7/19/2023 0 Comments Oma program diagram![]() ![]() If you like what we’re doing, please Subscribe. No click - like - tweet - share, no advertising, banners, pop-ups. This is why Divisare is a place to perceive architecture slowly, without distractions. Instead of hastily perused information, we prefer knowledge calmly absorbed. Instead of a quick, distracted web, we want a slow, attentive one. Patient work, done with care, image after image, project after project, to offer you the ideal tool with which to organize your knowledge of contemporary architecture. Join us in taking a stand against the short attention architecture media.ĭivisare is the result of an effort of selection and classification of contemporary architecture conducted for over twenty years. Phase 1, Concept Design: Adrianne Fisher, Ana Martins, Andrea Bertassi, Carmen Jimenez, Daniel Rabin, Gabriele Pitacco, Hyoeun Kim, Joana Sa Lima, Koen Stockbroekx, Konrad Milton, Ludwig Godefroy, Mark Balzar, Marc Dahmen, Ola Strandell. The playground will have a mix of an urban character and natural topographic elements and will challenge the children. The most secured playground area is an exterior terrace located within the building volume, the landscape at the waterfront is attractive for the older kids. In the design of the building and the landscape a playground concept is integrated.ĭifferent than the current playground the new proposal has different typologies of playgrounds distributed over the entire site. Along the water, the long and narrow strip is populated with urban activities further intensifying the population of the site. The north, adjacent to the Materialgård, is small in scale and designed as an intimate public plaza. All offices are provided with natural ventilation which will enhance the comfort in the office space.Īs an extension of the urban passage, the surrounding site is reformed into a series of public spaces. The facade to the DAC atrium provides internal relations to other building users and the public. ![]() The rentable office spaces offer generous views into the city through the large glass facade. Via voids and double height spaces the various levels are spatially connected and offer interesting views and relations between the offices and the urban spaces along the water The offices for Realdania are located on the lowest three levels and can be accessed from the Urban Passage. Looking out over the city of Copenhagen, the DAC Auditorium reconnects the visitor to the city from the outside it becomes a attracting beacon for DAC.ĭAC could take advantage of its varying position throughout the building by treating the surrounding program as testing ground for architectural experiments in housing, offices and parking. Starting below ground and moving upwards to the cafe with its view over all of Copenhagen, each program is given a unique position and quality making a varied progression through the building. The DAC program is organized as a vertical sequence through the building. It is a different idea of the web, which we might call slow web. banners, pop-ups or other distracting noise. No "click me," "tweet me, "share me,” "like me." No advertising. Behind all this there is the certainty that we can do better than the fast, distracted web we know today, where the prevailing business model is: "you make money only if you manage to distract your readers from the contents of your own site." With divisare we want to offer the possibility, instead, of perceiving content without distractions. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. So we began to build divisare not vertically, but horizontally. May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the "cover story," "the focus."Ĭontent that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2.
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