The program content and management to meet the expectations expressed by the client to provide a housing type T4 within certain parameters. The current building, for her portrayal structure, architecturally defined, and its close relationship with the adjacent facades of the project, presented by way of maintaining this facade and to submit only the necessary adjustments resulting from the introduction of a new range to to access by car into the new house.

Pretending to this facade incorporating new materials with existing ones. The programmatic increase over the current situation culminated in the demolition of existing housing, the building, the introduction of a new floor and the compatibility of the facade with a new program, required the adoption of solutions such as a lifting platform car parking and to improve dialogue between people and place, through the different slopes and the proposed construction.

The second floor of this proposal consists of two bedrooms, one bathroom and one suite. The suite oriented towards the east and in total harmony with spaces for the couple and the other bedroom faces west and in constant visual contact with the street.

In the new level 0, limited to the current area of the property, developing a parking space, kitchen and dining area, obtaining an optimal space for the living room and office (intermediate). These new flats are linked to each other and try to meet the expectations of customers, through the restructuring and functionality, re-qualifying the “image” of the new housing.

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The Broadcasting Place is a mixed-use development near the center of the city of Leeds. Conceived as a partnership between public and private, for the group Downing and Leeds Metropolitan University, which delivers approximately 10,200 m2 of new offices and teaching spaces along with 240 student residences in an iconic building of 23 floors. A new Baptist Church completes the package at its northern end.

The buildings are designed as solid forms of a landscape that is drawn on the rich heritage of the Yorkshire Geological and sculpture. The lower buildings reach a height of three contiguous block of flats, adjacent to the buildings of five floors. Tallest buildings ranging from 8 floors to six floors before reaching the highest point in complex with 23 floors. The strong roof surface was reflected in the mass of buildings that have a triangular shaped corners and projections sculptures. Through these solid forms, the windows were designed as the flow of water cascading over a rock formation. This design seeks to be reinforced by the choice of cor-ten steel as a solid material, sculptural and temporal, built as a front generated by a display of rain.

The development overcomes the challenges of a complicated field with a master plan that considers a highway in the city throughout the land while allowing for future growth. This location is key in Leeds and a major new public space linking urban areas to form a significant landscape element.

A key success of the complex is the innovative approach for the design of each lift. We develop our own software to generate a rigorous computational analysis of each section of the building facades. The result is a varied appearance for all, optimizing daylight and reduces solar penetration.

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For its playful form and character, the Zenith music room contributes a large variety theater that created since the building built Zenith in Paris in 1984. The new Zenith building is an important project for the exhibition area in Strasbourg. This will be the new attraction that will give new impetus to the further development of city infrastructure.

The design concept based on a modular and well-balanced organization of the different elements: good views for all spectators, the best acoustics and an optimized cost management and addressed during the design phase of the design. The Zenith hall offers the ideal setting for guests and artists, performers. The building is to be understood as a unique sculpture, unified and independent. The amount of layers and the rotation of the ellipsoid metal structure of the facade, the design receive a very dynamic character. This confirmed by the translucent textile membrane, which covers the steel frame and creates magnificent light effects. These orange membranes also cover the volume of the music hall itself. This is the heart of the building: a totally enclosed and protected, creating a special atmosphere of the theater.

Projections on the outer skin create playful effects and convert the facade into a huge billboard in communicating with passers-by for upcoming events. The inner experience transmitted to the outside through the transparent skin: the building becomes a “light sculpture.”

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The headquarters of the Department of Health Basque ruled was designed by architectural firm coll Barreu. The structure was completed in 2008, is one of the most outstanding examples of progressive architecture in Europe.

The building, located in Bilbao, is described as a very effective mechanism for the integration of urban vitality in the interior of the building in a city that is perceived as a multi-directional motion vectors. The facade is also a double skin that responds to the needs of energy saving, allowing the removal of traditional air conditioning systems and false ceilings, heat insulating, reducing noise and letting in natural light.

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The Municipal Funeral Leon was completed in 2001 and was designed by Josep Jordi Badia and Val (BAAS architects). Right in front of a large green area, too close to a residential neighborhood, the building is buried under a water tank integrated into the natural environment and facilitate their relationship with the neighboring houses.

The waiting room opens to a large slope of ivy and birch and is characterized by its polished wood, large rugs and indirect lighting to enhance their looks comfortable.

The rooms are lit vigil naturally through courtyard with water that suggest intimacy and privacy.

The only building’s facade, the roof, reflects the magnificent sky of Leon as an allegory of death.

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The Baroque city palace in the St. Johanns-Vorstadt in Basel has proved in the recent restoration, treasure chest. Under centuries-old layers of the original substance came to light and revealed a surprise: The house is older than previously thought.

The architectural design interested visitors will quickly establish in Basel, the city known as architecture capital of Switzerland, not only promotes modern building, but also maintains a careful handling of their historic buildings. Obvious example, the facades: Where dominate in other cities long ago modern and functional window shutters – which most historic buildings is visually detrimental unfortunately – in Basel, the original glazing and shutters kept and restored. “It is indeed the case,” said Dr. Thomas Lutz, Adjunct conservator of Basel, “that we promote the protection zone in the preservation of old windows and Vorfenster. But even with the population there is a tradition of preservation and care, so many historic districts are very well preserved. “

A treasure trove that makes the heart beat faster every conservator, Thomas Lutz did recently when he was invited to the evaluation of a baroque palace in the suburb of St. John, the house at the hospital Faesch road. “The property has indeed been around since the forties, under protection,” he says, “but we had this time to do so little, as it is since the end of the 19th Century, family-owned and was structurally nothing has changed. “This also lacked a detailed inventory. When Thomas Lutz entered the house about three years ago for the first time, he noted with pleasure that the building – up to a few, was conditional mode simplifications – get integral. The only downside was the modernization – that is commonplace – two upstairs rooms and the courtyard side of Pompeii salons. Deprived of its former glory, this room does, in contrast to the richly painted and seldom ausgetä other salons a bit miserable impression. Pragmatically, the new owner of the space has therefore painted white and fitted out the temporary office. He is a definite lover of old buildings and has made it his task to find objects such as the Baroque city palace to buy and renovate together with the preservation of monuments.

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The handsome three-story commercial structure at 738 Seneca, now vacant but secured, was the longtime home of the Hydraulics branch of the Marine Trust Bank, which occupied the building in 1919. The building, constructed in 1900 to house Henry Schaefer’s grocery, was designed by architect Joseph J. W. Bradney. Architecture firm Mann & Cook headed up the building’s expansion in 1919 when Marine Trust moved to into its first story, and in 1954 the storefront was re-clad in polished stone and a bay window on the second story was removed. For years, a billboard Marine Trust installed in 1927 on top of the building was a landmark of its own accord.

The branch’s establishment at 738 Seneca in 1919 was no coincidence. John D. Larkin, president and founder of the Larkin Company, was also on the board of Marine Trust Bank and almost certainly had a hand in this choice of location to provide an amenity for factory workers and shoppers at the famed Larkin Store. The bank was a fixture in the neighborhood into the 1990s, though under different names. Marine Trust became Marine Midland in the 1960s and then became HSBC in the 1990s.

The former bank branch, no longer serving a large factory and residential base in the neighborhood, was one of the last remaining community amenities to disappear in the 1990s. Forty years earlier the four-block strip of Seneca was filled with taverns, restaurants, groceries, barber shops, drug stores, even a movie theater and a bowling alley. Though not one remains, many of the character buildings that housed them do – establishing conditions for a future revival.

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The commercial building at 860 Seneca Street is a stand-out, a real keeper. It was built circa 1890 to house Jacob Duchmann’s Carriage Manufactory, a building use that was unusually prevalent on Seneca Street in the Hydraulics.

Carriage factories (“factory,” by the way, is the linguistic stub of “manufactory” and derives from the Latin factor, meaning doer or maker) dotted Seneca Street for a very good reason. Seneca Street, dubbed the Buffalo & Aurora Road, was a veritable highway for carriage traffic from the farming country of southern Erie County into the city. Farmers destined for wholesale groceries and food markets of Buffalo would find convenient respite in taverns, barns, harness stores, and carriage factory and repair shops along Seneca Street.

The carriages were manufactured in the blacksmith shop located in the storefront at ground level. (Who knows what may hide behind that corrugated iron sheathing!) The second floor was the printing shop and the third floor was used for storage.

The making of carriages did not last beyond the 1910s, when the Ford Model T heralded a new world. But the business quickly adapted. Founded by a blacksmith who worked with cast iron, the factory turned from carriages to cast iron railings and other decorative elements. The newly dubbed Contractor’s Ornamental Steel Company continued to do a thriving business at the site for decades, a fixture in the neighborhood. The business expanded periodically over time to larger workshops on site, and closed as late at 1981, when the property is listed as vacant in city directories for the first time. A collection of tenants filled the space until the late 1990s, when the property ultimately went dark. Highly adaptable, constructed with enduring quality, this historic carriage factory is ideally suited for future economic reuse.

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Larkin Building U is now getting closer by the day to a clean slate, a cleared, highly adaptable structure poised for a new economic purpose. While the future of the building is unclear, its potential becomes even more vividly apparent as the building is vacated.

Larkin Building U, constructed in the early 1890s, is a classic industrial loft building constructed in the Romanesque Revival style. At three stories, the structure is a combination of brick masonry, cast iron columns and wood floors held up by thick wooden support beams. Large windows, including a series of fabulous arched windows at its Van Rensselaer Street frontage, flood much of the building with natural light. Tall ceilings create a fantastic sense of openness and space common to this building type.

Emptied, the building has a lonely feeling inside. The quiet after a factory closes is palpable. It’s an experience that has become associated with Rust Belt cities, and is one that is not likely to become less common as the American automotive industry continues to wobble. Par Foam Products may have bitten the dust, but they have been good stewards of the heritage structure. The building endures. And what a great building it is!

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This just in! The January emergency demolition of the Sacred Heart School at 198 Emslie Street not only broke hearts, it also broke the bank.

The emergency demolition of the landmark building reportedly cost taxpayers a cool $125,000. Economic return on the investment? Zero. While few doubt the necessity of the demolition in light of its collapsing brick facade and the imminent threat the building posed to human safety, fewer still believe the school’s “demolition by neglect” was inevitable.

Buffalo is at the cross-hairs of continuing economic struggle and an invigorated comprehension of the revitalization resource of the city’s historic architecture. The redevelopment of certain historic resources is being realized, but hundreds of opportunities persist in going unnoticed. The Sacred Heart School is one example, one of those buildings that, if only the foresight had been there ten or fifteen years ago, might have been sealed up and saved for a better day, set aside for some future entrepreneur who would have seen what others now see: economic potential. Lofts. Offices. Gallery space. Who knows? Now, we’ll never know what might have been.

Thirty years of neglect is a difficult situation to arrest, particularly in eleventh hour scenarios. When historic landmarks are literally crumbling into the street, which is what occurred in this case, immediate remedies are elusive. As economic opportunities like the Sacred Heart School pass us by, however, others come into greater focus. Hefty demolition tabs are putting a spotlight on the urgent need to preserve now the restoration potential of character buildings far in advance of preservation crises. The threatened Sacred Heart Church (above), which stands tenuously adjacent to the now demolished school, may be a test of the community’s ability to preserve economic value while there is still a fighting chance to reverse the “inevitable.”

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