OpenStack via readwriteweb

The Secret(s) to OpenStack's Overnight Success

OpenStack has quickly emerged as one of the world's largest open-source communities.
Matt Asay June 12, 2013


OpenStack has been around since 2010, but it wasn't until 2012 that the open-source cloud computing project really took off. Since Rackspace established the OpenStack Foundation in September 2012, the project has exploded to over 1,000 code authors, and is now one of the world's largest open-source communities, arguably even bigger than the Linux community. Given how central open source has become to software development, generally, it's worth analyzing why OpenStack has taken off.

It's The Foundation, Stupid

While OpenStack always offered great promise, it wasn't until Rackspace let go of the wheel that the project really exploded. This isn't to suggest that Rackspace's stewardship was somehow bad, but rather that moving to a foundation made the project more inviting.
While Rackspace used to dominate code commits, now Red Hat is OpenStack's biggest committer, with IBM quickly moving in on the second spot. 
This is pretty amazing. Just a year ago Rackspace was in control. Now it's just one of the community. A key member of the OpenStack community, to be sure, but it's a testament to the vitality of the OpenStack community that Rackspace is no longer the top code committer.

A Common Enemy

Equally impressive is how fast the number of code authors has increased, now at 1,031 at the time of publication. Part of this might be due to the foundation governance model, but a number of open-source projects - MySQL, JBoss and others come to mind - have been exceptionally succeessful with one primary developer.
Hence, while moving to a foundation certainly helped, OpenStack's success comes down to a range of different factors.
Among them is simply need. As The Register's Jack Clark somewhat humorously highlights, "OpenStack is big because Amazon has terrified everyone into contributing code." Or as Mat Keep, director of MySQL Product Management and Marketing at Oracle, puts it, vendors felt like they could only compete with Amazon as a cohesive unit. Importantly, Rackspace didn't directly compete with the IBMs and Red Hats of the world, as Inktank vice president Neil Levine suggested to me over IM, and hence "companies felt less awkward about participating." He concludes:
"It's easier to join a project where the authors have different business models to you (as a software business)."
These are important motivations, sure, but there's more to the OpenStack story. After all, if a common enemy and orthogonal business models were enough, we would have seen OpenOffice mount a serious challenge to Microsoft Office years ago, given its backing by Sun and then Oracle, among other industry titans.

Making Contributing Easy

No matter the motivation to contribute and collaborate, the best open-source projects make it easy to do so. As Andy Grimm, an operations support engineer for Red Hat's OpenShift, highlights, OpenStack chose both the most developer-friendly license (Apache v2) and a highly approachable programming language (Python), significantly lowering the legal and technical bars to participating.
Couple that with a super-simple setup ("it just works (startup in 2 lines of code)", as MongoDB community manager Francesca Krihely suggests and a modular architecture, echoing Rishidot Research principal analyst Krishnan Subramanian, and you have all the right elements for break-out success.

Market Timing And More Than A Hint Of Luck

In sum, it's hard to assign full credit to any particular element of OpenStack's make-up in its runaway community success. More likely OpenStack has boomed due because it sits at the nexus of several key components of successful open-source communities. Some of this stems from market timing and luck, but much of its success also derives from laying essential infrastructure for open-source success (license, language, modularity, etc.).
Back in 2006 I laid out the essential elements for architecting a successful open-source project. Among these were market timing, the right license, how applicable the code was to pressing business problems, code modularity and more. While other projects have attempted to pull these together, few can claim to have done so with as much precision, or success, as OpenStack.
Which is why it now has 9,685 members standing behind the project. That's real community.


http://readwrite.com/2013/06/12/the-secret-to-openstacks-overnight-success#awesm=~o8ADZpOq8aVm6Z
 

How Buildings Learn

How Buildings Learn

This six-part, three-hour, BBC TV series aired in 1997. I presented and co-wrote the series; it was directed by James Muncie, with music by Brian Eno.

The series was based on my 1994 book, HOW BUILDINGS LEARN: What Happens After They’re Built. The book is still selling well and is used as a text in some college courses. Most of the 27 reviews on Amazon treat it as a book about system and software design, which tells me that architects are not as alert as computer people. But I knew that; that’s part of why I wrote the book.

Anybody is welcome to use anything from this series in any way they like. Please don’t bug me with requests for permission. Hack away. Do credit the BBC, who put considerable time and talent into the project.

Historic note: this was one of the first television productions made entirely in digital--- shot digital, edited digital. The project wound up with not enough money, so digital was the workaround. The camera was so small that we seldom had to ask permission to shoot; everybody thought we were tourists. No film or sound crew. Everything technical on site was done by editors, writers, directors. That’s why the sound is a little sketchy, but there’s also some direct perception in the filming that is unusual.













BBC
Presenter/writer: Stewart Brand
Brian Eno, original music: James Runcie, Producer

open source knowledge sharing with UNStudio

UNStudio launches open source knowledge sharing - Unique knowledge developed
through building practice is the new core value of architecture.

In June this year UNStudio will launch the new organisation of its practice as an open-source knowledge-based practice operating projects around four specialised Knowledge Platforms.

As part of the reorganisation of the studio a new interactive online knowledge platform will be launched, aimed at facilitating the open exchange of knowledge, with the ultimate goal of introducing and encouraging the expansion from a collaborative to a co-creative working model for architecture.

Whilst the architect will continue to design his or her own projects, the practice of architecture needs to adjust, to gather, edit and apply co-creative intelligence in order to create responsive architecture that is more integral, more holistic, more responsible and more intelligent.

Ben van Berkel:

From the outset at UNStudio we have continually reexamined and reevaluated our practice, with the result that at certain key moments we have recognised the need for extensive reorganisation. Now, once again, the challenging climate within the profession today has in turn challenged us to take a close look and to rethink our organisational model with the ultimate aim of improving our architecture and ensuring its relevance within contemporary conditions. However, finding ourselves unable to locate a relevant model from within the profession, we became fascinated by the new initiatives put in place by online start-up companies – such as social networking firms – who have moved from an old economy to a far more innovative economy which celebrates communication, open exchange and co-creation. Believing that architecture can benefit greatly from adopting and adapting such an approach, in recent years we have set about the reorganisation of our studio into an open knowledge-based practice.

KNOWLEDGE PLATFORMS – AN INTERNAL MODEL
Since the founding of the practice, UNStudio has been developing knowledge as a result of combining the design and building of projects with an active participation in architectural theory. Following on a continued interest in geometry, digital production, material effects and attainable design solutions, this communal knowledge led to the introduction of four distinct Knowledge Platforms to the studio. Whilst the primary objective of our project teams is to deliver the ‘result’ of architectural thinking (buildings, plans, designs), the objective of the Knowledge Platforms is to distill knowledge from within the practice of architecture in order to propel design thinking and innovation.

NStudio’s Knowledge Platforms have been developed into self-organised groups, operating as cross-linked platforms within the studio. Instead of being organised as processes which run parallel to the design work, the Knowledge Platforms form an integrated part of the practice. Organising the Platform-project relationship in an interactive, non-linear manner allows us to effectively combine research with practice, cross-fertilise innovative solutions and discover new approaches to architecture.

The dual goals of the Knowledge Platforms are facilitating the exchange of knowledge within the studio and expanding UNStudio’s range of co-creation with our current and future collaborators. Each Platform, within its specific topic—Sustainability, Organisation, Materials, or Parametrics—is mandated to assemble our project knowledge and produce new knowledge through internal initiatives and innovative external collaborations.

Caroline Bos:

Our primary goal with the introduction of the Knowledge Platforms is to improve our buildings though the creation of new dynamic ways of working and to develop expertise through knowledge-based strategies and working models. People who join UNStudio can choose a platform that they would like to participate in – and perhaps after a few years they will join 2 or 3 platforms – with the result that they can eventually become specialists in very specific areas of design. In this way we can create highly concentrated knowledge exchange with individuals within the company and thereby create more dynamics and more innovation in the creative process of working with knowledge in design.

KNOWLEDGE SHARING – FROM NODES TO KNOWLEDGE, FROM NETWORK TO MESHWORK
Equally essential to developing UNStudio’s in-house knowledge however is the mutual value to be gained by the exchange of expertise with external collaborators. Ben van Berkel: “It is essential to continuously gather information and to make this knowledge available when engaging in dialogues with other specialists with whom we collaborate, both within and outside of the profession.”

The recent expansion of the profession of architecture has meant that architectural collaborations have now become increasingly wide and varied, encompassing both the sciences and cultural fields. Similarly today’s climate calls for an architecture that is responsive to environmental, political, social, cultural and economic requirements and as such there is call for an architecture that contains all possible layers of knowledge.

In order to initiate and encourage this exchange of knowledge, in June this year UNStudio will introduce a new interactive online platform that will share information about our current research projects and the knowledge garnered from these, whilst actively inviting contributions from collaborators and interested parties. The goal of the online Knowledge Platform is to create a podium where UNStudio can become more open with its expertise and thereby share knowledge on a wider scale. In so doing it is our aim to encourage a co-creative approach to architecture; one which intensifies knowledge and ultimately results in a more responsive architecture born of innovation through co-creation.

ONLINE KNOWLEDGE PLATFORM – THE FIRST STEP
UNStudio’s interactive online knowledge sharing platform is currently in the final design stages, however in the meantime, we have updated and upgraded our research pages with new information about current research projects generated by our four internal Knowledge Platforms. Also integrated in the updated pages is a ‘contribution’ function, which allows readers to actively participate and share their own references and related expertise, rate the usefulness of information, find related knowledge and share posts on social networks.
In addition a ‘Platform Dialogue’ section has been added in which video content relaying discussions and events carried out by UNStudio’s Knowledge Platforms can be viewed online.

Full Article Via http://architecturelab.net/2013/04/unstudio-launches-open-source-knowledge-sharing/

Revitalisation of Historic Cities

Revitalisation of Historic Cities
#AKAA #AKDN

Revitalisation of Birzeit Historic Centre
Location: Birzeit, Palestine (West Asia)
Architect: Riwaq - Centre for Architectural Conservation, Ramallah, Palestine
Client: Birzeit Municipality
Completed: 2009 ongoing
Design: 2007-2011

Cathleen McGuigan (at) GSD

"Women and the Changing World of Architecture" Cathleen McGuigan LF'93
Cathleen McGuigan is editor-in-chief of Architectural Record, the nation's leading architecture publication for more than a century. McGuigan, who is the second woman to serve as editor in chief, was named to the post in 2011. Under her leadership, Record won the 2012 Grand Neal award, the top American Business Media award for overall excellence, as well as being named to the Media Power 50 list in B to B Magazine. She also serves as editorial director of GreenSource, an award-winning sustainable design magazine launched in 2006, and SNAP, a products publication that debuted in 2009.McGuigan, a former Newsweek architecture critic and arts editor, has more than three decades of cultural journalism experience. A Michigan native, she holds a BA degree in English, with a minor in art history, from Brown University. In 1992-93, she was a Loeb Fellow at the Graduate School of Design at Harvard.
Besides her career at Newsweek, where she was on staff from 1977 to 2008, McGuigan has worked as a consultant for various clients, including the Syracuse University School of Architecture. She served as an executive editor of HQ: Good Design Is Good Business, a McGraw-Hill pilot project. Her freelance articles have appeared in The New York Times Magazine, Smithsonian, and Harper's Bazaar, among other periodicals. McGuigan has taught at Columbia University's Graduate School of Journalism and has been a Poynter Fellow at Yale. Currently conducting research for a biography of the critic Aline Saarinen, she also serves on various design juries and sits on the board of trustees of the Skyscraper Museum in New York.

#Women-in-Architecture

Music (at) GSD

Diller (at) GSD

Diller (at) GSD
#Women-in-Architecture

Zaha (at) GSD

Zaha (at) GSD

Published on Mar 18, 2013

Zaha Hadid Architects (London) has become a world leader in urbanism, architecture and design through projects that integrate man-made systems and preexisting topography. The practice has benefited from its collaborations with leading artists, designers, engineers, and clients, and from its work with state-of-the-art technologies. The MAXXI: National Museum of 21st Century Art in Rome, BMW Central Building in Leipzig, Guangzhou Opera House, and Aquatics Centre for the London 2012 Olympics are salient examples of the firm's dynamic architectonic sensibility. Current projects include the KAPSARC Research Centre in Riyadh, High-Speed train stations in Naples and Durango, an office tower in Marseille, and urban master plans in North Africa, Asia, and the Middle East. Zaha Hadid was awarded the Pritzker Architecture Prize in 2004.
#Women-in-Architecture http://architecturelab.net/2013/03/lecture-by-zaha-hadid-at-harvard-gsd/

Learning from Laureates

Learning from Laureates

Thom Mayne, FAIA, the 2013 winner of the AIA Gold Medal winner and 2005 Pritzker Prize laureate, sat down (via Skype) with 2013 Pritzker Prize Laureate, Toyo Ito, Hon. FAIA. The SoCal Sculpturalist reached out across the Pacific to talk to Tokyo's post-Metabolist master about his career in design and the changing role of architectural practice in a post-digital age.

Mayne describes Ito as an "architect's architect"—and in this exclusive video for ARCHITECT, the two discuss what that means.

  Learning from Laureates from ARCHITECT Magazine on Vimeo.

AKAA shortlisted Projects

Introduction video to the 2013 Aga Khan Award for Architecture shortlist+vids of 2010

An Impact : OER

OpenStax College

Toyo Ito :: 2013 Laureate

http://www.pritzkerprize.com/2013/announcement

Biography

Toyo Ito was born on June 1, 1941 in Keijo (Seoul), Korea (Japanese). His father was a business man with a special interest in the early ceramic ware of the Yi Dynasty of Korea and Japanese style paintings. He also was a sports fan of baseball and golf. In 1943, Ito, his mother, and his two elder sisters moved back to Japan. Two years later, his father returned to Japan as well, and they all lived in his father’s hometown of Shimosuwa-machi in Nagano Prefecture. His father died in 1953, when he was 12. After that the rest of family operated a miso (bean paste) making factory. At present, all but one sister who is three years older than Ito, have died.
Ito established his own architecture office in 1971, and the following year he married. His wife died in 2010. They had one daughter who is now 40 and is editing Vogue Nippon.
In his youth, Ito admits to not having a great interest in architecture. There were several early influences however. His grandfather was a lumber dealer, and his father liked to draw plans for his friends’ houses. When Ito was a freshman in high school, his mother asked the early Modernist architect, Yoshinobu Ashihara, who had just returned to Japan from the U.S. where he worked at Marcel Breuer’s office, to design their home in Tokyo.
He was in the third grade of junior high school when he moved to Tokyo and went to Hibiya High School. At the time, he never dreamed he would become an architect—his passion was baseball. It was while attending the University of Tokyo that architecture became his main interest. For his undergraduate diploma design, he submitted a proposal for the reconstruction of Ueno Park, which won the top prize of the University of Tokyo.
Toyo Ito began working in the firm of Kiyonori Kikutake & Associates after he graduated from Tokyo University’s Department of Architecture in 1965. By 1971, he was ready to start his own studio in Tokyo, and named it Urban Robot (Urbot). In 1979, he changed the name to Toyo Ito & Associates, Architects.
He has received numerous international awards, including in 2010, the 22nd Praemium Imperiale in Honor of Prince Takamatsu; in 2006, The Royal Institute of British Architects’ Royal Gold Medal; and in 2002, the Golden Lion for Lifetime Achievement for the 8th Venice Biennale International Exhibition. All of his honors are listed in the fact summary of this media kit. He has been a guest professor at the University of Tokyo, Columbia University, the University of California, Los Angeles, Kyoto University, Tama Art University, and in the spring semester of 2012, he hosted an overseas studio for Harvard’s Graduate School of Design, the first in Asia.
His works have been the subject of museum exhibitions in England, Denmark, the United States, France, Italy, Chile, Taiwan, Belgium, and numerous cities in Japan. Publications by and about him have appeared in all of those countries and more. He holds Honorary Fellowships in the American Institute of Architects, Royal Institute of British Architects, the Architecture Institute of Japan, the Tokyo Society of Architects and Building Engineers, and the American Academy of Arts and Sciences.
One of his first projects in 1971 was a home in a suburb of Tokyo. Called “Aluminum House,” the structure consisted of wooden frame completely covered in aluminum. Most of his early works were residences. In 1976, he produced a home for his sister, who had recently lost her husband. The house was called “White U” and generated a great deal of interest in Ito’s works. It was demolished in 1997. Of most of his work in the 1980’s, Ito explains that he was seeking to erase conventional meaning from his works through minimalist tactics, developing lightness in architecture that resembles air and wind.
He calls the Sendai Mediatheque, completed in 2001 in Sendai City, Miyagi, Japan, one of the high points of his career. In the Phaidon book, Toyo Ito, he explains, “The Mediatheque differs from conventional public buildings in many ways. While the building principally functions as a library and art gallery, the administration has actively worked to relax divisions between diverse programs, removing fixed barriers between various media to progressively evoke an image of how cultural facilities should be from now on. This openness is the direct result of its simple structure, consisting of flat concrete slabs (which are honey-comb steel plates with concrete) penetrated by 13 tubes. Walls on each floor are kept to an absolute minimum, allowing the various functions to be freely distributed throughout the open areas between the tubes.“
In delivering the Kenneth Kassler lecture at Princeton University in 2009, Ito explained his general thoughts on architecture:
“The natural world is extremely complicated and variable, and its systems are fluid – it is built on a fluid world. In contrast to this, architecture has always tried to establish a more stable system. To be very simplistic, one could say that the system of the grid was established in the twentieth century. This system became popular throughout the world, as it allowed a huge amount of architecture to be built in a short period of time.
However, it also made the world’s cities homogenous. One might even say that it made the people living and working there homogenous too. In response to that, over the last ten years, by modifying the grid slightly I have been attempting to find a way of creating relationships that bring buildings closer to their surroundings and environment.” Ito amends that last thought to “their natural environment.”
In the fashionable Omotesando area of Tokyo, Ito designed a building in 2004 for TOD’S, an Italian shoe and handbag company, in which trees provided a source of inspiration. The Ito office provides its own description of the project:
“Trees are natural objects that stand by themselves, and their shape has an inherent structural rationality. The pattern of overlapping tree silhouettes also generates a rational flow of forces. Having adapted the branched tree diagram, the higher up the building, the thinner and more numerous the branches become, with a higher ration of openings. Similarly, the building unfolds as interior spaces with slightly different atmospheres relating to the various intended uses.
Rejecting the obvious distinctions between walls and opening, lines and planes, two- and three dimensions, transparency and opaqueness, this building is characterized by a distinctive type of abstractness. The tree silhouette creates a new image with a constant tension generated between the building’s symbolic concreteness and its abstractness. For this project, we (Ito and his staff) intended to create a building that through its architectural newness expresses both the vivid presence of a fashion brand and strength in the cityscape that will withstand the passage of time.”
After designing critically-acclaimed buildings like Sendai Mediatheque, Ito became an architect of international importance during the early-2000s leading to projects throughout Asia, Europe, North America and South America. Ito designed the Main Stadium for the 2009 World Games in Kaohsiung and the under-construction Taichung Metropolitan Opera House, both in Taiwan. In Europe, Ito and his firm renovated the façade of the Suites Avenue Apartments with striking stainless steel waves and, in 2002, designed the celebrated temporary Serpentine Pavilion Gallery in London’s Hyde Park. Other projects during this time include the White O residence in Marbella, Chile and the never-built University of California, Berkeley Art Museum/Pacific Film Archive in California.
Perhaps most important to Ito, however, are the projects in his home country, made more pressing by the earthquake and tsunami of March 11, 2011. The disaster spurred Ito and a group of other Japanese architects to develop the concept of “Home-for-All” communal space for survivors. As Ito says in Toyo Ito - Forces of Nature published by Princeton Architectural Press:
“The relief centers offer no privacy and scarcely enough room to stretch out and sleep, while the hastily tacked up temporary housing units are little more than rows of empty shells: grim living conditions either way. Yet even under such conditions, people try to smile and make do…. They gather to share and communicate in extreme circumstances – a moving vision of community at its most basic. Likewise, what we see here are very origins of architecture, the minimal shaping of communal spaces.
An architect is someone who can make such spaces for meager meals show a little more humanity, make them a little more beautiful, a little more comfortable.”
For Ito, the fundamental tenets of modern architecture were called into question by “Home-for-All.” He adds, “In the modern period, architecture has been rated highest for its originality. As a result, the most primal themes—why a building is made and for whom—have been forgotten. A disaster zone, where everything is lost offers the opportunity for us to take a fresh look, from the ground up, at what architecture really is. ‘Home-for-all’ may consist of small buildings, but it calls to the fore the vital question of what form architecture should take in the modern era—even calling into question the most primal themes, the very meaning of architecture.”
The Pritzker Jury commented on Ito’s direct expression of his sense of social responsibility citing his work on “Home-for-All.”
Recently, Ito has also thought of his legacy, as apparent by the museum of architecture that bears his name on the small island of Omishima in the Seto Inland Sea. Also designed by Ito, the museum opened in 2011 and showcases his past projects as well as serving as a workshop for young architects. Two buildings comprise the complex, the main building “Steel Hut” and the nearby “Silver Hut,” which is a recreation of the architect’s former home in Tokyo, built in 1984.

>>
http://www.pritzkerprize.com/2013/biography

http://www.pritzkerprize.com/2013/jury-citation

http://www.pritzkerprize.com/2013/works



 

The Sendaï Media Center

The Bilbao Guggenheim Museum

The Abby Sainte Foy de Conques

Architectural Film Series ::: 

Architecture 22 of 23 The Abby Sainte Foy de Conques

Introduction to Sainte Foy, Conques, France | https://www.bluffton.edu/~sullivanm/france/conques/stefoy/indexintro.html

"The abbey church, which has survived intact in its Romanesque form, is located in the town of Conques, from the Latin concha, meaning a shell (appropriate because the town is nestled in a gorge or hollow). This site was attractive as a retreat from the outside word to the early medieval founders of the abbey. Originally, in the 8th century there was a simple oratory at the site, but once the relics of Sainte Foy were in possession there (a Benedictine monk had stolen them from a monastery at Agen) in 866 and 883, the site was expanded. In the 11th century a new church was begun which was completed by the mid 12th century. This Romanesque pilgrimage church became a major stage on the Via Podiensis, the route between Le Puy and Moissac--one of the main pilgrimage roads to Santiago de Compostela.

The site became famous because it housed the relics of Sainte Foy, the daughter of a wealthy family in Agen who had converted to Christianity and thus refused to sacrifice to the pagan gods. In one of the last persecutions of Christians by the Romans, in 303 the proconsul Dacien condemned this 12-year old girl to be burned alive according to the imperial edict of Diocletian. Although the flames were "miraculously" extinguished, the young martyr was then beheaded. Her remains were saved and in later years miracles were attributed to their presence. Once the relics were situated at Conques, they attracted many pilgrims; stories of the blind seeing again or prisoners being freed are attributed to the saint's intercession. (The depiction of Sainte Foy on the tympanum of the church includes shackles hanging above her figure as a way of emphasizing these miracles.) Today in the Treasury of the church one can see some of the most fabulous golden religious objects in France, including the very famous gold and jewel-encrusted reliquary statue of St. Foy."

Kindly follow link for more views and stills >> https://www.bluffton.edu/~sullivanm/france/conques/stefoy/indexintro.html

"At the center of the bottom row there are two doors, one to the left (Christ's right) to Heaven and one to Hell. (See far right image below for the door to Heaven.) Flanking this center scene are views of Heaven and Hell, each with a presiding figure--Abraham in Heaven and Lucifer in Hell. (See next page for Lucifer.) Abraham, depicted in the center, seems to be embracing two of the Elect, each carrying scepters with flowers. On Abraham's left are figures representing the Old Law--two prophets with scrolls and at the outer arch, female prophets, while on his right are New Testament figures..."

>> Wiki https://www.wikiwand.com/en/Abbey_Church_of_Saint_Foy

Maison de Verre

Architectural Film Series ::: 

Architecture 19 of 23 Pierre Chareu Maison de Verre

AD Classics: Maison de Verre / Pierre Chareau + Bernard Bijvoet | http://www.archdaily.com/248077/ad-classics-maison-de-verre-pierre-chareau-bernard-bijvoet

"Built in 1932, the house uses various industrial and mechanical fixtures juxtaposed with a traditional style of home furnishings all under the transparency and lightness of the façade.

An interesting aspect of this house is the ubiquitous mechanical fixtures. On the ground floor was a medical suite for Dr. Jean Dalsace. 

This unusual circulation arrangement was resolved by a rotating screen which hid the private stairs from patients during the day, but framed the stairs at night."

Brian Pagnotta. "AD Classics: Maison de Verre / Pierre Chareau + Bernard Bijvoet" 27 Jun 2012. ArchDaily. Accessed 10 Dec 2015.

Maison de Verre | http://architectuul.com/architecture/maison-de-verre

The Maison de Verre (House of Glass) is a collaboration of the interior and furniture designer Pierre Chareau, the Dutch architect Bernard Bijvoet and The French metal craftsman Louis Dalbet. It was built between 1928 and 1932 and is a stunning example of modern architecture in the beginning of the twentieth century.

The Maison de Verre was commissioned by Dr. Jean Dalsace and his wife, Annie, who had bought the site, a 18th-century hôtel particulier next to the Latin Quarter in Paris. Much to their chagrin, the elderly tenant on the top floor of the building absolutely refused to sell, and the Dalsaces were obliged to demolish the bottom three floors of the building and construct the Maison de Verre underneath, without disturbing the original top floor. Viewed from the courtyard the house which cannot be seen from the street looks, the house looks like a glowing translucent box, its great glass-block facade embedded in the 18th-century fabric and capped by the old one-story apartment level above.

The Maison de Verre’s glass façade is made up of glass blocks supported by a steel frame structure. In the interior, spaces are separated by movable, sliding, folding or rotating screens in glass, sheet or perforated metal. Other mechanical components include an overhead trolley from the kitchen to dining room, a retracting stair from the private sitting room to Mme Dalsace's bedroom and complex bathroom cupboards and fittings. The whole steel structure with bare beams, the canalisation and conduits remain visible from the outside and contribute to the architecture thus transforming utilities into decorative elements. The glass block wall itself, is able to stand alone without the heavy frame. Ventilation through the glass block wall is provided by a series of movable traps. A weight and pulley system opens the window panels, allowing for natural ventilation. This unique system causes a minimum of visual impact on the glass facade of the structure.

The house which was used as a residency also comprised Dr. Dalsace’s gynecological practice which was located on the ground floor. A rotating screen hid the stairs leading to the private apartment in the upper floors from patients during the day, but framed the stairs at night. Pierre Chareau who was a distinguished furniture designer in Paris at the time gave enormous attention to detail, so much that the house itself was sometimes half-mockingly described as an elaborate piece of furniture.

In the mid-1930s, the Maison de Verre's double-height "salle de séjour" on the first floor was transformed into a salon regularly frequented by Marxist intellectuals like Walter Benjamin as well as by Surrealist poets and artists such as Louis Aragon, Paul Éluard, Jean Cocteau, Yves Tanguy, Joan Miró and Max Jacob. When the Nazis arrived in France, The Dalsaces had to flee the country. In 2006, Robert Rubin, an American collector, bought the house from the Dalsace family and carefully restored it. Today it is still in use as a private house.

http://architectuul.com/architecture/maison-de-verre

https://www.wikiwand.com/en/Maison_de_Verre

The Saline of Arc et Senans

Architectural Film Series ::: 

Architecture 18 of 23 Claude Nicolas Ledoux The Saline of Arc et Senans

From the Great Saltworks of Salins-les-Bains to the Royal Saltworks of Arc-et-Senans, the Production of Open-pan Salt | http://whc.unesco.org/en/list/203

The Royal Saltworks of Arc-et-Senans, near Besançon, was built by Claude Nicolas Ledoux. Its construction, begun in 1775 during the reign of Louis XVI, was the first major achievement of industrial architecture, reflecting the ideal of progress of the Enlightenment. The vast, semicircular complex was designed to permit a rational and hierarchical organization of work and was to have been followed by the building of an ideal city, a project that was never realized.

The Great Saltworks of Salins-les-Bains was active for at least 1200 years until stopping activity in 1962. From 1780 to 1895, its salt water travelled through 21 km of wood pipes to the Royal Saltworks of Arc-et-Senans. It was built near the immense Chaux Forest to ensure its supply of wood for fuel. The Saltworks of Salins shelters an underground gallery from the 13th century including a hydraulic pump from the 19th century that still functions. The boiler house demonstrates the difficulty of the saltworkers’ labour to collect the “White Gold”.

Outstanding Universal Value

Brief synthesis

The saltworks in Salins-les-Bains and Arc-et-Senans demonstrate outstanding universal value in terms of the extent of the chronological timeframe during which the extraction of salt continued in Salins, certainly from the Middle Ages, and probably from prehistoric times, through to the 20th century. Spa activity has extended its use until nowadays. The saltworks also demonstrate outstanding universal value in terms of the specific nature of salt production in Salins-les-Bains and Arc-et-Senans, based on a technique of tapping sources of salt deep underground, the use of fire to evaporate the brine, and the 18th century innovation of the creation of a 21km pipeline to carry the brine between the two sites. The saltworks express their value as well for the exceptional architectural quality of the Royal Saltworks of Arc-et-Senans and its participation in the movement of ideas in the Age of Enlightenment. It is testimony to a visionary architectural project of a ‘model factory.’ Developed and built by the architect and supervisor of saltworks in Franche-Comté and Lorraine, Claude-Nicolas Ledoux (1736–1806), Arc-et-Senans is the modern and Utopian extension of the Great Saltworks of Salins-les-Bains.

Criterion (i): The Royal Saltworks at Arc-et-Senans is the first architectural complex on this scale and of this standard designed as a place of work. This is the first instance of a factory being built with the same care and concern for architectural quality as a palace or an important religious building. It is one of the rare examples of visionary architecture. The Saltworks was the heart of an Ideal City which Claude-Nicolas Ledoux imagined and designed encircling the factory. The unfinished Utopian architecture of the Saltworks still carries the full impact of its futuristic message.

Criterion (ii): The Royal Saltworks of Arc-et-Senans bears witness to a fundamental cultural change in Europe at the end of the 18th century: the birth of industrial society. Besides being a perfect illustration of an entire philosophical current that swept Europe during the Age of Enlightenment, the Royal Saltworks heralded the industrial architecture that was to develop half a century later.

Criterion (iv): The saltworks of Salins-les-Bains and Arc-et-Senans provide an outstanding technical ensemble for the extraction and production of salt by pumping underground brine and the use of fire for its crystallisation, since at least the Middle Ages through to the 20th century.

"Claude Nicolas Ledoux

On September 20, 1771, Louis XV appointed Ledoux Commissioner of the Salt Works of Lorraine and Franché-Comté. As Commissioner, Ledoux was responsible for inspecting the different saltworks in eastern France. This gave him an opportunity to see many different saltworks, including those at Salins-les-Bains and Lons-le-Saunier, and to learn from them what one might want if designing a factory from scratch.

Two years later, Madame du Barry supported Ledoux's nomination to membership in the Royal Academie of Architecture. This permitted him to style himself as Royal Architect. (He was already the architect for the Ferme générale, the private customs and excise operation that collected many taxes on behalf of the king, under 6-year contracts.) It was on the basis of his positions as Inspector of the Saltworks and as Royal Architect that he received the commission to design the Royal Saltworks at Arc-et-Senans."

Royal Saltworks at Arc-et-Senans | 

http://whc.unesco.org/en/list/203/video

http://whc.unesco.org/en/list/203/video

https://www.wikiwand.com/en/Royal_Saltworks_at_Arc-et-Senans

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