Design and Architecture a.k.a. DnA is a practice founded by Xu Tiantian where contemporary and fresh approaches meet the traditional context of China. The practice mainly focused on the interdependency and amalgamation of the program, concept and context in a way that will help the surroundings to flourish and engage.
They say that, “context programs and their potential relationship will cultivate architecture into a multidimensional expression and generate new experiments and explorations for users. Architecture will continue to influence and inspire our contemporary life.”
1. Pine Pavilion (2017-18) | Design and Architecture
Location: Xiahuangyu, Songyang.
The Pine Pavilion is a structure built straight alongside the river dam. Timber panels divide the entire structure into spaces that can be used to host various programs and workshops. The buffer spaces also act as viewing platforms that frame the dam and the fishpond. A series of pine trees have been incorporated to reflect the village’s fame of production on pine resin.
2. Ordos Art Museum (2007)
Location: Ordos, Inner Mongolia.
This project respects both the antithetical aspects of the raw landscape which the site offers and the concept of the intriguing future for the museum. The space acts as one continuous room with no barriers and a series of metal-framed windows. The other materials incorporated are slate tiles for the façade and timber planks for the leisure semi-open space.
3. Teahouse (2015)
Location: Damushan Tea Plantation, Songyang.
In the initial stages, the teahouse was built as an addition to an existing pavilion. The teahouse aims to compliment the surrounding beauty. It consists of two private rooms and a two-storey common space. The project is a flourishing space for increased production and a space to teach and host various programs.
4. Shimen Bridge (2017-18)
Location: Shimen, Songyang.
The existing bridge spans across the Wuyang Dam which is an important feature of the district. The bridge also connects the two villages of Shimen and Shimen-yu.
To vamp-up the abandoned bridge, the firm proposed a platform that frames and allows the villagers to have a look at the Songyi river. The addition is in the form of pitched timber roof that stretches across the entire bridge. It is discontinued in the center to portray it as a floating island on the river and is designed to allow not only easy daily commuting but also serve as a space for several festive activities.
5. Songzhuang Art Center (2006) | Design and Architecture
Location: Songzhuang, Beijing, China.
There was a need to cherish the evolution of art and artists in the town of Songzhuang. The art centre aims to help flourish all these artists and their creations and act as a space for interaction and acknowledgment of art between creators and art-enthusiasts. The building is physically seen to be divided into two parts. The lower level acts as a space for frequent and common gatherings or events, hence the material used is glass which portrays transparency. The upper blocks or the second part, covered in bricks from all sides, acts as an enclosed and semi-private space for the art to be displayed.
6. Xiaobao Cultural Center (2007)
Location: Songzhuang, Beijing, China.
The center acts as a space for artists to reside, sell and showcase their work. The ground level is separated into public spaces for hosting various programs followed by the residential units and studios on the top. The design is said to follow a particular layout known as the tangram puzzle. This layout tends to create double-height spaces that involve individual units that allow visual permeability.
7. Songzhuang Artist Commune (2009)
Location: Songzhuang, Beijing, China.
The project was to accommodate the increasing number of artists in the village. This residence consists of 20 units that combines the activities of living and working. The project is built in such a way that both the areas can be combined and used as a display space for the growing creators.
8. Pingtian Village Center (2015)
Location: Pingtian Village, Songyang.
The requirement was to design a versatile space to allow the villagers carry out varied activities and utilize the space to its fullest. For the construction of this center, the tenon and mortise system was used. The center reflects the language of the existing houses in the village and has internal courtyards that connect the horizontal spaces as well as vertical spaces through stairs.
9. Bamboo Theatre (2016) | Design and Architecture
Location: HengKeng, Songyang.
Villages in China consist of small pockets of bamboo covered spaces in the wilderness which are often used for leisure activities. This simple yet innovative intervention allows the villagers itself to tie the stems of the bamboo together and use the dome-like space.
10. Brown Sugar Factory (2016)
Location: Xing Village, Songyang.
Already known for its production of sugar, the village needed a well planned factory in order to address the issues surrounding the weak conditions and decreasing revenue. The factory is divided into the storage area, main production areas, program area for the village and a leisure space. The materials used in this project as steel trusses for the main production areas and glass partitions to allow visual connectivity. The concept was to showcase the work in a staged drama like manner. Hence, lights have been incorporated in such a way that it showcases the act of production. The glass walls have illustrations on how the sugar is obtained.
11. Hakka Indenture Museum (2017) | Design and Architecture
Location: Shicang, Songyang.
The project reflects the village’s name, Shicang, which means the stone storage that dictates a folktale of greed and magic. The museum accommodates the heritage and collection of Hakka society. In terms of the irrigation system that acts as a highlighting factor of the project, it follows the same system from the mountains and then towards the village. The plan is organized to segregate spaces into exhibition rooms, a plaza and open spaces. The indentations in the roof reflect the drainage channels spanning across the entire structure where they catch the rainwater and also allow slivers of light. The heritage has been distributed into other buildings of the village and as a result, the entire village is a platform that displays the Hakka culture.
12. Baitasi Hutong Gallery (2017)
Location: Baitasi, Beijing.
To suit the existing fabric, the brief was to convert a residential building into a space which displays the context and richness of the hutong area. The intent was to design a gallery that starts by inviting the locals to interact with the new additions and remodel the entire zone. The building was said to remain unaltered due to the regulations. However, vertical voids and skylights were reintroduced to achieve sufficient light and reshuffle to fit a gallery and studios along with an office. These reflect the curves one experiences while strolling around in the area and also reminds the user of the existing pagodas. The roof pavilion adds to the skyline and cables of the hutongs. It serves as a connection between the history and the present, built to enhance interaction.
13. Music Studio by the Sea (2018)
Location: Qinhuangdao, Hebei Province.
The coast is observed to have a number of residential and public spaces. Hence, to make it wholesome, a music studio was proposed to be constructed on this coast of the community known as Arnaya. It comprises performing areas followed by an amphitheatre and a rooftop theatre, each built to justify the circular planning initially formed. It appears to be a red mass sitting on the sand of the coast.
14. Dushan Leisure Center (2018)
Location: Dushan Mountain, Songyang.
This project is a tourist center built for the region’s increasing urban importance. It consists of a number of facilities that attracts tourists and locals. Its design blends the mountain, water, indoor and crafted outdoor spaces seamlessly with a dynamic walkway in picture.
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15. Chinese Herbal Garden (2018) | Design and Architecture
Location: Songyang County.
Practices in herbal and medicinal areas is an area Chinese people have been aching since eras. In order to , the design for a Chinese herbal garden came into picture. The main idea was to consider the landscape design and urban fabric of the proposed public area. The garden is located in the core of Songyang county and has been divided into four parts based on the seasons. The flooring has carved out names with the respective herbs growing in them. On the western end, a wall can be observed which is painted to enlighten the visitors on their ancient medicinal history.
References
All images have been retrieved from the
India, a land of vivid colours, and various rich landscapes is also dealing with a silent but lethal foe: air pollution. This battle is most visible in Delhi and the country’s northern regions, where residents are taking action to combat the environmental issue. According to a WHO survey of 1,650 world cities and a survey of 7,000 world cities conducted by the US-based Health Effects Institute in August 2022, Delhi, India‘s capital region, has the worst air quality of any large city in the world. It also affects the districts surrounding Delhi. Every year, air pollution kills over 2 million people in India which makes up for country’s sixth leading cause of death. The WHO reports that India has the world’s highest death rate from chronic respiratory illnesses and asthma. Poor air quality in Delhi permanently harms the lungs of 2.2 million youngsters, or half of the total population. Air pollution in Delhi is mostly caused by a variety of factors, including garbage, road dust, power plant industry waste, and transportation emissions. This has resulted in PM 2.5 levels exceeding 400 in November 2023, having a major influence on the Air Quality Index. Furthermore, the negligent and inconspicuous use of vehicles and machinery has led to the rise in air pollution levels in Delhi. The implications of Delhi’s pollution levels are creating considerable environmental damage. Additionally, it is posing health hazards to local residents, resulting in a daily drop in their life expectancy. Delhi’s air pollution comes from a variety of sources, including factories, trash disposal, transportation dust, residential cooking, waste burning, and diesel generator sets. Waste burning and transportation are the main causes to the city’s air pollution. Recent news and reports from 2021 show the astonishing amount of registered vehicles in Delhi, which total 1.50 crore. This increased number of automobiles demands proper maintenance and regular Pollution Under Control (PUC) checks for individuals. To effectively solve the air pollution crisis, it is necessary to address the underlying causes. This includes implementing efforts to reduce stubble burning and maintaining strict laws to promote greenery. Additionally, lowering vehicle emissions and regulating trash movement are critical elements towards restoring and sustaining Delhi’s air quality. Furthermore, detailed norms enforcing the use of environmentally beneficial practices by all citizens are required. These regulations will be critical in reducing air pollution in Delhi while also protecting the health and well-being of all citizens. Summarizing, Delhi’s fight against air pollution is urgent and multidimensional. It involves coordinated actions from residents, government agencies, and industry stakeholders. By tackling core issues such as vehicle emissions and waste management, as well as supporting sustainable behaviours like as carpooling, public transport, and solar power, Delhi may move towards cleaner air and a healthier future for its citizens. Collaborative measures, tough legislation, and public awareness campaigns are critical to combating this quiet but devastating foe and securing a greener, cleaner Delhi for future generations. All About Delhi’s Air Pollution (no date) Metropolis India Lab. Available at: https://www.metropolisindia.com/blog/preventive-healthcare/delhis-air-quality-understanding-pollution-causes-and-concerns (Accessed: 17 April 2024). 14 ways citizens and govt can help reduce air pollution in Delhi (no date) Down To Earth. Available at: https://www.downtoearth.org.in/news/air/14-ways-citizens-and-govt-can-help-reduce-air-pollution-in-delhi-62138 (Accessed: 17 April 2024). Kini, V. (2023) Delhi Air Pollution – 5 Solutions in the Hands of Citizens, LinkedIn. Available at: https://www.linkedin.com/pulse/delhi-air-pollution-5-solutions-hands-citizens-venkatesh-kini-5izmc (Accessed: 17 April 2024). Art and architecture have always been closely intertwined throughout history. From the development of the Baroque movement to the geometric framework of modernism, architects drew inspiration from the stylistic approaches, techniques, and concepts of historical art movements and transformed them into large-scale living structures. Art and architecture are both forms of visual art, although they differ in the usage and composition of their basic mediums. They both follow design principles and use them as a starting point. They are constantly in interaction with one another, a two-way interaction that reflects the interdisciplinary nature of these two fields. One of the main things that sets architecture apart as an art form is its ability to arouse intense emotions and enhance the human experience. Since these experiences are frequently how art is defined, many architects make the human experience the central purpose of their work. If one looks back into history, Modernism in architecture was the result of two conflicting views on the role of the architect. On one hand, architects were viewed as engineers, and on the other, as artists. Functionalism, which extends from the Russian Constructivists and culminates in Gropius’ Bauhaus School, can be viewed as a means of overcoming this struggle as well as the disputes between two dominant value systems: humanism and technological operationalism. Bauhaus proposed a solution that involved putting architectural work and men’s demands into a “scientific” investigation to create a functioning system. The concept of integrating art and architecture stretches back to the discipline’s inception; nonetheless, it took on a new meaning and social purpose during the early twentieth-century Avant-Garde movement, becoming one of Modernism’s most distinguishing features. Bauhaus is a movement that arose from the prominent German school created by Walter Gropius (1883-1969) in the early twentieth century to create a fundamentally new form of architecture and design to help reconstruct society following the devastation of World War I. By combining fine arts, crafts, design, architecture, and technology, the Bauhaus emphasized logical, utilitarian design that embraced the form follows function, less is more attitude for a new postwar era. When Gropius and other notable Bauhaus members relocated to the United States in the 1930s, the International Style emerged, and it affected the development of modernism in the 1950s and 1960s. Bauhaus blurred the barriers between disciplines and used arts and crafts techniques to maintain aesthetic standards in an increasingly mass-produced, industrialized environment, all while utilizing materials and resources intelligently and purposefully. It created everything from furniture and home items to typography and architecture. A century later, Bauhaus’s influence continues to be felt around the world. Various other movements in art history influenced architecture in a great way. Following are some of the most influential architectural styles that incorporate art: The Art Nouveau movement began in the late 19th century and had a great impact on both art and architecture. Inspired by nature’s organic forms, flowing lines, and elaborate patterns, this style attracted audiences with its ornamental beauty and elegance. Art Nouveau architecture is distinguished by the use of sinuous curves, intricate decoration such as stained glass windows and ironwork, and floral motifs. The Gothic Revival style began in the mid-18th century, when architects began reinterpreting medieval aesthetics and ideals, resulting in buildings with pointed arches, ribbed vaults, and towering spires. This style embraced structural innovation while emphasizing grandeur and meticulous craftsmanship. Dada art, regarded as a “rebellious and revolutionary” art movement in the early twentieth century, is thought to have originated at an artistic nightclub in Zurich, Switzerland, known as ‘Cabaret Voltaire’ after many war-opposing creatives took refuge there. It displayed irrational, unconventional, and occasionally insane artistic conceptions. Dada art attempted to mock the materialistic, economic, and nationalistic ideals that Dada artists claimed contributed to the war. While no precise features defined this style, Dadaism might be summarized as rebellious and impulsive, relying on shock value to touch the audience and question the current art and culture landscape. De Stijl, which translates as “the style,” is an art movement that originated in the Dutch city of Leiden. From 1917 to 1931, De Stijl, also known as neoplasticism, was a popular modern art movement that emphasized abstraction and simplicity. Clean lines, perfect angles, and primary colors defined this aesthetic and art style, which was conveyed through architecture and artworks. Pop architecture is a term used to describe buildings that use objects as symbols; these structures typically have hyperbolic scale, color, proportion, and scheme with amazing designs; they can also be large-scale sculptures on an architectural scale or any other type of architecture that is more of a metaphor than a physical structure. With commercialism and mass manufacturing taking center stage and advancing the use of technology, interiors, public areas, and facades were all used as blank canvases for experimenting with color, light, asymmetrical shapes, and unusual scales. Surrealism aims to revolutionize the human experience. It strikes a balance between a rational outlook on life and one that affirms the influence of dreams and the unconscious. The unexpected and the weird, the neglected and the abnormal, hold a strange beauty and fascination for the artists of this movement. Architecture has long appealed to surrealist artists, especially interior design. Italian artist Giorgio de Chirico created eerie dreamlike scenes of urban spaces populated with neoclassical buildings, sculptures, and medieval fortresses contrasted with industrial chimneys and the faint puffs of a stream engine beyond, drawing inspiration from “Ideal Cities” of the Renaissance. The fundamental link between architecture and art is their shared goal of designing exquisite, useful environments that uplift and inspire people. A profound understanding of form, space, and materials is necessary for both architecture and art, as is a strong sense of aesthetics and a willingness to try new things and push boundaries. The very debate of whether these two disciplines have a connection, hints at the obvious intermingling of the two. As long as the debate is alive, there will no doubt be a connection between them, and history as such has proved the same. One can conclude that without art, it remains just a building, and without science, it is just art. It is the marriage of the two that gives rise to this interdisciplinary approach to an era of artistic fusion, functional through science. The Sunsphere, built in 1981 for the 1982 World’s Fair, has become a beacon in the Knoxville, Tennessee skyline. With the theme “Energy Turns the World,” the Knoxville International Energy Exposition took the idea of energy quite literally when designing the World’s Fair Park Sunsphere. However, since then, the Sunsphere has evolved into much more for the City of Knoxville: It has become a rallying point, the city icon, and a true representation of the community’s unwavering belief in Knoxville. With the Energy Crisis Recession currently at play, the world was in a state of economic downturn. The Iranian Revolution upset oil distribution and doubled the cost of oil across the world. With this utter reliance on fuel, the Bureau International des Expositions (BIE) felt it necessary to call attention to the current energy dependency. This led to the naming of the Knoxville International Energy Exposition: Energy Turns the World. The City of Knoxville, when they received the commission to host the World’s Fair, aimed to out-compete every other World’s Fair before and make a bold statement with their fair’s centerpiece. What better way to represent the energy of the world than to pay homage to the world’s primary energy source: the sun. This led to a bid between architects and engineers on who could best design for “A Monument to the Sun: Source of All Energy.” In the end, Community Tectonics with Stan Lindsey and Associates had the honor of taking on this monument, but the challenge did not stop there. Taking inspiration from other World’s Fair structures – such as the 1889 Eiffel Tower, the 1962 Space Needle, and the 1968 Hemisfair Tower – Community Tectonics aspired to recreate the sun as a piece of architecture. There were a few lavish and unrealistic initial schemes before landing on the idea of a gold ball floating in the sky. Not only did this prove to be, at the time, unheard of physically, but something so spherical had yet to be constructed digitally. Yet, Community Tectonics used an early stage of CAD to prove the Sunsphere could be designed. To make the structure truly seem like the sun, it needed to be elevated above the surrounding buildings. This proved difficult when the site was chosen at one of the lowest elevations in downtown Knoxville. This altered the design to be equivalent to about 25 stories in height. According to the code, this required the building to be supported by concrete as it would be above the 7-story limit. However, the engineers knew they wanted to utilize steel due to its efficient and economical nature at the time. To get around this, Community Tectonics was able to argue that the building was only five stories…elevated 198 feet in the air. Not only was the height of the building proving to be a complication, but so was the diameter of the sphere itself. The initial design planned for the sphere to be 86.5’ in diameter to mimic the 865,000-mile diameter of the sun. However, with the layout of the site, the sphere was already set to be supported on 6 double steel truss columns. With weight and wind calculations and budget constraints, the diameter was cut to 74’. With the structure figured out, Community Tectonics had very specific intentions for the coloring. As the Sunsphere represents the sun in the sky, the window paneling would be gold and the structure would be blue. The glass was one of the last caveats to the project, as it took a long time to determine a manufacturer that would accommodate the design. Finally, a company in New Jersey was found to produce a couple hundred panels tinted with 24-karat gold. Despite the challenging design, the 1982 World’s Fair Sunsphere was a hit. Averaging 60,000 visitors during the 6 months, the Sunsphere was gaining major attraction as the first spherical building in the United States. The final design consisted of 5 stories: A fair observation desk, 2 floors for the restaurant, a VIP lounge, and a mountain observation deck. With the rate of ticket sales during the World’s Fair, it was predicted the Sunsphere would break even after 5 years, having cost the city 4 million dollars in construction. After the fair, traction for the Sunsphere almost immediately halted. The restaurant, initially owned by Hardee’s, was shut down in 1984 – less than 3 years after the fair – due to minimal sales. After this, the land was quickly acquired by the City of Knoxville, and the Sunsphere shut down all operations until 2007. Around this time, the city opened the sunsphere to the public again and is still providing tours up to the fourth-floor observation deck for $10 a person. Even though the Sunsphere tragically took a turn for the worst, Knoxvillians have still fostered a great sense of pride in their Sunsphere. The park itself is still used regularly throughout the year for festivals, events, and concerts and is a commonplace to walk around for students at the University of Tennessee and the citizens of downtown Knoxville. Having initially been a representation of the sun, it has also become a symbol of Knoxville’s vibrancy, dedication, and passion. McCarty Holsaple McCarty (MHM), a prominent architecture firm in the Knoxville area since 1957, has paired with Visit Knoxville and the City of Knoxville in hopes of reviving this cultural symbol of Knoxville. As MHM’s founded Bruce McCarty had a role in the initial design development of the Sunsphere, MHM has felt it important to their culture to reclaim this project for the community. The first phase of the Sunsphere’s revitalization was to return the structure to its original color. Having, for some reason, been painted green, it has now been restored to its original Pantone 194052 TXC Classic Blue. The second phase is to revamp the visitor center on the ground floor. With this renovation, the hope is that the Sunsphere can be returned to its original glory and all 5 stories can be occupiable again. Since its initial conception, the Sunsphere has undergone a lot of complications and turmoil. However, the citizens of Knoxville have stuck with it since day one, embracing the globe as a true part of Knoxville’s history. Despite all of this….because of all of this…it is with hope that the community of Knoxville strives to bring back this beacon of hope to its full purpose and glory. Knoxville Sunsphere. Available at: http://www.sunsphere.info/ (Accessed: 14 April 2024). Sunsphere (2019) Sunsphere, SAH ARCHIPEDIA. Available at:https://sah-archipedia.org/buildings/TN-01-093-0078 (Accessed: 14 April 2024). Sunsphere (no date) Community Tectonics Architects. Available at: https://communitytectonics.com/project/sunsphere/ (Accessed: 14 April 2024). The Sunsphere. Visit Knoxville. Available at: https://www.visitknoxville.com/listing/the-sunsphere/567/ (Accessed: 14 April 2024). Tntrivia. Available at: http://www.tntrivia.com/misc/sunspherehistory.pdf (Accessed: 14 April 2024). Wilusz, R. (2022) Don’t take Knoxville’s Sunsphere for granted – here’s what it could have looked like, Knoxville News Sentinel. Available at: https://www.knoxnews.com/story/news/2022/05/11/sunsphere-knoxville-worlds-fair-nearly-silver/9586793002/ (Accessed: 14 April 2024). A shining example of modern engineering, the Central Control Building at Bilgin Architects, designed in Konya, Turkey, does everything smart to ensure the smooth running of the solar power plant. Being able to deliver 1,350 MWp from around the globe, the plant ranks among the biggest in its category, all thanks to the ample sunlight of the region. It’s an eco-friendly electric power plant, hence contributing to the fight against climate change. Being a relatively arid climate, the desert region of Karapınar in Turkey thus provides a significant potential for energy generation with its plentiful resources. Although previously unsuitable for agriculture, the conversion of a 20-square-kilometer area into an energy-focused zone will be spearheaded by Kalyon Energy. This initiative will set up in place the largest solar power facility in Europe, with a capacity of 1,350 MWp, in this exceptional setting. It places the management system, advanced in sustainable energy technologies, in the Central Control Building, and at the same time, it manages the operation of the facility and at the same time symbolizes the technological advancement in sustainable energy. Strategically positioned in the desert, it is seamlessly integrated with the expansive solar arrays, with little or no shading and optimal energy efficiency. The Central Control Building’s exteriors are not just for looks; they fit right in with the scenery and sky, merging the building with its surroundings. By reflecting a lot of light, the exteriors become part of the landscape, stretching the building’s outline into the distance. To save energy, the exteriors have two layers to reduce heat absorption. Bilgin Architects’ careful planning and use of parametric codes have created a facade that is both eye-catching and useful. When you take a closer look, you’ll notice that the square façade has some interesting differences: some parts are smooth, while others have tiny holes, each varying in size. This intentional mix not only improves the overall appearance but also has practical benefits. After conducting thorough experiments and trials, Bilgin Architects developed the final design through innovative approaches like tapping into electricity from the outer surface. The additional outer surface, with its different degrees of opacity, cuts down on the sun’s harsh rays hitting the main outer surface by a remarkable 65%. This not only boosts energy efficiency but also heightens the visibility of the outer surface, adding to the overall aesthetic appeal. To ensure a cozy indoor environment, four different grades of stainless steel were utilized to craft four unique see-through surfaces. These surfaces, varying from completely solid to partly see-through, were strategically arranged on the outer surface following a specific set of guidelines. The code determines how panels are distributed to meet the lighting and transparency needs of the indoor areas. When viewed from the inside, these panels become see-through curtains, creating beautiful shadows that subtly change the indoor atmosphere. Through careful management of light and shadows, Bilgin Architects have not only designed an aesthetically pleasing exterior but also developed immersive indoor spaces that interact with natural light. The Central Control Building, a single-story structure raised above the ground, contains a variety of spaces where people, nature, and technology come together. Its shiny exterior blends in with the surroundings but also offers a glimpse into the interior. The entrance area blurs the line between inside and outside with its courtyard, guiding visitors through different areas like a cafeteria and a multipurpose hall suitable for different activities and gatherings. The oasis in the middle of the building contrasts the dry landscape of the area, adding a touch of greenery. By using native plant species that need very little water, this eco-friendly oasis establishes a small climate system inside the building. Acting as both a central area for movement and a protected place for people to gather, the courtyard determines how the space is arranged in the building, dividing private and shared areas and guiding the paths people take around its edges. This dual-purpose courtyard is a central part of the architecture, functioning as a passive natural cooling system and a passive natural heating system simultaneously. The trees protect the building from the heat of summer and let in sunlight, providing better indoor temperatures in cold winter months without heating and cooling equipment. The courtyard also uses rainfall to feed the plants that grace the area and thus is another sustainability factor that can be observed in the natural world. The courtyard is more inviting to guests as they roam through it and end up on a rooftop terrace, lush with nature and another perfect place to chill and sit back. The views from the terrace are simply outstanding when one gazes at the solar facility, and the green roof adds a layer of insulation to the Central Control Building. In the design, the entrance plays a crucial role as a connection point between the outdoor and indoor areas. Unlike traditional entry doors that can disrupt the Central Control Building’s flow, architects seek to blend function and beauty seamlessly. The architects’ central focus is on maintaining a consistent design approach that emphasizes harmony and continuity in the surroundings. The staircase elegantly leads visitors towards the building’s core, serving as the main marker for the entrance. The natural flow of the progression subtly leads to a moment of revelation. As visitors climb the stairs, they are greeted by two doors seamlessly integrated into the double façade, offering a breathtaking view of the inner courtyard at the heart of the Central Control Building. These intentional design decisions create an entrance that harmoniously aligns with the overall aesthetic vision. This careful attention to detail elevates the entrance from a functional feature to a spiritual gateway, beckoning visitors to explore and discover the space with a sense of wonder and curiosity. 01_Kalyon Karapınar 1,350 MWp Solar Power Plant Central Control Building_©Egemen Karakaya 02_Modern Engineering_©Egemen Karakaya 03_Karapınar, A Desert Climate_©Egemen Karakaya 04_Eye-catching Facade_©Egemen Karakaya 05_Architectural Oasis_©Egemen Karakaya 06_The Entrance_©Egemen Karakaya 07_Ground Floor Plan_©Bilgin Architects 08_Section_©Bilgin Architects 09_Section Detail_©Bilgin Architects
Factors affecting Air Pollution in Delhi
Tackle the Root
Few actions can help reduce air pollution in Delhi:
References:
Architect or Artist?
Bauhaus: The Equilibrium Point
The Emergence of New Styles in Architecture
1. Art Nouveau
2. Gothic Revival
3. Dadaism
4. De Stijl
5. Pop Art
6. Surrealism
Is Architecture an Art?
Architecture and art are complimentary fields in many respects. The functional framework for human activity is provided by architecture, but the aesthetic and emotional elements that lend character to a place are added by art.Sources:
1982 World’s Fair
Designing A Monument to the Sun
Constructing The Sun
From Blue to Green: When the Sky Changed Color
After the Fair
Trajectory of the Sun: Revival of the Sunsphere
Citations:
Karapınar: A Desert Climate
Eye-catching Facade Inspired by Sky
Single-Story Architectural Oasis
Well Adapted to Invisible: The Entrance
Images:
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