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Michael Nyman et le Michael Nyman Band. Henry Torgue, Serge Houppin. Vladimir Vassiliev et Ekaterina Maximova. Ludwig Van Beethoven, Pascal Dusapin. Trisha Brown et Bill T. Dominique Noel, Jean-Pierre Alvarez. Philippe Combeau, Fabienne Duc. Fatma Madani, Fatma Ben Mahmoud. Lucia Socci, Claudio Parmiggiani.
Lambarena et Thabani Sibisi. Emio Greco et Pieter C. Saburo Teshigawara, Kei Miyata. Yann Giorgia, Clive Jenkins. Jean Malo, Sonoko Tadeka. Fat Boy Slim, Chemical Brothers.
Claudia Triozzi, Haco et Michel Guillet. Antonio Vivaldi, Les Quatre Saisons. Grazia Ascari, Franco Saccani. Nicole Tran Ba Vang.
Johann Loiseau, Nicolas Barillot. Eliane Lencot, Jo Privat. Robert Rosenwasser, Colleen Quen. Fernando Ligero, Isabel Valderrama, Mera. Thierry De Mey, Peter Vermeersch. Queen, Wolfgang Amadeus Mozart. La compagnie de soi Conception et dramaturgie: Compagnie Zoo Direction artistique: Salia Sanou Texte et jeu: Ballet Preljocaj — preljocaj. The object itself is as immaterial as possible; a translucent fabric suspended below a series of concentric rings which catch the rainwater into a cascade that flows softly towards the central waterfall opening.
At the level of the square further fountains are foreseen, their change in flow and ebb providing a constant varying play of water.
The new fountain canopy becomes a point of attraction which allows the inhabitation of the empty vastness of the square and creates opportunities for different activities and appropriations. The requested program for the building, being a combination of a primary school, an after school care centre, a nursery and sports facilities for the school and its neighbourhood is diverse, extensive, demands a great deal of outside space and is rather big for the rather small site.
In order to realise the complexity of programs on the site, XDGA assembles the entire built program into one compact volume of 40 by 31 m and stacks all the various outdoor areas in one open room. The two volumes together cover the maximum envelope possible on the site; one half indoors, one half outdoors. On the side of the exterior room, the supporting frame is covered with a metal mesh with some cut outs, and will be overgrown with vegetation.
The requested program for the building, being a combination of a primary school, an after school care centre, a nursery and sports facilities for the school and its neighbourhood is diverse, extensive, demands a great …. The exhibition displays and documents built projects, urban studies and competition entries. In the exhibition, not the text nor the concept is preeminent — but the plan, the image and the model. The material in the expo is as such reduced towards 21 architectural models covered by plexiglass boxes containing a specific explanation about the project, some tables with 48 projects books and 5 videos where outsiders give comment on the architectural practice of XDGA.
For the Rome edition, some recent projects have been added to the exhibition. This care campus for the elderly is situated within the ancient walls of a former convent. The site is a unique green peaceful place in a dense urban fabric of mainly housing.
The project consists of two independent buildings, one a residential care centre for residents with a day centre for 15 people and the other contains 45 service flats.
The two buildings stand on top of a common underground parking. The care centre is a freestanding building in the park, becoming part of the group of independent buildings inside the ancient walls of the monastery; the boomerang-shaped plan of the building allows the landscape to run continuously around the building.
The ground floor houses the day care centre and the general functions of the nursing home: The four floors on top host each 30 rooms, forming two residential groups. The rooms open directly onto the living room, eliminating long corridors. The atmosphere is homely and the residents can enjoy a panoramic view towards the park.
Outside, the mirrored facade reflects the green of the old monastery garden. The service flats complex both completes the existing city block and inscribes itself into the logic of the freestanding buildings in the convent garden. It has four floors of flats that are optimally oriented. Open galleries organise the horizontal circulation of the complex.
The apartments have an open plan around a central core containing the bathroom, a kitchen, and storage and can be flexibly divided with semi-transparent sliding walls. They have an indoor terrace that can be closed in winter and can be used as extra interior space. The project consists …. To rethink the traditional tools of urban representation: It is about a coherent city planning which does not dissociate urbanism, landscape and engineering but is simultaneously thought of on several retroactive scales, by a multitude of designers with mutually reliant production.
Such representation is inevitably based on tools used by landscape designers, architects and urban planners. The range is wide: Such a vast territory needs an overall mapping; therefore the visitor should not have the impression to be looking at the project from a fixed angle, but to be introduced to the full range of situations, actors, timing and scales of interventions.
The main goal is to represent the ongoing changing process. The exhibition shows both the qualities of the existing and the ambitious future projected onto Paris-Saclay. Each fragment combines these two narratives; the fresco, the timeline, the model and the projections all relate to history and what is expected to be possible.
All projects are shown simultaneously from multiple points of view: Large scale and autonomous arrangement of the separate elements is a result of the site. The complexity of the space, together with the simple, contemporary exhibition is striking. We always kept this tension in mind, which represents to us the relationship between the city of Paris and Saclay.
It is about a coherent city planning which does not dissociate urbanism, landscape and engineering …. An essential aspect of the project is to improve the link between the city and the sea. It will not be able to cope with a premise of Nor does it allow the configuration of a fully interactive work environment. In order not to compete against the castle, XDGA proposes to literally provide a large work-field on ground level, situated at the central part of the site, with the castle positioned inside.
All activities are gathered in a large open space, all the supporting facilities are organized under this surface. The building that contains this surface, is conceived as a transparent, prismatic volume, an intermediate structure in between the castle and the surrounding nature. It has a constant perimeter height of 13 meters, allowing a free view from the castle towards the park and vice versa. The castle, in its glorious new role, defines the inside space together with a patio, similar in size.
As immaterial as the outside skin is intended to be, as tectonic is the roof that slopes down from this horizontal perimeter to the patio and upwards to the castle. The sloping planes along the facades reflect the park or the work spaces inside, thus blurring the boundary between inside and outside. The planes in the middle bring in filtered daylight, the one on top of the castle is fully transparent.
The roof symbolizes and visualizes such values as unity and collaboration. Structural engineer Werner Sobek Engineering. Mechanical engineer Werner Sobek Engineering. There appears to be one constant about academic buildings; they require extensions, often at the cost of their own initial qualities. The existing Management School building in Strasbourg, France, is no exception. The competition asked for a freestanding volume on top of the existing parking, filling completely the only outdoor space of the plot.
Two new buildings are built within the existing one; a new library replaces an underused parking level and the demolition of existing floor slabs creates a triple high entrance lobby. The new library is a continuous horizontal space. Its uniform structure allows flexibility of use over time. The competition asked …. Total floor area 3. The museum uniquely inhabits a picturesque collection of buildings from different periods in the setting of a former convent.
Basing its height on that of the ruined chapel whose carcass still inhabits the central garden space, the new building delicately delivers both an identifiable center point for the museumsite and unprecedented verticality for installation. In , a competition was organized for the expansion of the Z33 museum in Hasselt. A cluster of 56 enormous concrete cylinders more than 70m high are to be redeveloped as residential units and a hotel with cultural and public facilities at ground level.
Above the silos and cantilevering over a new public square addressing the basin, a horizontal volume hovers providing further space for residences and offices. Occupying the space between the two, a publicly accessible terrace with restaurants offers a truly unique urban balcony with panoramic city views. A cluster of 56 enormous concrete cylinders more than 70m high are to be redeveloped …. The two buildings are realised as a unified volume, split on the corner by a single huge incision.
The two buildings …. A fragmentary collection of existing gardens is united to form a single entity and an attractive public setting for the public institution. While the width and orientation of the existing tower had cut off all visibility from the street to the rear garden, the new building sits perpendicularly on the remaining pavilion opening up views and establishing an engaging relationship at ground level between new and old.
The upper floors of the office volume rotate as they ascend, taking account of existing neighbours and alignments and offering democratic access to views over the gardens and the adjacent parks. Program new headquarters for the provincial administration of Antwerp. Our proposal for a new terminal at the Airport of Geneva consists of a long, floating, transparent volume that frees the ground level as much as possible and is supported on both sides by a set of massive, vertical volumes.
The volume has two levels of departure gates and an arrival gate is located under the departure gate volume. Along the horizontal terminal, the vertical volumes contain all of the vertical circulation as well as the commercial functions, toilets and access to the planes. Where the airplanes taxi, these volumes are placed at equal intervals while on the other side, they follow rules of functional surface and distances of construction possibilities.
Our proposal for a new terminal at the Airport of Geneva consists of a long, floating, transparent volume that frees the ground level as much as possible and is supported on both sides by a …. The new Schuman Square in Brussels will be an icon for a democratic Europe. The banishing of high density traffic to a new underground tunnel allows the formerly isolated roundabout to achieve unprecedented integration and to form the central public space of the European District.
In the center of this new space and in the axis of the most powerful corridor of regional, national and international power in the country, XDGA has designed a circular, shell shaped amphitheater. The intervention serves not only as an auditorium or amphitheater but also as an arena, a stand, a meeting place and a forum for open debate; a parliament for the people.
This highly symbolic gesture provides a neutral and inclusive facility for politics, journalism, culture, sports events and manifestations alike. The banishing of high density traffic to a new underground tunnel allows the formerly isolated roundabout to achieve unprecedented integration and …. Total floor area Mechanical engineer Studie Bureau Boydens.
This master-planning project for the Saclay plateau is a real challenge in terms of scale. The site is meant to mainly host research facilities, different universities and their related functions. The master plan proposes a rather compact urbanisation as to preserve the existing agriculture and uses the landscape and the public space as main structural elements for the new university campus layout.
A new metro line links the area to its surroundings as well as to the Paris city center. The campus Paris-Saclay is designed as an archipelago of different districts linked by a chain of public spaces and parks, co-existing in harmony with the existing agriculture and landscape.
The different buildings are currently object of international architectural competitions, and their construction has started. In , the client decided to organise an exhibition to communicate the project to the public. XDGA designed a scenography in order to communicate the different aspects and interests of the project to the large public.
Program Mixed use master-plan, housing, offices, shopping, infrastructure, universities. XDGA proposes to radically open up the site and to make it accessible for University personnel, students and public alike. By lifting the main volume off the ground, an open and inviting relationship is created which visually and physically links the surrounding streets with the previously inaccessible internal gardens. The surface of the main arrival level slopes both upwards to the raised volume and downwards to a sunken library.
These slopes are used as auditoria, generous vertical connections, reading rooms and informal meeting places. At the center of the building, a full height atrium with a removable soft roof brings natural light into the heart of the classrooms and offices.
XDGA proposes to radically open up the site and to make it accessible for University …. Program auditorium, classrooms, offices, library, cafetaria, garden, bycicle parking. The two strong and big-scale gestures of the hall, spanning all the existing elements in the street, and the bicycle parking, liberating the street surface, allow for diversity, multitude and transparency on a lower scale.
A third feature that binds the space together is a single pavement material for the entire peninsula, including a continuation towards the inner city and inside the bicycle parking: It slightly lightens up the entire peninsula at night. Two new pavilions that contain ticketing, public toilets, a convenience store and an area for staff on the first floor, are situated at both edges of the main hall.
Their roofs have photovoltaic panels that. In between the ventilation shafts a linear series of circular benches provide waiting areas for the buses. The ventilation pipes are painted in a coherent range from shiny black to white. The existing stairs are marked with new information panels. The overall lighting system is provided by the network of wire hung lamps, covering the whole area, including the hall.
The glass pearls on the surface of the street unify the area. Specific lighting fixtures, such as the pavilions and stalls themselves, and indirect lighting under the benches, complete the system. All elements together form a slightly chaotic, but very open battery of street furniture allowing for an intense use and crossing of the area. Program public square, roof and pavilions for the underground train and subway station and a new bicycle parking.
The project for the regeneration and extension of the MacDonald warehouse in Paris has its genesis in a master plan by OMA. FAA-XDGA is both the overall coordinator for the architectural realizations of 15 different international architects, and also the individual architect for the regeneration of the existing warehouse into a commercial center, two housing blocks and an office building in the project.
The program of the project is primarily housing, in total new housing units have been realized, half of them being social housing.
A key element of the projects is the creation of a courtyard garden, offering remarkable spaces through the optimal distribution of the dwellings with view over Paris, providing private green space, and double-height ceilings. Housing implanted within the existing volumes are given a special identity by the heroic concrete structure and the restored historic facade. The nine southern blocks are designed as urban villas; detached buildings placed on a pedestal and open on four sides.
Program master plan, housing, offices, shops, infrastructure, public space. The prominent lakeside condition for the Swiss Re headquarters forms an exceptional context for generating a daring architectural concept. But even more intriguing to us are the somewhat hidden qualities of the existing situation. The first is that the central building is linked to all the neighboring premises of the company through underground and above ground connections, and that the new building will function as a centripetal platform between these different entities.
The second is that after the former building will be demolished; there will be a huge underground space available that for once will not be completely used for car parking. Our proposal is to confiscate this space and install a sunken sculpture garden, in which a freestanding, compact and cubic new building is positioned. The entire site is transformed into a below grade, dug out space. It is a space that is shared with the city: Through this space the Swiss Re art collection may become a main communication and representation device towards the outside world.
The cube stands floating in it and the various underground tunnels are transformed into viaducts hanging in the garden. The trajectories in between the different buildings are transformed into spatial scenery. It is this cross hair location which is key; it offers an integrated presence in the well defined urban structure of the former and takes advantage of the larger scale advantages of the latter to accommodate the huge programmatic surfaces required.
The result is a compact and efficient urban form, which intimately engages the roads and metro lines running underground and uses them to enliven and offer a metropolitan character to the block. Unapologetically imposing and yet deeply rooted in the urban fabric and logic of the situation, the complex of towers seem to have been hewn from far larger original volumes evident at the base where conference, shopping, lobbies and a lively public plaza give a rich sense of urbanity for all.
Program definition of a new urban form for the Rue de la Loi. XDGA proposed to organize the ICC complex like a small fragment of a city, composed of a collection of independent building volumes around a central square. The volumes are connected through a lower socle which is embedded in the landscape. A long stretch of public space is cut into the landscape and the socle. On the site, the former dun escape is reinstated. The original topography is adapted in order to conceal the socle and the underground parking garage.
The composition is formed by simple, vertical volumes of varying height with only one exception: The floating courtroom volume is supported by a lower building. The unique section of the socle allows the various security requirements to be achieved in a subtle but effective way.
Above the arrival square, the luminous ceiling of the floating volume is composed of a pattern of member state flag panels, alternating with white panels for states that are still to join. The facades on the outer edge of the complex are defined by vertical concrete fins that act as a security device against blasts.
They have transparent glass in between allowing public visibility of the activities of the ICC. The concept allows not only for future expansion but it can also absorb variable factors, changes during the planning process, and even unforeseen changes in the program.
The micro-city becomes denser while it also conserves all of its defining qualities. The volumes are connected through a lower socle which …. Program permanent premises of the International Criminal Court: With this project the new Port House gets the best possible location: The former fire station not only becomes a dense work space, but also the new face of the Port House and the place where the relation between port and city is mediated.
The immediate surroundings will modify dramatically in the near future. After the demolition of the silos, the fire station is again situated in the axis of the dock. Therefore an adjustment to these new proportions arises. As a typical city block — that separates private and public — the existing building seems lost in the context of a port.
For us, any project for a horizontal extension will weaken the strong basic form.