blue sky home

7/29/2019 Blue Sky Home

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Blue Sky Home


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Blue Sky Homes, the green building company whose prototype property was featured in Dwellmagazine earlier this year, is set to commence its next project in January, with others in various stages

of development. In addition, noted architects such as Linda Taalman & Alan Kochthe couple behind

the famed, off-the-grid itHousehave begun using Blue Sky Homes revolutionary Blue Sky Frame

(patent pending) as the foundation for their own designs.Taalman-Kochhave two current projects

using the Blue Sky Frame: the Clearlake itHouse and the itHouse Cabin, both under construction inCalifornia. More images and description after the break.
http://www.blueskyhomesllc.com/http://www.blueskyhomesllc.com/http://www.taalmankoch.com/http://www.taalmankoch.com/http://www.taalmankoch.com/http://www.archdaily.com/tag/california/http://www.archdaily.com/tag/california/http://www.archdaily.com/tag/california/http://www.taalmankoch.com/http://www.blueskyhomesllc.com/


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Blue Sky frame

The reason the Blue Sky Frame is so attractive to clients and architects alike is twofold: echo-friendliness and speed of building.

SPEED: The frame is made of cold-formed, light-gauge, galvanized steel (as opposed to the

traditionally used wood and/or structural steel). Unlike most prefab homes, all the steel elements(which are manufactured with up to 70% recycled metal) are factory-fabricated and shipped flat to the

construction site, whereerector-set-liketheyre rapidly bolted together without expensive site-

welding or waste. The entire frame goes up on Day One without a dumpster in sight! The house is

weatherproof and ready for interior work by Day Five, and construction is complete within six to eight

weeks.
http://www.archdaily.com/97650/blue-sky-homes-taalman-koch/blue_sky_frame_for_blue_sky_homes_prototype_property/


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Clearlake itHouse

GREEN: Each house in the Blue Sky Homes online catalog also comes with a multitude of ultra-green

options. (An added green/speed bonus is that the Blue Sky Home is especially adept in steep or rugged

terrain, with the entire house being able to sit on just a few steel columns, avoiding expensive,

destructive, and time-consuming earth workand making any floor plan possible since no interior

walls are load-bearing.)
http://www.archdaily.com/97650/blue-sky-homes-taalman-koch/clearlake_ithouse_blue_sky_frame/


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itHouse Cabin

Simply put, nothing is built faster, stronger, greener, more flexible, or more durable than a Blue Sky

Home.

Prototype property

Blue Sky frame
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Clearlake itHouse

itHouse Cabin

Cite: Furuto , Alison . "Blue Sky Homes / Taalman Koch" 21 Dec 2010. ArchDaily. Accessed 19 Nov

2012.

Recommended:

World's Tallest Skyscraper To Be Built...In 90 Days

Connect:Homes Offers Affordable, Modern, Sustainable Homes
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2012 AIA Housing Awards for Architecture

Le Coeur / StudioGreenBlue
http://www.archdaily.com/240296/2012-aia-housing-awards-for-architecture/http://www.archdaily.com/213679/le-coeur-studiogreenblue/http://www.archdaily.com/213679/le-coeur-studiogreenblue/http://www.archdaily.com/213679/le-coeur-studiogreenblue/http://www.archdaily.com/240296/2012-aia-housing-awards-for-architecture/


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Bijlmer Park Theater / Paul de Ruiter

29 May 2009

Cultural Selected Works Paul de Ruiter The Netherlands

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Architect: Paul de Ruiter

Location: Anton de Komplein, Amsterdam, Netherlands

Project Architect: Paul de Ruiter

Project Team: Willem Jan Landman, Dieter Blok

Client: City of Amsterdam, Stadsdeel Zuidoost

Construction Advisor: Arup bv

Installations Advisor: Halmos bv

Acoustic Advisor: DHV-Dorsser Blesgraaf

Theater Advisor: Theateradvies bv

Urban Design: Rein Geurtsen & Partners bv bureau voor stadsontwerp /mecanoo architecten bv

Constructed Area: 1,953 sqm

Project Year: 2005-2007

Construction year: 2007-2009

Photographs: Pieter Kers

In 2004, Paul de Ruiter was invited to compete in the selection of the architect

who would design a cultural building in the southeast district of the city of

Amsterdam. This cultural building was to be a multifunctional building for four

users; a circus (Circus Elleboog), a theatre (Krater Theater), the Youth Theatre

School and the Theatre Workplace, all professional organisations in the field of

talent development, cultural education, production and programming.

On the basis of a presentation of his vision, including his proposal to work with a

dynamic programme of requirements, Paul de Ruiters architectural bureau was

selected by the city of Amsterdam, southeast district, to design the cultural

building.

ground floor plan

DYNAMIC PROGRAM OF REQUIREMENTS


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How can you ensure that a design process proceeds efficiently, decisively and

harmoniously when time is limited, but at the same time you must take into

account the divergent requirements and interests of four different users? Paul de

Ruiter developed a dynamic programme of requirements a flexible design

process with a plan that was not already drawn up in detail.

To identify the specific wishes of all the users and integrate them into the design

and to give the users a good idea of the architectural possibilities, several

workshops were held during the design stage. During these workshops, plans

were made with the users and the customer, and these were later reviewed at

regular intervals. This finally yielded a design that satisfied the requirements of

all the parties involved.

WORKSHOPS

The design process started with a study of the programme for the cultural

building. Paul de Ruiters architectural bureau built various scale models that

gave an indication of the different options for form and layout. With these

models on the table, it was possible to hold brainstorming sessions during the

workshops on what the building should look like and what functions it needed to

fulfill. In view of the location of the cultural building in a park, a recognizable,

pavilion-like building was chosen with a layout that could be adapted to the

various requirements of the users.

situation plan

MEETING PLACE

The site of the cultural building is specified in the urban development plan. The

building is located in the heart of the Bijlmer neighbourhood at the edge of the

Bijlmer park, beside the lake. It is public and accessible, and its position beside

the water gives extra dynamism to this image due to the reflections in the water.

To make it possible for performances to be held on the water as well, for

example on large floating platforms, steps that can be used for seating have been

placed at the waters edge. When no performances are scheduled, the steps

function as a meeting place, where cultures, generations and artistic disciplines

meet each other.

DYNAMICS

The cultural building consists of an ellipse shape, with the upper two floors

slightly displaced in relation to the ground floor. This provides a covered

entrance area located in a logical position in the urban development plans

routing.

The elliptical shape of the building did mean that it was necessary to search for a

financially viable way of reproducing this rounded shape in the partially glass

faade. The solution was found in a combination of wooden slats and vertical

aluminum strips placed against the steel and glass sections of the facade. Thismeans that the intersection points of the segmented faade are not visible and


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the building has a rounded, dynamic and somewhat abstract appearance that

changes continually as you walk around it.

RECOGNIZABLE DESIGN

During the day, the striking shape of the cultural building makes it clearlyrecognizable, while it is conspicuous in the evening because of its color, which

can be altered to fit the occasion. This is made possible by the use of LED

lighting. A line of light is fitted behind the steal faade in the faade, shining

downwards. Because this light shines against the steel faade and the wooden

slats, the building acquires an appearance of transparency, as if the light is

coming from inside the building. The illumination of the building increases the

level of safety and makes the cultural building clearly visible from the urban

surroundings.

DAYLIGHT

One requirement that was specifically identified during the workshops was the

need for daylight in the main auditorium. Lessons and rehearsals would take

place here during the day, and a good level of daylight access is very important

for the atmosphere and sense of orientation.

In the theaters that were visited for the workshops, the users often commented

on the lack of daylight, which although understandably kept out deliberately for

performances, is still very desirable during the day. For this reason, a glass

surround was created on the first floor all around the main auditorium. This

solution not only allows a maximum capture of light, it also makes it possible forparents and others who may be interested to watch lessons and rehearsals

unobtrusively. These windows can be darkened to keep out the light when

performances are held.

first floor plan

section 04

FLEXIBILITY

During the workshops, the most time, relatively speaking, was spent on

identifying the users wishes in relation to the main auditorium. Circus Elleboog,

for example, needed a space with a clear height of 7 meters for acrobatic, trapeze

and juggling acts, while the preference of the other partners was for a theater-

style auditorium. A solution was found by designing a rectangular auditorium

with two ear-shaped appendages beside the performing area a circus/theater

auditorium with between 162 and 277 seats. These two rounded areas on the

long sides of the main auditorium make it possible to use this in a range of circus

configurations and theater configurations, by making use of versatile wings and

movable seating areas.

MULTIFUNCTIONAL


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In addition to the main auditorium, the cultural building has a spacious foyer,

rehearsal rooms, three studios, storage rooms, dressing rooms, a sewing room,

meeting facilities and offices. The building accommodates the four user groups in

the dance class of the Amsterdam School of Arts. For all these users the three

storeys are arranged. The main auditorium extends to the height of all three

storeys and one of the studios is two storeys high.

On the top storey, the bridges for the operation of lighting and set management

are integrated into the concrete floor. This is a practical and inexpensive solution

that makes the bridges safe and easily accessible.

INSPIRATION

The design process for the cultural building was full of creativity. This was not

just due to the unusual approach, but was also and primarily a result of the way

the workshops were organized. Each workshop was held in a different,

unconventional theater, selected each time by one of the users. During a guided

tour preceding the workshop, the architect, users and customers were able to

analyze the advantages and disadvantages of that particular theater, and

inspiration was gathered for the brainstorming session. This then took place on

stage, and on more than one occasion, a performance was given to test the size,

functionality and acoustics of the space. There was no question of meeting

agendas and minutes; the idea was to give creativity free rein. At most, a list of

points was put together at the end of the workshop to act as a basis for the

following session. This was an extremely flexible, practically-oriented approach,

which resulted in an attractive and multifunctional design.

INTERACTION

As a result of the ample admission of light and the flexible layout, the cultural

building offers maximum scope for freedom and creativity. It radiates openness.

The building therefore plays an important role in facilitating the development of

talent, particularly in children and young people. The regular tenants (Circus

Elleboog, the Youth theatre school, the theatre workplace and Krater Theatre)

will work together in this building, creating an enormous level of synergy, a

melting pot of cultures. A place for debates inspired by the diversity of the

southeast district of the city of Amsterdam. To stimulate this interaction even

further, the outer wall of the auditorium, most of which runs through the foyer,

will be painted with blackboard paint, and chalks will be available everywhere.

Visitors, particularly children, will then be free to leave their message, comment

or greeting on the wall. The black outer wall of the auditorium also makes the

layout of the theatre clear and facilitates the feeling of orientation. It is obvious

that this is the dynamic heart of the cultural building.

The Bijlmer Parktheatre is made possible with help from the EU.

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bijlmer-park-theatre-11

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Architects:SAKO ArchitectsLocation: Beijing,ChinaProject Team: Keiichiro SAKO, Yoko FUJII, Hiroaki SAWAMURA, Jiye ZHANGLighting Design: Masahide Kakudate Lighting Architect & AssociatesSite area: 17,949 sqmBuilding area: 103,218 sqmProject Year: 2006-2008Photographs:Misae Hiromatsu

BUMPS in Beijing is an integrated project with four residences as well as a commercial building. The

traditional residence buildings in China are oriented south and north. With the increase in the density of

the buildings, the traditional method causes buildings too close to each other and the rooms facing tothe north can hardly get sunshine.
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situation plan
http://www.archdaily.com/44831/bumps-sako-architects/situation-4/


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Misae Hiromatsu

BUMPS in Beijing is rotated by 45 degrees from the north-south axis. This design can provide

optimum sunshine for each building and also can short cut the way to the central business areas fromdifferent directions.
http://www.archdaily.com/44831/bumps-sako-architects/bumps_ndc-7/


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Misae Hiromatsu

Misae Hiromatsu
http://www.archdaily.com/44831/bumps-sako-architects/bumps_ndc-23/http://www.archdaily.com/44831/bumps-sako-architects/bumps_ndc-4/http://www.archdaily.com/44831/bumps-sako-architects/bumps_ndc-23/http://www.archdaily.com/44831/bumps-sako-architects/bumps_ndc-4/


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The residence buildings are 80 meters height. Every two floors are set as a unit. Every unit is staggered

by 2 meters horizontally. Whole 80ms building is repetitions of these units. The setback areas are used

for terraces. Interlaced black and white units highlight the concave-convex faade and show a clearlineament of the building. All the windows are 1 meter square. Randomly placed windows weaken the

existence of all pillars and beams. Therefore, the appearance of the buildings look like stacked by lots

of small black and white boxes together

Architects:KHR arkitekter ASLocation: Jyllinge,DenmarkProject year: 2001-2008Client: Jyllinge MinighedsrdConstructed Area: 800 sqm
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The church of the holy cross was conceived as part of the landscape around Jyllinge. With its glassfaade facing the fjord and a fishing net dividing the space of the church, the design clearly takes the

history of the place seriously.

A good place to build a church
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The place has an emotional power with its spatial topography that seems to make time stand still and

let thoughts follow the horizon of the landscape as the link between the earthly horizontal level and the

boundless sky that encloses it all. This is a place with many layers far beyond what is physicallypresent. A good place to build a church.

The body of the church was conceived as part of the landscape. From the outside, the volume of the

building is experienced as two solid stones that form a composition with ecclesiastical overtones. A

composition in which the emphasis is on the nave of the church with the choir in dialogue with the old

church to the southeast.

Connecting with the fjord


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With its dominating view of the exterior, the interior shape of the church is experienced as an extensionof the landscape divided in twosumming up the earthly and the heavenly. The body of the church can

be further divided along the line light falls into the interior, using a transparent textile woven with a net

structure. This helps when the nave of the church is extended in a northwesterly direction to end in the

scenic amphitheatre structure that provides seating for outdoor events.

The central aisle through the church extends out into the intimate scenic space formed naturally

between church interior and the amphitheatre structure. This means the churchs ceremonial events can

be extended out into the landscape in contact with the fjord and the sky abovea range of elements

that combine to create a clear identity for the church in this special place.
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