CH04 Houdini Chair by E15:
The German premium brand e15 stands for modern design, high grade materials and innovative, handcraft production methods. The new releases at Salone del Mobile 2010 emphasise these principles. E15 continues its 15th anniversary celebrations with new product launches at Salone Internazionale del Mobile. Alongside showcasing a comprehensive collection of private and contract interiors, e15 presents new seating furniture by designer Stefan Diez as a further deve- lopment of the dynamic CH04 HOUDINI chair family. With the design of a new sofa, two different lounge chairs and a bar stool by Stefan Diez, e15 presents inspired and diverse seating furniture complementing its collection of interiors.
A new sculptural table by creative director Philipp Mainzer depicts a stimulating contrast to the abstract organic forms by Stefan Diez. The new table by Philipp Mainzer reflects especially the e15 design language of minimalist, sensuously refined, enduring furniture.
More info: www.e15.com
Construction of Eladio Dieste's Church of the Christ Worker in Estación Atlántida, (completed in 1960) showing the impossibly thin undulating brick walls and roof. It's hard to fathom the design of this structural system by today's standards; but the fact this was completed decades before computer programs, using masonry in ways that had never been done before, and constructed by local tradesmen in a small Uruguayan village is truly astounding. Image via, and previously on Dieste.
C H U R C H O F C H R I S T L A B O R E R
a project by eladio DIESTE
atlantis, uruguay, completed 1952
The Parish Church of Christ the Worker, designed by the engineer Eladio Dieste in 1952, is located near Atlantis, one of the seaside resorts of the coast of Uruguay. It is a church designed for the stable population of the place, which bases its economy around tourism.
Dieste All works are based on formulas handed down by the constructive rationality, but reveal some manipulation from those same formulas, making amazing objects, going long in its broadest sense and strong, the notion of architecture as loyalty to the place.
The experience gained as a result his explorations of the problems of the vault earlier in the construction of reinforced concrete vaults allowed him to reach his experiments with the brick in the construction of laminated surfaces . Anchored in the theoretical and rational mathematical calculation applied to the construction and design, exploration focused Dieste projecting in the operation of brick as the organizing element of the structure. To Dieste, “a sound architecture can not occur without a rational and economical use of materials of construction”
In this church, the architect certainly expressed their experiments carried out with layers of brick, and also worked to build an architectural language away from established codes around the technological possibilities of the developed countries.
Christ Church Worker highlights the potential for expanding the modern project from outlying areas to the center of origin. Every piece, every brick and every man become part of a whole, a lightweight structure that is built on reason and thought, expressing the social role that the genius of Dieste wanted to convey.
In this work, which cost “equal to a shed,” Dieste built a complex object a unique architectural technological and formal, forming a deep cross from the programmatic aspects of the church and the expressive possibilities of their research.Designed a rectangular vessel 30 meters long by 16 wide, 19 meters indoor light in their wider areas. The wavy line of the cover is repeated and magnified in the surprising side walls, built as a succession of conoidseven feet tall, straight guideline at zero and wavy on top, with irregular perforations closed with colored glass. The connection between the corrugations of the roof and walls instability introduces a formal particular the effects of foreign films brick. At the entrance, the mezzanine (where the choir) severing the wall of the facade in two slots. In the lower sheet is folded asymmetrically brick forming the access and space of the staircase to the choir. In the upper range, with the trimmed surface of the three rows of planes displaced Dieste accentuate the fluidity achieved formal curved blades of the rest of the building.
At the end of the nave, is the sacristy and the chapel of Our Lady of Lourdes behind the curved wall around the sanctuary and weapon, and without its walls reach the ceiling. Thus, perceiving the friction between the interpretation of the sanctuary as a place of “higher spiritual density” and the notion of church as community space and equal, choose to unify the space ship and emphasize the spiritual sanctuary density with exposure curve of the blade and the depth of indeterminate space behind it.
Outside, the side walls repeated build a landscape, where they reveal the technological and expressive of brick as a universal material, and wherein the variations of reflected light on the great effort conoid form.
The whole parish is complete with a bell tower designed as a conical perforated over its entire surface on one side of the church and the other with triangular prismatic volume of stairs to the underground baptistery, circular, covered by a dome, lighted by a lantern made of onyx.
The walls and covered with thin and folded ruled surfaces of Dieste, are so slender that have never before been able to achieve with traditional materials, which achieves with his wit and skill constructive.
Iglesia del Cristo Obrero by Eladio Dieste.