ArchDaily

Arch Daily

Half Buried House / eneseis arquitectura
Villa Vatnan / Nordic Office of Architecture
Slow Town Tiny House / The Plus Partners + DNC Architects
Southern Sunshine Home / HAO Design
Toigetation 2 / H&P Architects
6 Ways BIM Can Make Your Architecture Firm More Competitive
Las Palmas Heights / o2 Architecture
Christ & Gantenbein’s Kunstmuseum Basel Photographed by Laurian Ghinitiou
Media City Footbridge / WilkinsonEyre
OMR Art Gallery / Mateo Riestra + José Arnaud-Bello + Max von Werz
Hugh Martin & Partners' Princes Square Named Scotland's Building of the Century
Karlovac Freshwater Aquarium and River Museum / 3LHD
"Creative Cynic" Peter Cook Explains Why Archigram Designs Were Always Meant to Be Built
16 Tips To Improve Your Model-Making Skills
Atlas Hotel Hoian / Vo Trong Nghia Architects
Gentrification's Image Problem and How It Has Been Villified
Castle Resort: Call For Entries
Article 25's "10x10" Auction Features Work by Zaha Hadid, Kengo Kuma, Richard Meier & Antony Gormley

Half Buried House / eneseis arquitectura

Posted: 21 Nov 2016 07:00 PM PST

Architects: eneseis arquitectura
Location: Calle Abad Nájera, 03002 Alacant, Alicante, Spain
Architects In Charge: Daniel Solbes, Jose Luis Durán
Area: 170.6 m2
Project Year: 2012
Photographs: Andrés Flasjzer

Collaborating Architect: Daniel Cano, Luis Hernandez
Constructor: Construcciones y reformas quintanilla

From the architect. Aspe´s half buried house is located in the typical inner Alicante´s half desertic landscape, amongst irrigated crops and low mountains of great beauty, yet surrounded by a single family residential tissue, dense and repetitive.

Winters are not too cold, and at the same time there is a dominant West wind that lowers thermal feeling. Summers are very hot and dry.

Project´s main goal was to achieve an special place, highly related to landscape, in order to live comfortably.

Project´s strategy was to work at the same time plot, landscape and building, to obtain the most of them, enhancing themselves to each other.

Landscape is a prolongation of the garden, which is a prolongation of the home.

Thermal confort was achieved by partially burying the dwelling. Thanks to that, the house takes advantage of the thermal inertia, that naturally adjusts temperature. This, together with a targeted orientation that obtains winnings in winter and protection in summer, plus a crossed ventilation, results into a thermal responsive home.

By burying the house taking advantage of the plot´s slope, two flat levels are activated: the terrace-garden area above, plus the house level where pool is located as well.

House´s floor plan has S shape, attached to plot´s west edge, where entrance is located too. Dwelling is required pass in order to access the plot, protecting at the same time the pool.

Inner S side generates an open court where main rooms and circulation face, creating an extension of inner space towards outer garden, without an intimacy loss.

Result is a white construction that highlights the house, and that embeds itself into the terrain, interweaving with gardens, courtyards, inner spaces and terraces, creating different ways of experiencing the place, and relating to the landscape.

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Villa Vatnan / Nordic Office of Architecture

Posted: 21 Nov 2016 06:00 PM PST

Architects: Nordic Office of Architecture
Location: Trondheim, Norway
Architect In Charge: John Arne Bjerknes
Area: 250.0 m2
Project Year: 2015
Photographs: visualis / m.c.herzog, Espen Grønli

Client : Vatnan family

From the architect. Nordic — Office of Architecture was approached by the Vatnan family to deliver their dream home. They had a simple architectural vision, but a demanding site on which it was to be realised.

Located on the edge of an established residential area with limited access and a steep topography, the site does however offer fantastic views from the private and shielded south-west facade.

The family desired a home for both everyday life and entertaining, where the primary rooms are all collated on one floor with generous sizes and well resolved spatial relationships. By lifting this main floor up to one floor above the natural entrance level, we captured the best of the views and the sun. The elongated body of the house shelters against the wind and creates an open private outdoor space, while the bedrooms and living areas all have direct access to the garden via a covered terrace stretching the length of the house.

The simple concept is reinforced by the overall simplicity in use of materials. The entire main floor is covered in pine boards, and the living room, kitchen and terrace are clad in veneered oak. The concrete is sealed throughout the house, and the ceiling height of 2.8 metres further contributes to the experience of the house opening up towards the grand view to the south-west.

The basement and main deck are cast in concrete and the gable and long walls to the north-east are clad in cedar wood.

Product Description. Dinesen Oak wooden floor, 450mm width. Used on whole upper main floor in all rooms – living, kitchen and bedrooms, establishing the principle idea of one dominant floor for the whole family.

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Slow Town Tiny House / The Plus Partners + DNC Architects

Posted: 21 Nov 2016 02:00 PM PST

Architects: The Plus Partners, DNC Architects
Location: Pyeongchang-gun, Gangwon-do, South Korea
Area: 19.8 m2
Project Year: 2016
Photographs: Moobum Bang

'The Tiny House of Slow Town', one of the 'Slow Town' projects, is the building of small houses that uses the least modules out of woods to expand the inadequate accomodations in Gangwon city, the host city for the Pyeongchang 2018 Olympic Winter Games, and also to provide an easy access to the geographical beauty of the city.

Gangwon city is one of the few clean areas left in Korea and it needs to be protected and kept that way. 'The Tiny House Of Slow Town' project has the purpose of providing accomodations with the maximized housing facilities while using the least materials that are environmentally friendly.

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Southern Sunshine Home / HAO Design

Posted: 21 Nov 2016 12:00 PM PST

Architects: HAO Design
Location: Kaohsiung city, Taiwan
Area: 116.0 m2
Project Year: 2016
Photographs: Hey!Cheese

From the architect. Good traffic flow creates a comfortable space.

Whenever HAO Design receives a new case, the first thing we do is to observe the surrounding environment of the house and list its unique strengths. Then we brainstorm ideas, integrate the space and plan the traffic flow. Take this freestanding house located in Kaohsiung. We assessed it and found four major advantages: a large yard, high roof, good natural light and a rectangular floor plan.

We changed the original traffic flow by moving the entrance to the side of the house. Although you need to walk around the house to get in, the first thing you see is the big yard. It's like walking from the city into a country cottage; your body and mind both relax immediately. The solid wooden platform at the entrance is reminiscent of old Japanese structures. Residents can sit on it to enjoy the garden view. We made a lot of adjustments to the interior, removing a wall to merge the old living and dining room into one open space. The original entrance is now a raised washitsu (Japanese-style room) where people can have a rest.

During the renovation, HAO Design knocked out portions of the ceiling and discovered it was sloped. At its highest point, the indoor ceiling is four meters high and significantly widens the room. Therefore, we did not alter the ceiling height, and the room is now spacious and comfortable. The kitchen, connected to the living room, is nearly 8 ping (26.4 square meters). This is a kitchen island design with a 280 centimeter-long counter top, just like a dream kitchen. The house owner likes to cook, and now that he has enough cooking space, he can enjoy his hobby. Even though the ceiling is slightly lower in the kitchen, it is connected to the living room, which gives the impression of a bigger space.

When we were first planning the renovation, we realized the original layout consisted of too many different sections, and the lack of windows made it hard for light to enter. So the problem of how to integrate the small individual spaces and introduce more light was also a huge challenge. HAO Design introduced a ceiling window in the master bathroom to let in more sunlight. We changed the front door into a large French window so it lets in more light and those in the house can enjoy a view of the garden, a serene place in the bustling city. We also added a window near the ground in the master bedroom so light can enter, but we made sure that the room does not get too bright. The right amount of natural light makes a house more energetic.

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Toigetation 2 / H&P Architects

Posted: 21 Nov 2016 11:00 AM PST

Architects: H&P Architects
Location: Tuần Giáo District, Dien Bien, Vietnam
Architects In Charge: Doan Thanh Ha, Tran Ngoc Phuong
 Team: Chu Kim Thinh, Dao Bich Lien, Nguyen Hai Hue, Nguyen Van Manh
Project Year: 2016
Photographs: Nguyen Tien Thanh

Investor: Dien Bien Provincial Centre for Rural Water Supply and Sanitation
Sponsor: UNICEF Vietnam
Design & Technical Assistance: H&P Architects

From the architect. Subsequent to the Toigetation project completed in Son Lap school in 2014, the Toigetation 2 has been upgraded regarding the number of sanitary equipment and accessories as a more holistic approach to the standard sanitation service by Ministry of Education and Training and Ministry of Health of Vietnam. The project is to meet the sanitation and washing needs for over 300 Ta Ma primary school pupils in Ta Ma commune – a commune in special difficulties and water scarcity in Tuan Giao district, Dien Bien province.

Featured with the iconic image of two big trees with wide canopy providing shade to the space below and within, the Toigetation 2 lightly touches the ground with a layer of vegetation (trees and herbs) on its four sides. The layer of vegetation helps regulating indoor climate, harnessing load bearing structure, supplying food and at the same time creating a perceived boundary between inside and outside space. Constructed by local Human resources and Materials in simple but efficient construction methods, the project uses solar panels for electric lightening, rain water and waste water for cleaning and gardening purposes.

The Toigetation is supposed to contribute to shaping users' future action, thereby exerting significant impacts on the promotion of local ecological balance, economic stability and improvement of Human rights in Vietnam more positively in the context of severe shortage of toilets at schools in Vietnam's rural areas.

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6 Ways BIM Can Make Your Architecture Firm More Competitive

Posted: 21 Nov 2016 10:00 AM PST

Emerson College Los Angeles by Morphosis Architects, which won the AIA's 2015 Technology In Architectural Practice Innovation Awards for its use of BIM. Image © Iwan Baan

Starting an architecture firm may sprout from one's love for and interest in the discipline, but running a competitive business requires more than just a tendency to enjoy the work. BIM could be the edge a firm needs in order to stand out from the crowd. There are many ways a firm can make use of BIM to become more profitable on their projects and successful in winning those projects in the first place; read on to find out more about six of them.

Using BIM can help many firms to avoid outsourcing processes such as rendering. Image Courtesy of Autodesk

1. Avoiding Outsourcing

BIM has been available to architecture and design firms for decades, but in its early years often took too much time and computing power for it to make sense for smaller firms, who still found it cost-effective to outsource processes such as visualization of their designs. But now, with BIM software easily available and feasible for almost any architect to implement, firms stand to gain from the benefits that BIM brings by creating their own visualizations instead of having to pay for them.

2. More Flexible Processes

By using BIM within your own firm, you also gain enormous amounts of flexibility in the event of changes to the design. When outsourcing visualizations, for example, models and images are sent back and forth countless times; similarly, with non-BIM processes, any design changes must be communicated in detail to engineers and contractors via email or even in person. But with shared BIM models communicating such changes to subcontractors automatically, the time and money spent on communicating design changes is minimal, giving designers much more freedom to ensure the project meets their client's expectations.

3. Increased Understanding of the Designed Space

Designing a building using BIM's 3D-modeling-based system, as well as being able to quickly generate rendered visuals of the proposal, also improves the understanding of the building design and site among the architects working on the project. As Crawford Smith, BIM specialist at SERA Architects Inc., explains:

"Model-based visualisations helped everyone – regardless of their technical background – to quickly get an understanding of the accelerated development of the building and the tenant spaces."

Being able to work collaboratively with engineers and consultants on the same model speeds up communication processes. Image © SERA Architects

4. Providing Quicker Feedback

Furthermore, by internalizing some processes that might previously have been outsourced, and by improving communication on those processes that still are, BIM also offers accelerated feedback on design proposals, particularly when communicating with clients. As William Sharples, principal of SHoP, explains:

"BIM helped us use the power of visualization to bridge time and distance."

Generating your own visualizations allows you to react far more quickly to a client's critiques and suggestions; minimizing the time needed for feedback not only minimizes costs, it also improves your reliability and reputation as a firm.

5. Creative Exploration

While much is made about the increases in productivity and efficiency which arise as a direct result of BIM, it is less commonly discussed that this also opens opportunities for creative improvement. By meeting deadlines ahead of time and producing accurate, information rich models, BIM leaves time for architects to conduct creative investigations. Better alternatives to a design may arise during such an activity, producing more options and visual data for a client. Crawford Smith, BIM specialist at SERA, says:

"Autodesk BIM solutions helped us spend less time producing documents and more time on design exploration."

6. Advanced Visualization Options

One of the strongest arguments for implementing BIM--one that can still help a firm stand out among almost all of its competitors--is the recent advances in visual technology; specifically, advances in Virtual Reality. BIM's 3D modeling process means that designs are easily rendered and imported into a wide variety of VR environments, for example with Autodesk's new LIVE service offering a one-click interactive rendering out of Revit. Soon, VR technology is likely to be as sought after by clients as ordinary renderings are today, and being an architecture firm that has the internal skills necessary for this shift will be a huge asset. The ability to quickly incorporate the client's feedback into a model that can be communicated through VR would undoubtedly make any architecture firm a frontrunner.

Download the Definitive Guide to Growing your Architecture Firm with BIM to learn how to build your business with BIM.

This article was sponsored by Autodesk.

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Las Palmas Heights / o2 Architecture

Posted: 21 Nov 2016 09:00 AM PST

Architects: o2 Architecture
Location: Palm Springs, CA, United States
Architect In Charge: Lance O'Donnell, AIA
Area: 3250.0 ft2
Project Year: 2016
Photographs: Lance Gerber

Project Manager: Jeff Bicknell, o2 Architecture
Structural Engineer: David Peyton, Peyton-Tomita & Associates
Contractor: Hal Hall, HJH Construction Inc.
Interior Designer: Mark Nichols, Modern Interiors

The residence's sloping, infill Sonora Desert location created both the project's greatest challenge and greatest opportunity. Surrounded by existing homes--two in particular enjoying a 50+ year unobstructed view over the land--made privacy and sight-lines, both from and towards the home, fundamental form givers. While seeking to improve and restore a native arroyo and its natural ground water recharge zone (this pristine area had not been touched by a previous owner's imported fill) the design set strict goals to maintain the area's native fauna and flora.

The client's program called for an open plan utilizing durable materials and resource efficient foresight to create a 3 bedroom/3.5 bath, great room living home. Taken together, with the privacy desires, openness of plan, sloping site, preservation of undisturbed land, and infill condition resulted in 3,250 square foot design formed by two intersecting rectangular bars. To capture all elements of the program, the two intersecting rectangular bars form a "T" such that the lower master wing's roof becomes the upper kitchen's interior soffit and then this line continues out again to become the exterior roof of the breezeway and garage. The continuity of wall and roof plane are clearly perceptible and are further refined by avoiding the often awkward "T" program intersection with the inclusion of an open lanai. The lanai is strategically located as an open, deeply shaded transition from public pool and great room areas to the private master wing.

With the site sloping 20' from north to south and consisting of a combination of imported fill and native desert alluvium, the design set out to preserve and capture this natural alluvial arroyo, its 100+ year old creosote bushes, and undisturbed deeply patina weathered boulders. The design made evident the natural site slope by stepping the structure's masses while preserving and reinforcing the arroyo and creating privacy from the uphill homes. Entering the home at the street grade conceals the unfolding grade change and unforeseen precession to the south pool yard and mountain views beyond.

Underpinning the home's fusion of indoor and outdoor living are timeless passive solar strategies and cross ventilation opportunities. Finally, the home's south facing, downward sloping master wing roof has solar electric and solar thermal systems seamlessly integrated into the sloping roof, illustrating again how a building's basic parti can become the backbone for modern sustainable living. Recent electrical utility data shows the home generating slightly more energy than consumed.

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Christ & Gantenbein’s Kunstmuseum Basel Photographed by Laurian Ghinitiou

Posted: 21 Nov 2016 07:30 AM PST

In another photoset from his latest Switzerland trip, photographer Laurian Ghinitiou takes us inside Christ & Gantenbein's recently-opened addition to the Kunstmuseum Basel. The design, winner in an international competition in 2009, sought to create a "contemporary brother" to the original museum, opening up to the street through its angled form. The monochromatic brick facade also responds to its context and historic neighbor, while hiding a wraparound LED screen beneath to create a frieze with a technological twist.

Check out the full series of shots, after the break.

See more of Laurian Ghinitiou's work on ArchDaily here, and check out his website for more photography.

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Media City Footbridge / WilkinsonEyre

Posted: 21 Nov 2016 07:00 AM PST

Architects: WilkinsonEyre
Location: Salford, UK
Lenght: 100 meters
Project Year: 2011
Photographs: Daniel Hopkinson

Client: Peel Holdings
Structural Engineer: Gifford
Mechanical Engineer: Atkins Bennett
Lighting Designers: Pinniger
Planning Consultant: S Wright Ltd
Construction Management: Bovis
Main Contractor: Balfour Beatty Civil Engineering Limited
Steelwork Fabricator: Rowecord

Salford Quays has long been a hub of activity; the docks here were among the busiest in the UK during the early years of the 20th century, handling millions of tonnes of cargo. In 1985, following the gradual decline of the docks, the area finally became the subject of an innovative regeneration plan, which brought attractions such as The Lowry and the Imperial War Museum North to the waterside. WilkinsonEyre contributed to the latest stage of its transformation with a footbridge as part of the BBC's Media City development.

WilkinsonEyre's footbridge forms a visual landmark and sculptural gateway to the Media City site and connects it with satellite developments and attractions on the southern side of the Manchester Ship Canal. It is a critical element in weaving together the new urban grain, reinforcing links that were not there before, and helping to bring about a new sense of place.

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OMR Art Gallery / Mateo Riestra + José Arnaud-Bello + Max von Werz

Posted: 21 Nov 2016 05:00 AM PST

Architects: Mateo Riestra, José Arnaud-Bello, Max von Werz
Location: Calle Córdoba 100, Roma Nte., 06700 Ciudad de Mexico, CDMX, Mexico
Architects In Charge: Mateo Riestra, José Arnaud-Bello, Max von Werz
Area: 455.0 m2
Project Year: 2016
Photographs: Rory Gardiner

Collaborators: Javier Moctezuma & Oriam Morales
Construction: Cantiliver
Structural Engineering: Ricardo Camacho / DECS
Facilities Engineering: Taller 2m

After 30 years in a turn-of-the-century Porfirian villa, the renowned contemporary art gallery OMR decided to move to a new location. The chosen site was an existing brutalist building called Sala Margolin, originally dedicated to the sale of records and books. The building's design consisted of a single large space covered by a coffered concrete roof slab under which the different sections of the store were organized by subtle changes in floor level. The roof was supported around the perimeter and by four slender concrete columns framing a central skylight, the most important light source for the space.

The design strategy was to preserve the existing building as much as possible. A central bathroom core was demolished and some interior details toned down so as to bring out the character of the building and transform it into a generous exhibition space. In order to provide the flexibility required by the client, the concrete floor was leveled and structural wall linings were applied to the interiors, allowing the hanging of substantial artworks anywhere within the 5.5 meters room height. Accompanying the main exhibition space on the ground floor are an access courtyard, reception, technical storage space and a rear garden courtyard onto which a bar opens.

A vertical extension accommodates supplementary programs in order to not compromise the existing spaces. This new top floor houses a multipurpose space, art storage, offices, a library, meeting room, kitchen and terrace. By thickening the wall that faced the rear courtyard it was possible to resolve the vertical circulation to the new top floor without affecting the structure of the existing slab. This "thickened wall" – a mere two meters wide – allowed the accommodation of a mezzanine with bathrooms as well as the opening up of the newly added interior spaces towards the courtyard by means of a modern and paired down glazed facade. Built on site using standard steel profiles and arranged in rectangular modules this façade integrates projecting windows allowing for passive ventilation. In lieu of a fixed goods lift that would have required the perforation of the existing slab or the introduction of an extra volume infringing on the rear courtyard, the facade has an openable section that allows the movement of large format artworks to the top floor via a mobile lifting platform.

The newly built top floor is organized according to the structural scheme of the original construction, roughly forming a 9-square grid layout that provides a maximum of flexibility by allowing a variety of ways to subdivide space and distribute circulation. On reaching this floor, visitors discover the large multipurpose space that functions as an extension of the main exhibition gallery, a showroom, a work space and a place for workshops and lectures. In keeping with the position of the original skylight, the library becomes a new central light space that articulates all other functions. Facing the street is a more private space where the meeting room, kitchen, executive office and terrace are situated. The terrace is the result of a 4-meter setback of the top floor which functions as a mediating element towards the street, keeping the proportions of the original facade intact and allowing for a discreet intervention. A lateral staircase leads from here to the rooftop effectively creating an extension of the terrace during larger scale social events. In turn, this space has been conditioned to function as an outdoor workshop where part of the preparatory work for exhibitions is done.

The result is a sober project that amplifies the character of the original building whilst preparing it for a new cultural life without falling back on the international conventions of the sterile white cube.

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Hugh Martin & Partners' Princes Square Named Scotland's Building of the Century

Posted: 21 Nov 2016 04:10 AM PST

The Royal Incorporation of Architects in Scotland (RIAS) has announced Hugh Martin & Partners' Princes Square as Scotland's Building of the Century at the finale celebration of Scotland's Festival of Architecture 2016 in Dundee. Open to buildings built in Scotland in the past 100 years, voters selected the winning building from a 10-strong shortlist that included projects by Enric Miralles and Reiach and Hall Architects.

Located in the heart of Glasgow's Style Mile, Princes Square was renovated into an iconic multi-level shopping center and public space by architects Hugh Martin & Partners in 1987, preserving and restoring the original building while creating a modern shopping and dining venue "of quality and distinction."

Distinctive for its main entrance guarded by a giant metal peacock, the building features whimsical architectural elements throughout, such as symmetrical criss-cross escalators and spiral staircases, and is capped by a airy glass roof.

Hugh Martin & Martin have won numerous awards for the renovation, including the RIBA Scottish Regional Award for Architecture (1988), the Edinburgh Architectural Association Centenary Medal (1989), and a Civic Trust Award (1989).

The award was organized as part of the traveling Scotstyle exhibition, which has visited over 30 venues throughout Scotland, telling the stories of Scotland's top 100 buildings of the past century.

"The Festival of Architecture has tapped into a keen public appetite for architecture and events on an architectural theme," said Neil Baxter, RIAS Secretary and co-editor of Scotstyle. "With over 460 events and well over a million participants, it is the most substantial ever year-long celebration of a single art form in Scotland's history. Princes Square is a worthy popular choice for the best building of the last 100 years."

More information on the award and the Scotland Festival of Architecture 2016 can be found here.

News via RIAS.

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Karlovac Freshwater Aquarium and River Museum / 3LHD

Posted: 21 Nov 2016 03:00 AM PST

Architects: 3LHD
Location: Ul. Gornje Mekušje, 47000, Karlovac, Croatia
Architect In Charge: Saša Begović, Marko Dabrović, Tatjana Grozdanić Begović, Silvije Novak, Irena Mažer Hranuelli, Vibor Granić, Deša Ucović, Ivana Šajn, Nevena Kuzmanić, Romana Ilić
Area: 2915.0 m2
Project Year: 2016
Photographs: Miljenko Bernfest , Jure Živković

Structural Engineering: Ivan Palijan, Siniša Lulić (Palijan d.o.o.)
Plumbing Drainage And Aquarium Technology: Nenad Šutevski (Vodotehnika d.d.)
Plumbing And Drainage: Tomislav Fujs (Vodotehnika d.d.)
Electrical Engineering: Erol Čičić, Antonio Praničević (Projekting 1970)
Mechanical Installations: Zlatko Jakoplić (Ured 3T d.o.o.)
Elevators: Rok Pietri (Lift Modus d.o.o.)
Building Physics: Mateo Biluš (AKFZ studio d.o.o.)
Landscape Design: Luka Brnić (Uređenje krajobraza d.o.o.), Ines Hrdalo
Fire Safety, Health & Safety Project: Nadan Kosanović (ING Labos)
3 D: Boris Goreta
Signage And Environmental Graphics Design: Bilić_Muller Studio (Dora Bilić, Tina Müller)
Aquarium Technology Project: Franjo Jović (Tehnoekspert)
Fish Protection Project: Dražen Oraić (Hrvatski Veterinarski Institut)
Concept And Design Of The Exhibition: 3LHD
Aquarium Setup: Marko Ćaleta (Faculty of Teacher Education, Zagreb), Zoran Marčić (Faculty of Science, Zagreb)
Educational Wall Illustration And Design: Ana Rako and Bilić_Müller Studio
Artificial Rock: Igor Lenard
Audio Video Installations: Miodrag Gladović (AVC)
Aquascaping And Aquarium Lighting Concept: Petra Bašić, Petar Pintar (Aquatic design)
Main Contractor: AB Gradnja d.o.o, ENA d.o.o., KGH d.o.o.

From the architect. The Karlovac freshwater aquarium is located by the river Korana. The building volume is partially dug into the ground and covered with earthen embankments and greenery from its outer edges. The design concept was inspired by the city's historic center "Karlovac star" surrounded by "Šanci" – defensive earthen walls and mounds. The goal was to form a new city focal point and to validate the promenade by the river. Three walking routes were formed: towards the city center and the river; towards the south and the sports and recreational center; and towards east and the road access. A new point is located at the junction of the walking routes - a square around which all of the aquarium facilities are located: entrance spaces, souvenir shop, cafe bar, library and offices.

The aquarium exhibition displays the flora and fauna of Croatian rivers and their ecosystems. The display layout follows the flow of a karst river – together with its flora, fauna and biodiversity. The exhibition starts outside, with a water surface on the square. It continues inside the building with a system of ramps that wind like a river down into the basement level because specific plant and animal species require complete control of lighting conditions in order to survive. Aquariums are placed along, above and below the visitor paths. Along the pedestrian ramps the fish are first observed from above, as they are when walking along the river; and then from the sides - they can be seen below the water surface. After the headwaters (upper part of a river) the sounds quiet down, visitors plunge into caves that feature endemic species which are often found in subterranean streams. The space expands, lighting comes from the tanks, and visitors can take a break in the central area, listen to the sounds recorded in caves, and observe the exhibited endemic species. After the cave, the visitors arrive to an aquarium with larger specimens of rare species that have disappeared from their natural habitats in Croatia. The visitors can observe the fish and aquatic plants that live in warmer parts of the riverbed. The aquariums are seen from the side, and then from underneath as the visitors walk into a tunnel that evokes immersion into a river. After the tunnel, visitors pass through a series of aquariums with water lilies and rushes usually present downstream, in the marshy habitats of a river. The exhibition ends with a system of cascading aquariums whose biotopes display waterfalls and a travertine barrier.

Finally, a stairway and an elevator return the visitors to the entrance hall through the gift shop. A space for analysis of the technological parameters of water, a scientific research center and fish aclamatization spaces are located in the center of the layout.

Karlovac freshwater aquarium is co-financed from the European Regional Development Fund under the "Regional Competitiveness" 2007-20013 Operational Programme. The total value of the project is 36.691.939,28 Kuna's, of which the grant from the European Regional Development Fund is 36,222,282.45 Kuna's.

Product Description.

Pigmented concrete

The concrete used on the façade is pigmented and produced by a special in-situ method right on the construction site. A special type and size of grain was selected to achieve the desired effect – to make the façade color resemble the color of ground/soil. First, the concrete is carefully applied on the hull, vibrated in layers and cultivated for a period of time. Before it is mounted on the façade the hull is coated with a cement milk retardant to slow down the binding process in the concrete. After the hull is removed the concrete surface is washed to obtain a specific texture. The mineral grains become visible and clearly define the structure and texture of the complete and solid concrete surface.

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"Creative Cynic" Peter Cook Explains Why Archigram Designs Were Always Meant to Be Built

Posted: 21 Nov 2016 02:30 AM PST

Last week ArchDaily attended the 2016 World Architecture Festival in Berlin. We chatted with Sir Peter Cook and asked him about the current state of global affairs (Brexit, the US election, etc). He explained how his experience and work has influenced a career that has spanned over five decades, and reminds us of the inspiring power of architecture.

Peter Cook: You have to understand that I'm a very particular kind of animal both politically and in my general opinions. I'm what I would call a creative cynic. I'm an old person and I've seen a lot of not very good things happen. On the other hand I was privileged as a child to have free education and free college.

Peter Cook. REAL CITY: Perspective of Everscreened Type, 1986, tracing paper, ink, 64 x 62 cm © Peter Cook

I don't see things in the extremely black and white. I think there are variants on the not quite right and variants on the nearly possible. And so I think even in the Archigram days my projects were actually based upon a kind of liberal tradition. Although the mechanics looked outrageous, perhaps, the actual society that I was imagining into them was what I would call an North European liberal society, such as I actually grew up in. Of this made—there's a tendency away from that. And my great belief in Europe, which I did before there was even an EU, was that one had seen all these countries fighting each other—I was a child at the war time, and I heard bombs dropping—and you saw all these countries coming together and that seemed wonderful, irrespective if there was a bureaucracy or not.

In a way, I think the architectures that I make is based upon an optimism. Optimism with a side knowing that it won't quite happen, but not saying "Oh! All is terrible!" or "Oh! All is wonderful!" It's, "Yeah, it's going to be a bit better or a bit worse." That, of course, is a very English attitude. That we're survivors. It's interesting that when sometimes there are these economic downturns, for example in Spain when there was the last economic downtown, everyone said "It's all collapsing, what are we going to do, what are we doing to do!" The English said, "Hmm it's not so good, but it'll get better." And then things are good in England and they say, "Uh, any minute it's going to go down." And it's a kind of protective tissue which is very funny for foreigners. My wife is not English and she can never understand how we have this—we're never totally optimistic and we're never totally pessimistic. We say, "Well, let's keep going and something will turn up." And you have to put my architecture in that perspective. It's what I would call liberal in a traditional sense of liberal. It's inquisitive, reasonable, it's to the left but not extreme left, it's beneficial for the underprivileged, but not in an extreme way. It uses the economic system that we have, as long as it doesn't go extremely badly. And I think this is difficult, particularly for Latin people or Mediterranean people to understand. They say, "What turns you on?"

Drawing Studio / CRAB Studio © Richard Bryant arcaidimages.com

You can use your imagination of course, and when I was doing the Archigram stuff I always thought it could be built. If you looked at it, it had handrails, it had toilets. And the toilets were the right size and the escalators were the right pitch. I always used to get irritated by people from other cultures who'd say, "This is a wonderful scheme; this is the city of the future." And you thought, "How the f*ck are you going to walk around on it! You're going to fall off the edge." So, you have the bear that in mind, and therefore I don't see any divide between what I was showing before lunch there, the blue thing [Drawing Studio at Bournemouth University], which is actually built, and what I was drawing in Archigram. That [project] looks a bit unusual in an English university, but it's only what we were doing in Archigram. And Archigram looked a bit unusual but actually it could have been built, and that was what was very interesting when I built the Graz building—that you could do that. And yet, people for years had been saying you couldn't do our kind of stuff. And then you say, "F*ck you, look there it is!" What do you do then? And I think it's… in a way a rather cynical background. You somehow can do things because the cynicism is a protective crust for what is fundamentally optimism. And there you are.

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16 Tips To Improve Your Model-Making Skills

Posted: 21 Nov 2016 01:30 AM PST

Virtual 3D Modeling has for decades been increasing in its popularity, yet hand-made models are far from extinct. Perhaps a reason for this is that despite the "3D" in "3D modeling," viewing those models on a screen or print is still, effectively, two-dimensional. A physical model of course can be held in your hand, examined and understood spatially in a way that a CAD model can't. It can also be used as a quick and intuitive 3D sketch to get some ideas going. Whether it's for a client or a professor, models are almost always necessary in order to produce a complete understanding of the relationship between spaces in your design. To make the most use of this tool, read on for tips on how to improve your modeling:

1. Use the Right Tools

Having the right tools for building your model may not be everything when it comes to model making, but it sure will separate a good model from a great one. You don't want to waste time trying to find a less-than-suitable substitute for a missing tool. However, listing all the essential tools calls for a post in itself; take a look at this one to get started.

2. Use High Quality Cutting Tools

When building a model you will always need to cut up some material or another in order to suit your needs, making this specific tool somewhat more important than many of the others (with the exception of glue perhaps – more on that later). Getting that clean edge adds another level of neatness; it may not be fully appreciated, but trust us, its absence is always noted. Get your hands on a good utility knife with a set of exchangeable blades; a blunt knife is often more dangerous than a sharp one. A good pair of sharp scissors comes in handy too, especially when you don't want to spend hours making delicate cuts using a knife for a simple sketch model.

3. Carefully Choose Your Materials

Although your model may not always be an exact miniature of a full-scale building, the materials you select to represent it are important. Firstly, you want your model to narrate something about your project; having carefully chosen materials, as opposed to a model entirely made of card, will help to immerse others in that narrative far more effectively. Secondly, you want to make sure that the materials you use are easy enough for you to work with; a model should supplement your project, not hijack all of your time.

4. Use a Laser Cutter if Necessary

It's not uncommon to already have a CAD model on your computer, but it is uncommon, in such a situation, to have the motivation to recreate the entire thing by hand. In this case, laser cutting may be a favorable alternative. The trick with laser cutting is to set up your virtual model correctly, in order to make it possible to cut and piece together. It's likely that you'll be more restricted regarding your geometry, and tip 3 comes into play here too: unless you want to start a fire, the thickness of the material you use may be limited, and if you're planning to use wood then you should have a plan to remove or cover up those freshly-burned edges. If you're trying to get something very organic produced from a 3D model, 3D printing is probably the way to go.

5. Use Sketch Models

Thinking spatially is a tricky thing, even for architects. Sketch models, especially flexible ones that aren't permanently glued together, can be excellent tools in themselves when trying to figure out how to compose the finished model or overall architectural design. These models have the appeal of not needing to look so polished, nor do they take too much time to make.

6. Think About Your Lighting

Ensuring that your working environment is properly lit is essential in preventing your eyes from straining themselves, as well as enabling you to see the details in your model and avoid mistakes. Models can also result in beautiful photographs, but only if you have proper lighting set up.

7. Make Sure You Have Enough Space

Making enough space for yourself before beginning on a model is something your future self will thank you for. Model making can get messy and confusing very quickly if one doesn't have a big enough or organized space. Setting up a trashcan, for example, for left over scraps, or having a cutting area separated from an assembly area, can make the experience much more pleasant and prevent you from losing your gumption.

© Jakob Breidablik, Panuela Aasted, Ane Norderhus, Christian Graugaard

8. Select the Right Adhesives

As mentioned earlier, alongside cutting tools, getting your adhesives right is one of the most essential parts of model making. Nothing, nothing is worse than showing up with a model that is ready to fall apart at the slightest touch—except, perhaps, showing up with a model covered in drips and strings of glue. Here is an extensive list summarizing the best types of glue and tape for different types of models and materials. Bookmark it and use it wisely.

9. Wash Your Hands

One source suggests washing your hands every 30 minutes, and while this may be a tad excessive for some, washing your hands more often than usual is probably a good thing, especially when working with a white material. The oil and dirt that begins to accumulate on your fingers may not be obvious to you until you see it on your completed model. By that point, it'll be too late.

10. Anchor the Model

A model always represents a real building project, which always has a site or context; don't forget the context! Having a solid base is so much better than having a model floating in thin air. Models require something to anchor them down and give them that final touch, or as one source calls it, the equivalent of a "picture frame."

© Tim Viktorsson, Aja Borby Ørtenblad, Andreas Zacho, Klaus Wahid Knudsen

11. Decide on a Scale

Scale can be a game changer. Not only will it determine the level of detail and space that can be seen, but also the amount of time you spend on your model—and contrary to popular belief, smaller isn't always faster. Spending hours cutting meticulous, small elements using your X-Acto knife is something you'll regret when you could just as well have chosen a larger scale and used scissors.

12. Be Selective in What You Show

There will never be enough time or money to include everything in a model, so make sure you know what your model is aiming to communicate. Is it illustrating the essence of your project or concept, or is it showing a technical section of a wall? This will help you to cut out materials and time, including only what's essential.

13. Show Something New

In certain cases, models are near-replicas of drawings, however in an ideal world they shouldn't be. A model should enhance a set of drawings, showing another level of depth that drawings may not be able to communicate. Develop your project a step further in your model, in order to get the most out of your time and resources.

© Fruzsi Boutros, Ariana Zilliacus, Andrea Ougaard, Aniella Goldinger

14. Make a Time Plan

Before getting started on your model, write up a time plan to keep you on track for your deadline. This is to ensure that you show up with a model that can stand on its own and withstand the examination of others (in other words, a completed model) but also so that you don't end up sacrificing too much of your time that should be allocated to other work. Be realistic with your time plan; as stated earlier, nothing is worse than a model ready to fall apart.

15. Ask for Advice

It's difficult, if not impossible, to know everything about every material and tool that you may need to make you model. Don't be afraid to ask for help or advice from friends or experts; "there's no such thing as a stupid question," or so the saying goes.

16. Practice

Make mistakes and learn from your experience. The more models you make, the better they will become. Writing down the difficulties you've had, and what you've learned in order to solve them, could be a valuable resource to have a few months down the road when you run into a similar problem on your next model. Practice makes perfect.

All images are courtesy of students at the Danish Royal Academy of Fine Arts.

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Atlas Hotel Hoian / Vo Trong Nghia Architects

Posted: 21 Nov 2016 01:00 AM PST

Architects: Vo Trong Nghia Architects
Location: Đào Duy Từ, tp. Hội An, Quảng Nam, Vietnam
Interior Design: Vo Trong Nghia Architects
Principal Architect: Vo Trong Nghia, Tran Thi Hang
Area: 3115.0 m2
Project Year: 2016
Photographs: Hiroyuki Oki

Design Team : Le Thanh Tung, Pham Huu Hoang, Nguyen Thi Ha Vi, Le Thanh Tan, Nguyen Ngoc Thien Chuong

ATLAS HOTEL HOIAN is located in Hoi An's "Old Town; an area which has rapidly grown since it was officially named by UNESCO as a World Heritage Site. Recently, most of the ancient houses have been converted into shops and restaurants that serve the daily influx of tourism. The neighborhood is well known for its beautiful tiled-roofscape and its internal courtyards that provide a layered spatial quality between the inner and outer spaces. This quality has been slowly eroded due to chaotic commercial flow. As a consequence, Old Town has lost its charm of a calm and peaceful lifestyle.

Located in an irregular plot of land, the design approach of Atlas Hotel is to turn this constrain into its unique character. The linear layout is divided into several internal courtyards, and by lifting the building above the site, it completely frees the ground floor to create an inter-connected network of courtyards. This spatial quality reflects the dynamism of the new Hoi An but also retains the charm of the Old Town.

The five story hotel includes 48 guest rooms as well as various leisure functions such as restaurant, café, rooftop bar, spa, gym and swimming pool. Due to the complexity of the site, each guest room is shorter and wider than typical hotel rooms. Rather than a problem, this presented an opportunity for the rooms to have greater access to greenery not only from the bedroom but also from the bathroom.

The building façade is clad with locally-sourced sandstone pieces used in combination with an exposed concrete slab and a series of planters along the corridors. The planters are arranged along the entire façade of the hotel not only provides solar shading but also allows cooler air to ventilate the spaces. In addition, the perforated stone walls admit daylight without blocking air flow. This scheme allows the place to be naturally ventilated to minimise the use of air conditioner. The use of these green and natural elements embodies the particular interest of the office and the House for Trees concept: to integrate greenery into design as a way to rejuvenate urban areas and to contribute to societal improvement. At its core, Atlas Hotel reconnects man with nature.

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Gentrification's Image Problem and How It Has Been Villified

Posted: 21 Nov 2016 12:00 AM PST

Revitalização da High Line, linha férrea desativada de Nova York, elevou os preços dos imóveis da região. Image © Steven Severinghaus, via Flickr. CC

The idea of revitalizing a public space by bringing improvement that brings people together should not generate suspicion or fear. However, specific examples of places that have seen the cost of living greatly increase after their revitalization have been creating paradoxes. After all, does this "new villain" called gentrification have any relation to placemaking?

The answer, unfortunately, is yes. Although it's not a direct relation of cause and effect, it is impossible to deny the tenuous line between the two concepts. By definition, gentrification, or "ennoblement," refers to the social, cultural, and economic improvement of a neighborhood or, on a larger scale, of an entire region. Placemaking is the process of planning quality public spaces that contribute to the well-being of the local community. The concepts may be similar, but the methods and consequences of the two are very different.

The idea behind placemaking originated in the 1960s when writers like Jane Jacobs and William H. Whyte began to develop innovative ideas about creating cities that catered to people, focusing on the importance of inviting and living neighborhoods. The term gentrification was coined in 1964 by the British sociologist Ruth Glass to describe the flow of people of the middle class that displaced inhabitants of low class of urban districts. Glass illustrated gentrification by citing the example of the Islington neighborhood in north London where modest and old cottages were bought up and turned into elegant, expensive residences when their permits expired.

Today, it is this same process that turns gentrification into a villain. Residents are displaced when they can no longer pay for housing, utilities, school fees, and other services offered in the neighborhood due to the growing wealth of the area. The blurring between terms begins when investments in public spaces are likely to result in even greater potential investments for the area.

In this complex process, it is difficult to deny the relationship between the improvement or development of a public space and the consequent increase in the value of the surrounding land. However, the placemaking process is not a direct cause of gentrification. The difference lies in the factors that motivate the two processes.

Placemaking is no longer placemaking when it stops considering the opinion of those living and working in the area. Making decisions with the genuine contribution of the community and the recognition of their needs and wants is what defines the process. The transformations must start with the very community that uses the space. Gentrification is guided, with or without the influence of the government, by economic objectives, involved in the process of enhancement and devaluation of urban spaces over time. This can happen especially when upper-class districts can no longer sustain the number of inhabitants, who then look to settle elsewhere.

Mural no Mission District sinaliza gentrificação. Image © torbakhopper, via Flickr. CC

This process is widely debated in the US city of San Francisco. Urban Displacement, a University of Berkeley site, has developed a map showing the types of displacements in the region and indicates several areas in the advanced stage of gentrification. The relocation of various tech companies is commonly given as the culprit for the transformation of the city. The cost of housing and the large amount of a new class of workers has made neighborhoods like the Mission, famous for the presence of Latin American immigrants, enter a phase of transformations.

Luxury condominiums, organic ice cream stores, cafes that serve soy lattes, and chocolate shops that offer samples from Ecuador and Madagascar are rapidly replacing 99-cent stores, corner shops and rent controlled apartments in the Mission District , (San Francisco's) working-class Latino neighborhood - writes The New York Times.

In São Paulo, the Minhocão Park project has been carefully studied due to fears that it will become another example of gentrification. The project, sanctioned in March by Mayor Fernando Haddad, aims to gradually transform an elevated highway that cuts through São Paulo's city center into a recreational area. Currently, Minhocão is closed for almost 40 hours during the weekends. "We are concerned about gentrification in the area because we don't want to drive anyone out," said the mayor. To this end, Haddad said he would suggest to the sub-prefect of the area to create a Management Council made up of residents.

Although the phenomenon of gentrification is becoming common in large cities, local improvements shouldn't be seen as threats. What the urban critic Matthew Yglesias calls "gentrificationphobia" can generate an excessive fear of progress and delay projects that communities need. Advances may increase the value of land, but don't need to evict the inhabitants.

The way projects are run is what determines their results. Knowledge about gentrification and placemaking emphasizes the importance of creating spaces for all, spaces that connect areas, rather than dividing them. Neighborhoods need to be identifiable and maintain their natural qualities, things that have been developed over time. Avoiding gentrification keeps history from being erased.

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Castle Resort: Call For Entries

Posted: 20 Nov 2016 11:00 PM PST

Young Architects Competitions YAC and Marlegno s.r.l. launch Castle Resort, an open architectural competition aiming at the landscape renewal of the area around the Castle off Roccamandolfi, in Southern Italy. The competition is in cooperation with the Italian State Property Agency – Italian Government, the Municipality of Roccamandolfi, Touring Club, Associazione Italiana Confindustria Alberghi, the University of Bologna. The internationally-renowned jury gathers, among the others, Eduardo Souto de Moura, Todd Saunders, Alain Laurens of "La Cabane Perchée". A total of € 20.000 in prize money will be awarded and winner projects will be published on international architecture and design platforms.

There are places which belong to the inner being. There are destinations first engraved into the unreal, then on a map. Architectures of the soul, capable of helping us escape from our everyday life and freeing us from space and time.

Castles are among the architectures that can, in a more pronounced way, whisper into the heart of human beings. They often are located in marvelous spaces, sheltered in inaccessible and isolated places. These are oftentimes magical places, full of plots and heroism, uncontrolled passions and unspeakable secrets.

Located in a fairy‐tale landscape, the Castle of Roccamandolfi seems to come out from the ancient legends of chivalry. A medieval fragment which encompasses the ancient times and can still fascinate with its long‐standing charm. The castle stands on a steep hill, towering over a cliff, forests, and sunsets. Sketching out over an enchanting landscape, in need of new forms and ideas to allow its protection and the ongoing promotion of such a priceless heritage.

"Valore Paese", the Italian State Property Agency's project for the reprocessing of the national architectural heritage, moves into this direction. Aimed at enhancing the historic and landscape value, it builds dream tourist facilities which take advantage of their own natural background to involve visitors in this unique and unforgettable holiday experience.

How does one convert a medieval fortress into an exclusive tourist facility? How do you combine architecture and nature and aspire to become a worldwide destination?

Using these intriguing questions as inspiration, Marlegno, in partnership with the Italian State Property Agency – Italian Government, wants to promote Castle Resort and invites designers to let themselves get swept away by the charm of this abandoned fortress. To conceive a fabulous accommodation facility, plunged into a majestic nature and set among the traces of an impressive castle. A dream place, capable of inspiring the imagination of every tourist who visits and offering a timeless holiday. All wrapped up by the comfort of modern life mixed in with ancient remains.

Jury

Eduardo Souto de Moura
Todd Saunders, SAUNDERS ARCHITECTURE
Alain Laurens, LA CABANE PERCHÉE
Giorgio Palmucci, ASSOCIAZIONE ITALIANA CONFINDUSTRIA ALBERGHI
Lamberto Mancini, TOURING CLUB
Edoardo Maggini, ITALIAN STATE PROPERTY AGENCY - ITALIAN GOVERNMENT
Giacomo Lombardi, MUNICIPALITY OF ROCCAMANDOLFI
Angelo Luigi Marchetti, MARLEGNO s.r.l.
Elena Mucelli, UNIVERSITY OF BOLOGNA
Remo Capitanio, CAPITANIO ARCHITETTI

Prizes

1° Prize € 10.000
2° Prize € 4.000
3° Prize € 2.000
4° "Gold" Honorable Mentions € 1.000 each
10 Honorable Mentions
30 Finalists

Calender

21/11/2016 early birds registrations - opening
28/12/2016 (11.59 pm GMT) early birds registrations - ending
29/12/2016 standard registrations - opening
31/01/2017 (11.59 pm GMT) standard registrations - ending
01/02/2017 late registrations - opening
28/02/2017 (11.59 pm GMT) late registrations - ending
03/03/2017 (11.59 pm GMT) materials submission's deadline
07/03/2017 jury summoning
10/04/2017 results announcement

For more information visit: www.youngarchitectscompetitions.com
Contact us at: yac@yac-ltd.com
Download the information related to this competition here.

Title: Castle Resort: Call For Entries
Type: Competition Announcement (Ideas)
Organizers: YAC
Registration Deadline: 28/02/2017 23:59
Submission Deadline: 03/03/2017 23:59
Venue: Roccamandolfi, Italy
Price: 75 €

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Article 25's "10x10" Auction Features Work by Zaha Hadid, Kengo Kuma, Richard Meier & Antony Gormley

Posted: 20 Nov 2016 10:00 PM PST

Kyle Henderson. Image Courtesy of Article 25

In celebration of their 10-year anniversary, Article 25, the world's largest architectural charity, will hold this year's "10x10 Drawing the City London" event on November 29 at the Royal Institute of British Architects. Each year, representatives from UK's top architecture studios and property and design industries gather to raise funds for Article 25's work in developing countries. The event features an auction of artwork by 100 prominent rising artists, designers, and architects; this year's participants include Kengo Kuma, Richard Meier, Antony Gormley, Zaha Hadid Design, and David Adjaye.

Roger Fitzgerald. Image Courtesy of Article 25

Article 25 works for human rights by designing, building, and managing projects that provide necessary buildings in the world's most vulnerable communities. The organization has completed 82 projects and raised over £500 thousand for their work to date. Current projects include the reconstruction of a hospital in Nepal, design of a solar system installation training center in Burkina Faso, and planning of an inclusive preschool in Tanzania for disabled children.