Discover Top Posts Tagged with #circle series

Minoo: "Let's go upstairs."

Vanessa: "..."

Minoo: "Vanessa?"

Vanessa: "Sorry. I forgot you can't see me. I nodded."

#circle #mata strandberg #sara elfgren #books #quotes #circle series #the circle #cirkeln #lgbt

Trying to pick my next book and feeling stuck between continuing the Dragons in Our Midst reread (next up is Eye of the Oracle, and as I get into Oracles of Fire, oh man, am I ready for Elam and Sapphira again? My heart!) versus a long overdue Circle series reread (probably starting with Black, since it's been a while, and while starting the circle with Green is an interesting experiment, I remember thinking I strongly preferred the narrative and could follow it better starting with Book One as opposed to Book Zero). I've been feeling like it would be good for me to read some Christian romance, for Reasons™, and either option is good for that - I guess technically maybe I'd get to it a little faster with Black, if I remember the timeline for Thomas and Rachel correctly, but that doesn't really matter. The Circle series keeps me going on the current sci-fi kick; DiOM means less investment to shift gears because I'm already partway through the series. I wanted to reread the Circle series a couple years ago, but a pandemic plot hit a little too close to home, lol. Thought about making a poll to have the Tumblr besties decide for me, but apparently that's not something I can do yet, so I guess I have to make my decisions the old-fashioned way!

#personal #diom #circle series

So... it’s been ages since I’ve posted a snippet, or taken part in a WIP Wednesday. So... here’s some proof that i’m still writing... :)

His brain spun to a halt. But--- If she was, that meant--- And--- He jolted to his feet and started pacing and swearing, in as many languages as he could. Dammit. This is going to be bad. So. Very. Bad.

If… if this was right.

“So, uh, what’s your evidence?” he blurted, the strategist in him ten steps ahead of his brain. Obviously, because otherwise he’d have kept that question inside, thank you.

“I---what?”

“If I’m gonna believe you, and I’m not saying I do or don’t, let me be clear here, but it’s just…” How could he say this without blowing this up in his face? “Can you prove it?”

She nodded, stiffly. Probably not happy about having to prove herself to him, but so be it. He’d be a cakewalk compared to the likes of the JLA.

I think at the moment I have five WIPs going? This is for an almost complete chapter tho, so there is that.

#wip wednesday #writing #snippet #my writing #circle series #look at me #talking about something i've written #next thing you'll know i'll be posting something #the absolute horror!

In the first half of the 1960s, Dutch architect Aldo van Eyck worked on a commission for a sculpture pavilion in the Sonsbeek park to host sculptures of nearly thirty artists, including Brancusi, Arp, and Giacometti. Dismantled after a temporary one-year exhibition that was on view between 1965 and 1966, it was rebuilt in 2006 in the Kröller-Müller Museum garden in Hoenderloo, Netherlands.

Sculpture Pavilion Technical Information

Architects: Aldo van Eyck

Location: Gelderland, Netherlands

Topics: Circle Series, Pavilions, Gardens

Project Year: 1965-1966

Reconstruction: 2006

Reconstruction Location: Kroller Muller Museum, Hoenderloo, Netherlands

Photographs: Courtesy of Kroller Muller Museum, Flickr Users

Whatever space and time mean, place and occasion mean more. For space in the image of man is place, and time in the image of man is occasion.1

– Aldo van Eyck

Aldo van Eyck Sculpture Garden Pavilion Photographs

Courtesy of Kroller Muller Museum

Pavilion in 1966

The construction of the pavilion is a careful 2D drawing exercise. Six parallel walls almost 4 meters high are placed with a distance of 2.5 meters from each other. The way the walls bend, forming semicircular spaces, and the sudden cuts transform this simple pattern in a sophisticated spatial device. Until its reconstruction, this work stood as a model of paper architecture.

In the 2000’s decade, the project was acquired and rebuilt in consultation with Hannie van Eyck and realized with the support from the BankGiro Lottery and members of the Dutch Architects Union BNA (Bond Nederlandse Architecten)

Text from the Kroller Muller Museum Exhibition

‘Humane architecture’

The Aldo van Eyck pavilion in the sculpture garden is as faithful as possible a reproduction of the temporary pavilion that this Dutch architect designed in 1965-1966 for the 5th International sculpture exhibition ’66 in Arnhem. As in all the designs of Van Eyck, who advocates a ‘humane architecture,’ circles and curves play an essential role in the building.

Agile character

The pavilion consists of six parallel walls of light grey breeze blocks, which create a kind of corridors. In these five corridors, semicircular spaces are created. The walls support a transparent roof, through which the diffused light enters. Despite its compactness, the building has a lively and friendly character.

Aldo van Eyck Sculpture Garden Pavilion Plans

Floor Plan | © Aldo Van Eyck

Sonsbeek Sculpture Pavilion Image Gallery

Courtesy of Kroller Muller Museum

Wall detail

Pavilion in 1966

Interior

About Aldo Van Eyck

Aldo van Eyck or van Eijk (March 16th, 1918 – January 14th, 1999) was an architect from the Netherlands. After studying at the Royal Academy of Visual Arts in The Hague, van Eyck studied architecture from 1938-42 at the Eidgenössische Technische Hochschule in Zurich. Van Eyck gained international recognition with his design of Amsterdam’s Municipal Orphanage (1955-60).

An active member of CIAM and then in 1954 a co-founder of “Team 10”, Van Eyck has lectured throughout Europe and northern America stressing the need to reject Functionalism and attacking the lack of originality in most post-war Modernism. Van Eyck’s position as co-editor of the Dutch magazine Forum helped publicize the “Team 10” call for a return to humanism within architectural design. Other works from Aldo Van Eyck

Aldo van Eyck in Place and Occasion

[cite]

Sculpture Pavilion in Sonsbeek Park / Aldo Van Eyck #aldovaneyck #pavilion #dutharchitecture #krollermullermuseum In the first half of the 1960s, Dutch architect Aldo van Eyck worked on a commission for a sculpture pavilion in the Sonsbeek park to host sculptures of nearly thirty artists, including Brancusi, Arp, and Giacometti.

#1960s Architecture #Aldo van Eyck #Circle Series #Dutch Architecture #garden #Pavilion

In 2019 petrjanda/brainwork Architects completed the revitalization of the Prague riverfront area after ten years of intensive work. The zone had been deserted after the 2002 floods and was being used as a car park. By gradual program activation, a cultural and social revival has been achieved.

Revitalization of Prague Riverfront Area Technical Information

Architects: petrjanda/brainwork

Team: Petr Janda (principal architect), Anna Podroužková, Maty Donátová, Bára Simajchlová

Location: Rašín, Hořejší, and Dvořák Embankments, Prague, Czech Republic

Client: The City of Prague

Type: Public Space

Cost: 6,5 mil. EUR

Project Year: 2009 – 2019

Photographs: © BoysPlayNice

The entrance portals are designed as atypical steel frames with dilated elliptic glass weighing 1–1.5t. The arched stone linings of the existing portals are completed with stone stepped volumes following the former steps allusion, which hide the installation shaft, air-conditioning vent, and anti-flood control elements. The elliptical pivoting windows are made of organic glass 7cm thick and 5.5m in diameter weigh approximately 2.5t.

– petrjanda/brainwork Architects

Revitalization of Prague Riverfront Area Photographs

Text by the Architects

Prague’s riverfront area is a public space of city-wide significance, enabling a unique symbiosis of public space with the spinal cord of the city: the Vltava River. In the regulated part of the banks, the riverfront architecture becomes the backbone for the river spinal cord, which, through the individual “vertebrae” of the embankments, holds the skeletal system of the city on which the entire urban structure forming its body is hung. This skeleton should not be stiff, mounted and petrified as a monumental relic, but should allow the flowing and cultural life of all-Prague significance based on architectural and content authenticity.

In our revitalization, we initiate this layer and create a functional tension between the opening of the vaults and their content based on unique contact with the exterior, the tension between the “splendid isolation” of the immediate relationship with the river and the secondary connection to the city from the upper level of the embankment. We work with a characteristic approach to spatial detail; our interventions contrast, and at the same time, complement the whole with meaningful (sensory) fragments with the same principle as the eye complements the face; it is its sensor, as well as an integral part.

The vast revitalized riverfront area stretches along the three Prague embankments: Rašín, Hořejší, and Dvořák, almost 4 km in length. The completed first phase is Prague’s most significant investment in public space after the revolution in 1989, the first of this kind, and with a high sociocultural impact. It focused on the reconstruction of 20 vaults in the riverside wall (formerly ice storage areas). Instead of creating classic interiors, the vaults are merged with the exterior with maximum contact with the riverfront area and the river.

Program

The vaults will serve as cafes, clubs, studios, workshops, galleries, a library branch, space for neighbor meetings, and public toilets. The architectural design works with modular diversity, and the spaces are designed as a detailed base that includes all operational and technical facilities and a bar that can be moved to different positions. There is a user’s manual that contains the identification of the individual tenants and the addition of built-in elements (the insertion of floors into large vaults, exterior bar, etc.) Emphasis is placed on the possible adjustment of each of the vaults so that they gain consistent integrity through the equipment of each tenant with their seating furniture and interior elements.

As architects, we supervise the individual adjustments so that the essential vision of the area is preserved while achieving authenticity for each tenant. We try to be support for the tenants and stay in the background architecturally, allowing a diversity of opinions. Although this often means different architectural sensitivity, we believe this will complement our basic vault design through another layer. Most of the tenants who co-created the phenomenon of the riverfront area will continue there, and new projects have been selected from a whole spectrum of plans in an open public competition. We believe they will socially complement the riverfront area and offer different content and program concepts that will cater to all needs.

As part of the architectural revitalization, we initiated the creation of a programming methodology for the riverfront area. The position of curator was created to complement the functional triangle of manager–architect–curator, with authority overseeing the cultural and social quality of this valuable public space.

Architectural design

The interventions symbiotically merge with the original architecture of the riverside wall, into which they naturally fuse; by using the acupuncture strategy, they re-create a great whole. The aim is the most direct connection with the riverfront area with the maximum opening of the spaces inside the wall. The architectural design responds to the context of the place. It works with minimal artistic means that allow purging of the existing shapes and relations and finding new interconnection views and possibilities arising from the environment of the embankment.

The six vaults on the Rašín Embankment are built following the almost circular arc of the upper part of the existing openings. The design itself is based on a tiny intervention, which takes more than it adds and brings the existing quality back in a contemporary way, creating a unique situation and opportunity. The former stretch metal curtain wall and stone constructions built into the original bridge arches of the riverfront wall were knocked down and replaced with large-format glazed round windows that open by diagonal rotation inside the frame.

The entrance portals are designed as atypical steel frames with dilated elliptic glass weighing 1–1.5t. The arched stone linings of the existing portals are completed with stone stepped volumes following the former steps allusion, which hide the installation shaft, air-conditioning vent, and anti-flood control elements. The elliptical pivoting windows made of organic glass 7cm thick and 5.5m in diameter weigh approximately 2.5t. Each has a unique shape and, due to their size exceeding the standard glazing, these are probably the largest pivot windows in the world. Opening and closing are engine powered.

For the operation of the inner spaces, the windows are fixed in the position of 60% of its opening. Other options are automatic opening with motion-detecting sensors, or the bar staff can open them. The fourteen vaults on the Hořejší Embankment have steel sculptural entrances carved into the jamb in such a way that they connect the vault with the riverfront area in the entire space when opened. In the vaults with public toilets, the entrance wings follow a smooth arc into the interior membrane separating the cabins from the public area.

Structure and materials

During the reconstruction, all built-in elements, including floors, were demolished and built using a method of insertion of the new building into the original space. Flood control reinforced base slabs with pumping sumps were made, water infiltration was repaired, and walls were insulated and finished with torcreted concrete on load-bearing reinforcements, consolidating the geometry of rolled vaults. The built-in partitions were concreted as monolithic reinforced concrete ones with inserted installations.

The design and materials of the individual elements of the vaults are unified for all types of spaces. The surfaces of the walls and ceilings are designed as sandblasted concrete with a cast concrete floor and a cast monolithic staircase. The hatches and doors are finished with surfaces corresponding to the adjoining surfaces of the walls and floors (sandblasted and cast concrete and impregnated black steel in the public toilet vaults). The doors are non-rebated with hidden self-closing devices. In the vaulted spaces, built-in inserts for hanging exhibitions are inserted into the surfaces.

The added parts of bars and partitions are clad in black titanium-coated stainless-steel plate, complementing through reflection the spatial geometry of the vaults, and through the constant volatile movement of the reflection, bringing the fluid incomprehensibility of the river inside. The lighting is designed using light ramps in the public toilets as indirect lighting embedded in a steel wall with light reflection from the ceiling.

Technical design

A combination of floor heating with air-conditioning with heat recovery and infrared heaters allows year-round operation so that it can be connected with the riverfront area with the windows open all year. All of the engineering distributions are integrated into the vault structures so that they do not interfere with the visual design.

The air conditioning has atypical slits inserted into the portal staircase joints and inner slots on the Rašín Embankment; whereas on the Hořejší Embankment, it is inserted into the window jambs and outlets in the floor and walls.

The electrical installation outlets, water, and sewerage are hidden in built-in cylindrical floor boxes. The vaults are barrier-free, protected by portable flood-stop barriers. All of the spaces use modular, fully-equipped cabins that include wall-mounted stainless-steel toilets, custom-made, automatic washbasins with hand dryers, lighting, waste bin, and fan. The toilet doors have atypical light occupancy indicators designed as a glass ball with a pictogram (men, women or unisex). The entire sewerage removal system works as a pressure pumping system, which pumps the sewage into the sewer mains located above the level of the embankment.

Ongoing phases

The next phases of the ongoing revitalization include the design of the street furniture (underground litter bins, drinking fountains, benches), free-standing toilets, floating pool, floating terminal for cruise boats, and floating toilets, as well as a lighting system. The remaining few vaults and infrastructure networking are now being reconstructed.

One issue to be addressed is a reduction in boats and floating facilities anchored to the river bank and situating these, so they do not obstruct the contact between the newly opened vaults and the river. There will be a rearrangement and a reduction, which should reflect the qualitative contribution and logic of placing the floating facility with respect to the value of its type, architectural nature, and program, with a preference for low decks allowing a view of the river and cultural content that does not parasitize the riverfront commercial exploitation through the quantitative sale of refreshments.

One of the critical elements enabling the clearing of the bank edge of the riverfront area is a future floating terminal for cruise boats, which will concentrate the boarding of ships into one epicenter. The floating pool, restoring the Prague tradition of river baths, is an element with a significant relationship to the history of the area.

Revitalization of Prague Riverfront Area Plans

Revitalization of Prague Riverfront Image Gallery

About petrjanda/brainwork

Petr Janda is an architect and an artist. He graduated from the Faculty of Architecture at Czech Technical University in Prague (School of prof. Jan Bočan) and the Academy of Fine Arts in Prague (School of Monumental Art of prof. Aleš Veselý). In 2008 he founded his own studio petrjanda/brainwork. He frequently participates in architectural competitions and exhibitions (also as a jury member). He has won several awards (Grand Prix of Architects 2007, BigMat 13 ‘– Memorial to victims of communism in Liberec, etc.). Between 2011 and 2014, he was a member of the board of the Czech Chamber of Architects and a chairman of the Promotion of architecture working group. He has been engaged in the revitalization of the Prague riverfront since 2009, and in 2017, he became the leading architect of this area. Other works from petrjanda/brainwork

[cite]

Revitalization of Prague Riverfront Area / petrjanda / brainwork #architecture #petrjanda/brainwork #pragueriverfornt #czecharchiteture In 2019 petrjanda/brainwork Architects completed the revitalization of the Prague riverfront area after ten years of intensive work.

#2010&039;s Architecture #BoysPlayNice #Circle Series #Czech Republic Architecture #Petrjanda / Brainwork #Public Space

The Sleep Institute, designed by Hamza Shaikh, proposes a living lab facility to study the therapeutic effects of environmental stimuli on humans. The drawings are part of the final project of Hamza Shaikh at the University of Westminster, London.

The Sleep Institute Technical Information

Architects: Two Worlds Design / Hamza Shaikh

Location: London, UK

Topics: Student Project, Unbuilt, Circle Series, Prefabrication

Project Year: 2020

Drawings: © Hamza Shaikh

The outer world – environment and matter – has a direct effect on our inner world – perception and our senses. I am focused on understanding how humans experience space & place and learning about how our behaviour responds to it.

– Hamza Shaikh

The Sleep Institute Drawings

Text by the Architect

The project proposed looks to create a new institution for ‘Sleep Study’ in London. The facility will aim to explore the `restorative effects of environmental stimuli‘ on humans.

Set in a haven of natural beauty amongst a family of grade II listed Victorian gasometers, the research facility functions as a multipurpose getaway and retreat.

Trialists, residents, and visitors will experience various environments depending on the purpose of their stay. However, special facilitation is made for trialists participating in the 3-Stage Immersion program. These three environments are specially designed to variate in their level of ‘naturalness.’ This is done in the efforts to compare the difference in the therapeutic effects of natural and artificial stimuli – a long-disputed area of research in environmental/architectural psychology.

The Living Lab allows the most updated and optimal components to be used in deployable pods that will be dispatched throughout various transitory spaces in London.

Sleeping Modules

The Sleep Institute Image Gallery

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[cite]

The Sleep Institute / Two Worlds Design #architecture #twoworldsdesign #architecturestudent The Sleep Institute, designed by Hamza Shaikh, proposes a living lab facility to study the therapeutic effects of environmental stimuli on humans.

#2020&039;s Architecture #British Architecture #Circle Series #Prefabrication #Student Project #Two Worlds Design #Unbuilt Architecture

I just finished The 49th Mystic @rhinozilla and all I’ve got to say is: OMG, another BRILL story wrapped up in the Circle series and it’s so different, but not different at all, and is utterly wonderful! I won’t give anything away, but it’s a MUST read! I’m going to start on the 2nd book now and pray he writes more Circle books!!

#ted dekker #circle series #rhinozilla #personal

Revitalization of Prague Riverfront Area Technical Information

Architects: petrjanda/brainwork

Team: Petr Janda (principal architect), Anna Podroužková, Maty Donátová, Bára Simajchlová

Location: Rašín, Hořejší, and Dvořák Embankments, Prague, Czech Republic

Client: The City of Prague

Type: Public Space

Cost: 6,5 mil. EUR

Project Year: 2009 – 2019

– petrjanda/brainwork Architects

Revitalization of Prague Riverfront Area Photographs

Text by the Architects

Program

Architectural design

The entrance portals are designed as atypical steel frames with dilated elliptic glass weighing 1–1.5t. The arched stone linings of the existing portals are completed with stone stepped volumes following the former steps allusion, which hide the installation shaft, air-conditioning vent, and anti-flood control elements. The elliptical pivoting windows made of organic glass 7cm thick and 5.5m in diameter weigh approximately 2.5t. Each has a unique shape and, due to their size exceeding the standard glazing, these are probably the largest pivot windows in the world. Opening and closing are engine powered.

Structure and materials

Technical design

Ongoing phases

Revitalization of Prague Riverfront Area Plans

Revitalization of Prague Riverfront Image Gallery

About petrjanda/brainwork

[cite]

#2010&039;s Architecture #BoysPlayNice #Circle Series #Czech Republic Architecture #Petrjanda / Brainwork #Public Space

#circle series

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