the end of these “weird buildings,” particularly in the nation’s capital, Beijing. Once seen as a “starchitect’s playground,” containing buildings like OMA’s CCTV, known as “big pants” to the locals, the country will no longer fund these types of iconic buildings when it comes to public projects. “For private housing or commercial projects there is still space for innovation,” Wang Kai, vice president of the China Academy of Urban Planning and Design, under the Ministry of Construction, told the New York Times.

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