Bandjoun: Dynamic Tradition, Creation, Life

The museum has more than one hundred major and significant objects of the cultural and artistic heritage of Bandjoun, one of the main centres of artistic creation and tradition in the Cameroonian Grassland. There are rare pieces, including some masterpieces of Africa art. They celebrate the pomp of the court of the kings of Bandjoun, the grandeur and the power of these monarchs and their retainers and the solidity of the institutions. They also materialise universal themes such as death, life, defeat, love, victory, power, prestige, occult forces etc. The superb royal thrones, the magnificent masks and beaded objects, the richly decorated architectonic elements, the fabrics with enigmatic patterns and various cultural objects which are at times the expression of the cycle of life, are often of great aesthetic and/or social and historical value.

The permanent exhibition is entitled «Bandjoun: dynamic tradition, creation and life» and is organised around six themes:

The land and the men   
Myths, legends and history
Kingdom and society
Secret societies and religions

Creation:
      containers
      architecture
      statues and furniture
      musical instruments

Bandjoun yesterday, today and tomorrow
Itinéraires de la memoire colective

ecological Thinking

The project of an environmental enhancer designed by Mirco Bianchini for the Nogara  highway in Veneto, Italy provides the unique chance to bring together ecological thinking, host interaction, and active materials. Its location (an open country planar area among cultivated fields) enucleates as critical variables the impact of pollutants and the phenomenon of dazzling. With respect to such criticalities, the project uses digital generative and parametric strategies to generate a performative structure in which densification and rarefaction of elements is a local morphological response to dazzle.

The structure itself acts as a scaffold for a photo catalytic PET based material that, mimicking the behavior of coccoluti (marine microorganisms) is able to reduce CO2 (and potentially other pollutants) to salts and nitrates that are then naturally deployed to the neighboring cultivated fields as fertilizers. The material has been tested for photo catalytic integration and is currently under development.
 

an Ocean Movement

A Spain and China-based architectural firm AQSO Arquitectos, in collaboration with Ydesign, has designed the proposal for the thematic pavilion of the 2012 Yeosu International Exposition. The project aims to capture the dynamic and translucent qualities of fluids, by translating them into the architectural details of the pavilion.

The pavilion will have different levels for each sections of the building: exhibition areas are 12m high, whereas adjoining spaces are 8m high. Ring corridors accessible from ramps and stairs are located at a mid-height of the main exhibition areas, located 6m above the floor, offering a 360 degree-view of the ocean on one side and a view of the main exhibition on the other.

With its layout of interconnected circles, the building represents molecular structure of water. Each component responds to a specific programmatic requirement with three main lines connecting the pavilion with the rest of the facilities on the mainland. The volumes are wrapped with a versatile skin system that reacts to tidal and wave motions of the ocean. It can move upwards as well as downwards, depending on the water level, creating a dynamic atmosphere of periodical movement.  The inner louvers of the façade are fixed onto the glass, whereas the outer louvers float on water, becoming a unique element which moves and changes with no energy consumption. The layering of the two osmotic systems gives an image of a breathing building.

a new School

The project proposal for the Campus International School for Downtown Cleveland illustrates the transformation of Cleveland State University’s master plan for converting the area into a dense mixed-use development and with recreation fields.The quotation ‘’an opportunity to re-evaluate the broader terrain in which children learn and give as great an emphasis on learning environments as others have given the educational philosophies’’ formed the basis for our proposal.

A key aim of the design is to produce a safe learning environment for the students. The flexible classroom design and “street” layout of the school encourages different age groups of children to meet and learn together, while the main circulation space between the classrooms, student dining, media center and recreational spaces is an additional learning hub. The proposed plan layout avoids hidden corners and blind spots, and careful thought has been given to landscaping to provide different types of outdoor play space including areas for learning, planting, quiet zones and games. Each classroom has direct access to the outdoor playgrounds and views to the surrounding buildings.
The basis of the design is centered around four clusters of education: learning, growing, recreation, and social interaction. We believe these to be the foundations of the new school vision, allowing for a complex program where students can interactwith each other and the city of Cleveland. Instead of opting for a linear and continuous distribution of these four clusters, the project design proposes a combined, more playful combination of spaces through the use of curves and organic shapes.

The vision for the Campus International School is to establish an open learning environment as such that the site will be a landscape for future and extended learning. By creating an environment that will promote and sustain continuous learning, it will make learning a part of everyday life.

Organic Scapes and Architecture (OS+A) is an architectural practice interested in the study of natural organic landscapes and how these can be reinterpreted and applied to the modern day needs for living, working and play. We are a dedicated practice that resulted from a long collaboration in different offices world-wide. Our design philosophy aims at the constant study and reevaluation of methods and ideas, looking at architecture as the ground for new discoveries and uncharted horizons.

a Set of Organic Volumes

Yuliyan Mikov, the Bulgarian artist, designed this dramatic proposal for the Museum of Architecture. A set of organic volumes interlock to create a versatile structure that shelters the public space below. It is a lofty building, supported by a network of pillars and a core of vertical communication.

The design is accompanied by a piece of reflexive writing, elaborating on the project’s  inspirational origins:

“During walk along Lipscani, ( a fable about the old merchants of the past centuries) my eyes are taken by huge piles of garbage where as if on a throne, stood empty plastic bottles. And then I saw the ghosts of the past, creeping out of their deformed mouths, rising slowly just like the ghost of the magic lamp. But they were many, the same number as the empty bottles, wearing clouds with their semitransparent bodies, as if embracing each other and rising towards the heavens. When the night attracts affection with her darkness, the ghosts shaking in the cold atmosphere gather closer to each other, lying in cluster and folding themselves, beginning to exchange ideas, furtively communicating in order to escape the fear of the normality, the habits, and the fear of becoming animals, casted in form, driven by reflexes…
The next night I followed the pouchy ghosts and noticed on that special place of the world’s creation ” trees, growing from the ruins, between the metal and the piles of garbage, dancing with their leaves like sirous creeping between the ghosts, entering their small navels.

The ghost’s domain does never dry out. Depending on the spot you are looking you can see them, sweet and huge, playing hide and seek, squeezing between each other’s white and oily skins.”
 

Freedom of Humanity

Symbolizing the unity of German people, in reference to The peaceful revolution of 1989 which began in Leipzig, this competition proposal illustrates the idea of freedom as an open, retractable field. The monument will encourage visitors to identify and commemorate the events and will convey meanings and images associated with a variety of historical and experiential impressions. Designed in collaboration between RNA Architektur and Archiglobe, the building establishes itself as a continuously transforming open form. There is no inside nor outside, but a field without a specific shape.

The monument consists of three main elements: the foundation vaults, the historical platform and a flowing field of false, distorted and illuminated aluminum bodies-abstract forms that symbolize the momentum of a crowd. The existing vault is opened in the former national monument and can be accessed via a staircase. An information center is situated near the entrance, educating visitors of the 1989 events and reunification of Germany.

High-gloss aluminium bodies are suspended on steel supports, positioned on the four main foundations of the ancient monument. A volume of 41x26x9 meters is formed, corresponding to the bisected Schlüterhof. The suspended steel elements can be attached to their longitudinal axis to rotate around the center and configured to always create new spatial situations, suggesting constant change.

From a distance, the memorial appears as a swinging, three-dimensional object with its appearance constantly being changes by shifts in light and weather. Symbolically, it accentuates the individual role in each collective action, discreetly reminding visitors of recent historical events.
 

we The last of Blood

“We Draculs have a right to be proud…
I am the last of my kind”
– Dracula, from Bram Stoker’s Dracula

Some say that Transylvania sits on one of Earth's strongest magnetic fields and its people have extra-sensory perception. Vampires are believed to hang around crossroads on St. George's Day, April 23, and the eve of St. Andrew, November 29. The area is also home to Bram Stoker's Dracula, and it's easy to get caught up in the tale while driving along winding roads through dense, dark, ancient forests and over mountain passes.

The newly published Vampires, Werewolves, Zombies: Compendium Monstrum allows readers to get
acquainted with the attractions of the Romanian
region of Transylvania from a 19th-century perspective.

It includes information on sights associated with Vlad
the "must-sees", and even highlights the wildlife of
the region. An antique fold-out map of Transylvania is included.

Tales of the supernatural had been circulating in Romanian folklore for centuries when Irish writer Bram Stoker picked up the thread and spun it into a golden tale of ghoulishness that has never been out of print since its first publication in 1897. To research his immortal tale, Stoker immersed himself in the history, lore and legends of Transylvania, which he called a “whirlpool for the imagination.”

Bram Stoker’s Dracula novel was published in Romanian for the first time in 1990.Count Dracula, a fictional character in the Dracula novel, was inspired by one of the best-known figures of Romanian history, Vlad Dracula, nicknamed Vlad Tepes (Vlad the Impaler), who was the ruler of Walachia at various times from 1456-1462. Born in 1431 in Sighisoara, he resided all his adult life in Walachia, except for periods of imprisonment at Pest and Visegrad (in Hungary). For more information about Bram Stocker's Dracula Novel please visit
www.literature.org/authors/stoker-bram/dracula/

Tracking Dracula
Although he never traveled to Romania, Stoker crammed his book with descriptions of many real locations that can still be visited in present-day Romania. They include the most important historical places associated with Vlad Tepes, such as the 14th century town of Sighisoara where you can visit the house in which Vlad was born (now hosting a restaurant and a small museum of medieval weapons).

Other Dracula sites include: the Old Princely Court (Palatul Curtea Veche) in Bucharest, Snagov Monastery, where, according to legend, Vlad’s remains were buried; the ruins of the Poenari Fortress (considered to be the authentic Dracula's Castle); the village of Arefu where Dracula legends are still told, the city of Brasov where Vlad led raids against the Saxons merchants, and, of course, Bran Castle.

Some tours also cover the folkloric aspects of the fictional Dracula. For instance, visitors can eat the exact meal Jonathan Harker ate at The Golden Crown in Bistrita and sleep at Castle Dracula Hotel, built no so long ago on the Borgo Pass at the approximate site of the fictional Count’s castle.

a Natural Heritage

A Museum in Sabah has existed in some shape or form with some lapses in time since 1886. The first location was at Sandakan in a room in the Chartered Company's Secretariat where the present divisional administration is centered. By 1905 it had disappeared, part of the collection was returned to the donors while the rest was shipped to London.

In 1923 the museum was again revived in Sandakan but its again disappeared with the Japanese invasion; its collection was lost.

In 1947, George Cathcart Woolley, a Chartered Company Administrator bequeathed his collection of ethnographic and other material such as photographs, diaries and books and known and as the Woolley Collection. The Woolley Collection has formed the basic materials of the existing Museum. The new Museum was opened to the public on July 15, 1965. It was then housed on the second floor of a shophouse on Gaya Street and was run by a staff of eight.

From January 1, 1966 the Museum operated as a joint department with the Library until January 1, 1972 when both became separate department under the Ministry of Social Welfare.

Due to the rapid increase of the collection over the years the Museum moved to a much larger premises of 9500 square feet on the third floor in Nosmal Court situated opposite the General Post Office in Gaya Streeet. Ten years later (1979) the second floor of Nosmal Court was acquired by the Museum as storage area thus freeing space on the third floor for office and display and greatly increasing the storage area.

In 1971 a site along Penampang Road was selected as a permanent location for a new museum. The Complex will consist of a main block housing the central exhibition hall and six galleries, offices and meeting rooms; a Science and Development Centre Exhibition and Education with a specially designed theatre adjacent to house eventually an Omnimax Projection system and a Consevation Block containing the workshops and laboratories where the collection could be stored and conserved. The new Museum Complex was completed in 1984 and it was officially opened by His Excellency Sultan Ahmad Shah the King Malaysia on April 11, 1984.

In the sprawling grounds of the Sabah Museum is the Heritage Village with the concept of Man and His Environment comprising 12 life-sized traditional houses and The Islamic Civilization Museum located along Jalan Menteri.

Vision
The Sabah Museum's vision is to save Sabah cultural, historical and natural heritage.

Mission
The Sabah Museum's mission is to serve the public as an educator towards creating a well-informed, vibrant and culture-caring society.

Objective
The Sabah Museum's objective is to collect, preserve, conserve, document, exhibit and interpret material evidence and associated information on history, culture and natural history of Sabah.

Website: http://www.museum.sabah.gov.my/
 

the Power of Inspiration

This competition entry by artist Liu Chien-Sheng for the ” Changing the Face –Pushkinsky Cinema Hall Competition” is a tribute to Александр Сергеевич Пушкин / Alexander Sergeyevich Pushkin – it is a poem conceived by architecture. The Pushkinsky Cinema Hall is located next to the Pushkin Square on the urban green line, and the statue of Pushkin stands in front of the cinema hall. The concept of this design is to write a poem as a tribute to Alexander Sergeyevich Pushkin by architecture.

“The power of inspiration” – poem

1- Freedom: Against gravity by floating steam. Gravity is one of the great obstacles to artistic design of architectural structure, thus there has been deep desire to construct the architecture without giving sense of gravity. In order to present freedom of architecture, the mist floating in the air performs as a new type of materials for the façade.  The steam floats surround the cinema hall to represent a new type of façade and actually increase the temperature near the building. The rise of steam from horizon – a view of architectural façade extends to unban collage.

2- The warm sun on the snow: The architectural form is originated from an image of sun. Snow country has thirsts for basking in pleasant sunshine, just like the world of poetry need Alexander Sergeyevich Pushkin to provide and expand its spirit. The façade starts a primitive geometry with a light materiality to reflect the surrounding. And then, the curves cut it and create the pattern of architectural form.
3- The inspiration of color – a symbol of warm temperature: The architectural façade changes the color with temperature. Generally, the façade color is red during the summer. When the temperature drops, the color turns to black. Moreover, spouting steam from the new façade to increase the temperature around the building and the color turn to scarlet. The color and steam give people warmth. The stainless with Performance Coating on the façade is able to echo the color when temperature becomes different.

a New Palazzo

OFL Architecture is an interdisciplinary practice established by Francesco Lipari in 2008, currently based in Rome. Aiming to combine Art, Sculpture, Biology and Cinema, they engage in various international competitions and tackle a wide range of architectural typologies. Receiving several prizes: the honorable mention at the Hong Kong Noise Barrier Competition with the Riccio project, as well as the first prize for the Silk Road Map International Competition, their work is considered provocative, as it ranges from referencing historical architecture to issues of future housing.

The competition proposal for the office building located in Bolzano is a result of collaboration between OFL Architecture and Rabatanalab. The concept is born from a sculpture idea generated by the desire to establish continuity with the past of the city of Bolzano. It is seen as a re-construction of memories, spirit of places and iconological transposition of the city’s historically relevant architectural symbols. From this ideological assumption, the innovative study carried out on the skin / facade of the new organism recalls one of the iconographic symbols of the city, the Duomo. In fact, the trend of the ribs of the great vault’s “a crociera”, projected on the three naves, have permitted the extrapolation of the particular generator module of the new skin. Optimized exploitation of natural light aims to achieve a visual comfort as well as a desirable level of energy conservation. The common areas will have devices to monitor and regulate energy consumption with time sensors and daylight sensors. On the roof there solar thermal and photovoltaic panels. These are connected to the technical facilities in the basement through a mechanism integrated within the modules of the skin.