Arch Daily |
- Project of the Month: Tangshan Organic Farm
- Mathematics: The Winton Gallery / Zaha Hadid Architects
- AD Classics: Trylon and Perisphere / Harrison and Fouilhoux
- Full Metal Jacket / 9cm
- Half Roof House / AD+ studio
- Office OU Designs New National Museum Complex Master Plan in South Korea
- Is Arch has Unveiled the Winners of its ISArch Awards for Architecture Students
- NorthEdge / Perkins+Will
- PLH Arkitekter Wins Rail Baltica Competition with Arch-Inspired Infrastructural System
- A Look at London's New Design Museum Through the Lens of Luc Boegly & Sergio Grazia
- Farm Grubbehoeve / Jeanne Dekkers Architecture
| Project of the Month: Tangshan Organic Farm Posted: 10 Dec 2016 04:00 PM PST  Courtesy of ARCHSTUDIO The design of industrial architecture presents a considerable challenge, since certain factors such as the industrial workflow and the conditions for the workers and machinery provide the guidelines for the development of the project. However, in many cases, industrial projects are designed without further exploration in terms of materials or construction systems, aiming simply to comply with regulations. This month we want to highlight the Organic Farm in Tangshan by Chinese firm ARCHSTUDIO, a project in which an interesting structural and conceptual exploration results in a new industrial architectural intention, and which also generates new public spaces to promote a relationship with the nearby community through the construction. Read on for our interview with ARCHSTUDIO about this Organic Farm.
The concept of "translucent space," and the materials you selected, are an interesting choice for a project of industrial character. Can you tell us more about these decisions in terms of spatial organization and the materials used? The research we made at the initial design stage finds that early grain mills originated from farm houses. With agricultural development, food processing machinery becomes more and more sophisticated, and housing spans became wider and wider, and small mills gradually evolved into industrial factories. But this kind of factory is often a dull and boring industrial building, and interior and exterior are completely separated. The design of a space should make people who work there happy. Therefore, we hope this organic farm maintains the feelings of a farm home, while providing a large span to meet the needs for food processing. These considerations naturally bring the idea of a courtyard-style building and natural wood structural materials. In addition, organic food emphasizes the nature of ingredients, free of chemical fertilizer, and this characteristic of the food and brand image can be enhanced through the impression of space.  Courtesy of ARCHSTUDIO  Courtesy of ARCHSTUDIO Could you tell us more about the decision process for the composition of the building? In the process model image you show some different layouts before deciding upon the "grand courtyard" building, but always looking to the Siheyuan courtyard house typology. We considered different building module units during the process, as well as different ways to combine them. These modules included square, rectangular and slope units. Some plan compositions were arranged according to the area that each part of the building needed. The design needs to create a working atmosphere in a vast field. Our original idea was some scattered buildings, like those in a small village. But this approach would have been too fragmented, which is not good for management. Afterwards, we intended to design this farm in both a scattered and gathered way. With this intention, we chose 2.1 meter, 4.2 meter, and 8.4 meter frame structures, and made a concept that created a space with various spans in one sloping roof, and all these are based on the prototype of the Siheyuan typology.  © JIN Wei-Qi
How did this decision about using the Siheyuan typology in the design composition help the internal workflow of the program? The Siheyuan is a type of architecture which is enclosed on four sides, opening to the courtyard on the inside. In this design, the raw grain storage room is in the north, the grinding mill and oil pressing workshop are in the east and west, and the packaging area is in the south; these simply correspond to the working process from raw materials to packaging. Each of the four factories has an independent exit for vehicular transport and also has an exit facing the central courtyard, which is used as the grain-sunning ground.  Courtesy of ARCHSTUDIO What is the contribution you were looking to add to the community? The farm is open and approachable from the surroundings. We hope that it is not only a factory, but also a "garden" for leisure. People can relax and have fun in the open external corridors and different-sized landscape courtyards. Many workers in the farm are locals, so we hope that the house brings them a warm feeling and becomes a place with collective memory.  Courtesy of ARCHSTUDIO What is the routine of the farm and what kind of equipment do they use? At present the farm mainly makes some organic foods, including flour, millet, peanut oil, soybean oil, sesame oil and so on. The main processing periods are in the spring and autumn. The owner recently added a brewery into the raw grain storage room. Some old equipment was brought here from Sichuan, and the first batch of brewed liquor has been completed and stored. The farm is equipped with some small processing equipment, such as a grinding machine, oil pressing machine and so on.  Courtesy of ARCHSTUDIO  © JIN Wei-Qi How does the ventilation and light work inside the buildings? Ventilation is one of the important considerations while designing, because processing workshops generate dust. Our solution was to combine natural ventilation with mechanical exhaust. There are high windows on the walls, and their positions were designed with the consideration of airflow movement, so they are good for ventilation. There are also vents under the eaves and at the top of walls, so hot air rises to cause air circulation which is suitable for food storage. The polycarbonate panel walls have good light transmission performance, which endows the working space with a soft lighting environment.
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| Mathematics: The Winton Gallery / Zaha Hadid Architects Posted: 10 Dec 2016 09:00 PM PST  © Luke Hayes
 © Luke Hayes From the architect. It is a wonderful coincidence that we started work designing the Science Museum's Mathematics Gallery in the bicentennial year of the birth of Ada Lovelace, a pioneering woman in the history of computers and of 'poetic science'. Her inspirational influence on our approach to the design of the project, from inception to completion, cannot be overstated. Just as her Notes unravelled the abstract world of the analytical engine and its logic to generations beyond, we hope the design of the Mathematics Gallery complements the curatorial ambitions to inspire and engage further generations with the instinctive and physical aspects of mathematics. Collections like those housed within the Science Museum in London are instrumental in allowing the human mind to explore the many dimensions of innovation. The new group of objects on display in the Gallery is meticulously curated to narrate seemingly everyday moments in innovation driven by mathematics.  Design Concept  © Luke Hayes  Design Concept Our design for the Gallery responds to the ambition of David Rooney and his team to present mathematics not as an academic concept, but as a practice that influences technology and enables the environment around us to be transformed. Mathematics and its tools have always played a central role in the evolution of the human understanding of nature and the constructed world:  © Luke Hayes Mathematics forms one of the cornerstones of the foundations of computing and of scientific methods of research within architectural practices. It has had a profound influence on architectural shapes and forms (known as morphology) and their origins, basing them on sound structural principles. The enhancement of the performative aspects of design with respect to the built environment, its manufacture and ultimately the comfortable navigation by people within these environments, forms an integral part of building on these foundations.  © Luke Hayes With historical training in geometric methods to understand morphology, architects are well positioned to contribute to this collaborative endeavour of delivering information-rich settings that support the complex needs of humans within the built environment. A large proportion of our own work emerges from our fascination with mathematical logic and geometry, with advances in design technology enabling us to rethink form and space. The fluid surfaces and structures of each project thus generated are defined by scientific innovations. Our design for the Mathematics Gallery realises such an effort.  © Luke Hayes The successful flight of the Handley Page aeroplane in the 1929 Guggenheim competition, with its short take-off and landing distances, represents a triumphal moment in the accessibility of aviation to ordinary men and women. The spatial organisation of the Gallery places a central emphasis on this important product of British aviation, and the transformational capacity of mathematics and science, by taking inspiration from one of the key moments in the flight of the plane and the concepts of aerodynamics embodied within.  © Luke Hayes While mathematical logic and geometry can provide an intuitive model to understand the natural world, computational tools allow us to examine scenarios that enable a nuanced understanding of the mechanisms of nature. Using the principles of a mathematical approach known as computational fluid dynamics which acts as an organisational guide, the layout of the Gallery allows for the virtual lines of airflow to be manifested physically. The positioning of the more than 100 historical objects, and the production of robust arch-like benches using robotic manufacture, all embody the mathematical spirit of the brief. The resulting spatial experience created by these components within the Winton Gallery enables visitors to see some of the many actual and perceivable ways in which mathematics touches our lives. This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Trylon and Perisphere / Harrison and Fouilhoux Posted: 10 Dec 2016 08:00 PM PST  Courtesy of Flickr user Richard under CC BY 2.0 With the onset of the Great Depression in the 1930s, the great World's Fairs that had been held around the globe since the Crystal Palace Exhibition of 1851 lost much of their momentum. With the specter of another global conflict looming like a stormcloud on the horizon in the latter half of the decade, prospects for the future only grew darker. It was in this air of uncertainty and fear that the gleaming white Trylon and Perisphere of the 1939 New York World's Fair made their debuts, the centerpiece of an exhibition that presented a vision of hope for things to come.  Image via nyworldsfaircollections.tumblr.com (Public Domain) The 1939 Fair was initially conceived in 1934 as a celebration of the 150th anniversary of the inauguration of the United States' first president, George Washington, and the ratification of its constitution. However, the committee formed to plan the fair quickly changed its focus, and by 1936 had settled on a final theme that had little to do with American history: "Building the World of Tomorrow." Pressure from sponsors ultimately led to the commercialization of this guiding theme, with much of the fair grounds given over to exhibitions of the consumer goods produced by the fair's supporters; while the idealistic vision of the future remained, its basis was now abundant consumerism unrestrained by the harsh economic realities of the 1930s.[1] The variety of exhibition halls and pavilions that arose on the site of a former dump in Flushing Meadows all followed this optimistic mandate, but the greatest manifestation of this ideal was to be found in the fair's enormous centerpiece structures. The Trylon and Perisphere were, respectively, a three-sided obelisk and a sphere mounted on five steel pillars. Connecting and encircling the two buildings was a 950-foot ramp called the Helicline. The two steel-framed structures dominated the fair grounds: the Trylon stood 610 feet (186 meters) tall, and the Perisphere had a diameter of 180 feet (55 meters). Thanks to their enormous dimensions, the Trylon and Perisphere were visible from miles away, an effect intensified by the fact that both were painted pure white.[2,3]  A quarter section of the Perisphere reveals its steel skeletal structure. ImageImage via nyworldsfaircollections.tumblr.com (Public Domain) While the forms of the 1939 Fair's theme structures became iconic for their geometric simplicity, the design process was anything but simple; according to the fair's delineator Hugh Ferriss, the sheer amount of studies in geometric form and materiality produced by the architects occupied the entire wall space of their drafting room.[4] Given the symbolic and visual prominence of the project, it is unsurprising that architects Wallace Harrison and J. André Fouilhoux so exhaustively considered its formal possibilities. The eventual "spike and sphere" design on which they settled was intended to represent the finite and the infinite, a fitting analogy for the vision of a heady future built using existing technologies being presented by the fair at large. The names for each of the structures were based in Greek: while the tri in Trylon simply signified its three sides, the peri in Perisphere referred to the "all-around" view presented within its featureless white mass.[5] Visitors entered the Perisphere by riding an escalator—at that time the world's largest—from the Trylon. The exhibition space within the Perisphere, roughly twice the size of the Radio City Music Hall auditorium, was home to a diorama depicting an ideal city of the future.[6] This concept design, named "Democracity," covered an area of approximately 11,000 square miles (28,500 square kilometers) and supported a population of 1.5 million people. It was primarily a vision of suburbia, one based on Ebenezer Howard's Garden Cities model: a central business district named Centerton surrounded by industrial Millvilles, residential Pleasantvilles, park lands and agricultural fields, all interconnected by a network of modern automobile expressways. Visitors overlooked the tableau from moving platforms, while a light show above them displayed workers from a wide variety of trades coming together to build the World of Tomorrow.[7,8]  Image via nyworldsfaircollections.tumblr.com (Public Domain) Despite the utopian promise embodied in the Trylon and Perisphere, their construction was hampered by the limitations of reality. The original dimensions of a 700 foot (213 meter) tall Trylon and 200 foot (61 meter) diameter Perisphere had to be scaled down due to budget restrictions, altering their proportions in the process. More noticeable, however, was the necessary compromise in building materials: while Harrison had intended to use concrete for the exterior cladding, he was ultimately forced to accept gypsum board and plastered with stucco. The resulting façade was not perfectly smooth as concrete would have been, detracting from the effect of the otherwise pure geometry.[9] These compromises did little to detract from the public's admiration. While the classical layout and "confused" aesthetic of most of the fair drew ire from contemporary critics, the abstract modernism of the Trylon and Perisphere was often singled out for praise.[10] As much a symbol of the 1939 Fair as the Eiffel Tower had been at the Exposition Universelle fifty years before, the Trylon and Perisphere were depicted on almost countless forms of advertising and memorabilia during the fair's two-year run. The unmarked white shell of the Perisphere was used as a surface for projections each evening, transforming its stucco surface with images of cloudy skies, intricate patterns, or—on Halloween of 1939—a gargantuan Jack-o-Lantern. By day or by night, the 'ball and bat,' as they were humorously referred to, stood as the unmatched climax of the fair.[11]  A commemorative postage stamp was one of the many pieces of memorabilia to bear the likeness of the Trylon and Perisphere. ImageCourtesy of Wikimedia user Ecphora (Public Domain) The promise of the 1939-40 World's Fair in signifying a brighter future seemed to vanish before the fair itself had even closed. The outbreak of the Spanish Civil War led to the closing of the Spanish Pavilion, and as Nazi Germany began its conquest of Europe, Poland, Denmark, Norway, Belgium, the Netherlands, and France were forced to drop out as well.[12] When the Trylon and Perisphere themselves were dismantled so that their materials could be put to use in the war effort, it seemed as though the fair's dream of a better tomorrow had been destroyed with them.[13] However, their influence would continue to be felt in the years that followed the war, as a new wave of development in the United States hearkened back to the prosperous suburban ideal presented in Democracity. The Trylon and Perisphere themselves, while no longer physically extant, have earned an enduring legacy as one of the world's greatest symbols of hope for the future when there seemed to be no hope at all – a vision of the World of Tomorrow that has yet to be forgotten.[14]  Image via MetMuseum.org (Public Domain) References
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| Posted: 10 Dec 2016 06:00 PM PST  © Yousub Song
 © Yousub Song This project located next to Hong-ik University, in Seogyo-dong Seoul, has the art department of reputation. So young artists have settled their small studios in old houses along with the university streets, and influenced arts, design, architecture, literature, and more. Then this town became a huge space for cultural exchange of young people and this activity changed old buildings into a brand new or unique remodeled buildings to fit artists' lifestyle.  Diagrams This town was no longer a residential area, but artists' and young people's cultural space. However, long-term and great alteration in the town led rise of land price and investment for profit. Architects and public officers tried to keep the cultural atmosphere from big investors to use the town as a real estate investment.  © Yousub Song Our site was a two-story residence surrounded by commercial facility remodeled from a residence. In this condition, the client wanted to move out and change the use of the residence. He asked for a flexible space for variety programs such as bar, café, restaurant, and club that operates properly.  © Yousub Song We suggest a renovation rather than a new building to reduce the budget and to produce unique space matching with surrounding contexts. There were two points to approach this project. The first was how we change this old red brick house to a brand new space for young people who set the trend of streets around. The second was to provide required programs by client at the brick-built structure that has limited space.  © Yousub Song To solve the problem, limited space had to be changed to fit the new programs. Firstly, existing wall removed and installation of exterior deck for communication to street actively. Secondly, removing gable and planning exterior space on whole floor, where connect each other from first floor to roof.  Section Removing roof to make outside space each floor for connecting all the floors from ground to roof garden which allows to use whole building to be used at once. And also, the walls inside and facing outside space were demolished to link inside and outside.  © Yousub Song The next step was to take off worn façade. Old red brick façade didn't fit for young cultural space and we tried to find out materials that is not disparate from surrounding contexts. The upper mass was covered with Dark steel plate and bright grey brick finish in the lower mass for dark steel box to look floating and symbolic. There is a staircase covered with steel-mesh to the rooftop space and shows the way to a whole new experience with lighting cube tables enjoying the night club party.  Section Inside materials are not very different from outside. Hairline stainless steel and dark steel plate is used for the bar, bathroom, and staircase to emphasize wall and inside small masses. We overcame such a low ceiling height for commercial use with cnc-cut organic patterned wood panel ceiling and plastic fabric carpet to make young and active space.  © Yousub Song This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Dec 2016 12:00 PM PST .jpg?1481019055 "© Quang Dam") © Quang Dam
.jpg?1481020113 "© Quang Dam") © Quang Dam From the architect. For the first time coming here, we have the feeling about the depth of an "aged" house which is filled with its owners' habit and memories from the very first years after Liberation. .jpg?1481018643 "© Quang Dam") © Quang Dam The owners are a retired couple who want to renovate this house into a more spacious place to enjoy time with their children and grandchildren, particularly in some special occasions like TET. The old house is built on a weak ground and located in a local officers' resident.  Diagram As time gone by, city replaces towns; new houses replace the old ones. However, this two semi-detached house has managed to preserve their original form after several restorations, not perfectly but adequately to keep the spirit of a traditional Southern houses. The combination in this two semi-detached house has put a silent note on the neighborhood's transformation trend. .jpg?1481018821 "© Quang Dam") © Quang Dam Design method is to keep a half of the existing roof and the gutter in order to remain the harmony for the whole scene and the spirit of a Southern house. From this, the "HALF ROOF" language is applied for the back block to make the uniformity for the building. The forming language beginning from the existing house will make the house modern but familiar. The old structure is handled in a new way; the columns under gutter are retreated, steel structure is used to make a 5-meter span, which creates a completely opening space, the inner and the outer of the house which are separated by slide doors are connected through this space. Trees are put into groups which cover the lodge. These help the house's owner preserving their living habit under the porch, around the garden but in a generous and contemporary building. .jpg?1481019126 "© Quang Dam") © Quang Dam Materials, jardinières and furniture taken from the old house are selected, redecorated, reused, and cleverly organized to put back to the new house in the combination with several new parts. As a result, the memories of this house, this street, and of those who has lived here are maintained. .jpg?1481019610 "© Quang Dam") © Quang Dam This construction is located in the countryside of Vietnam where the living style and habit of the residents thereby have been changing due to the impact of the city living style. The new construction at present creates more closed space which is designed to be clear, lightning and filled with amenities but destroy the relationship among people. Accordingly, the living habit of the local residents follows the trend toward closed environment. .jpg?1481019235 "© Quang Dam") © Quang Dam In this house, we desire to preserve the great value, hospitality, "open" way of living of the residents living in the river region: the way they share feelings to each other and to the living environment; the way they care for each other; the way they open the door to welcome visitors or the way they open their heart. Open house, open hearts. .jpg?1481020229 "© Quang Dam") © Quang Dam Product Description. With the limited budget, most of the old house's recyclable materials are reused: patterned tiles are cleaned and utilized for tiling the living room's floor, old roof tiles of the subordinate space are for decorating the culinary ceiling, the mezzanine structure frame and planks are reused for the new upstairs, the old laths, battens of the roof have become the porch louvers. .jpg?1481018610 "© Quang Dam") © Quang Dam Local materials are used for other parts of the building so that the shipping cost is saved and the local atmosphere is created for the house: the clay tiles, mortar coating in combination with trees, terracotta block tiles for lighting, firewood becoming lighting screen of the structure frame. The new building still keeps most of the living style as well as the memories of its owner through the way of selection and reuse of old materials. This posting includes an audio/video/photo media file: Download Now |
| Office OU Designs New National Museum Complex Master Plan in South Korea Posted: 10 Dec 2016 08:00 AM PST  Courtesy of Office OU Chosen from 81 entries, Toronto-based design firm Office OU has been announced as the winner of South Korea's International Competition for the National Museum Complex Master Plan of the New Administrative City (Sejong City). As a proposed self-sustaining city of 500,000 people, Sejong City will serve as South Korea's administrative city, transferring multiple national government functions from Seoul. The Museum Gardens will amplify the cultural landscape of South Korea's new metropolis.  Courtesy of Office OU
 Courtesy of Office OU Museums for architecture and the city, design, natural history, and Korea's archival traditions and Office OU's National Children's Museum contribute to the almost dozen museums that will be built on the site. At 190,000 square meters, Office OU's master plan was inspired by its surrounding environment —including rice paddies, wetlands, forests, and riverbanks — all organized around a central square. Each museum will be influenced by its adjacent landscapes, guiding the design of the courtyards.  Courtesy of Office OU  Courtesy of Office OU
 Courtesy of Office OU The master plans also draw from the traditional palace architecture of Korea's Joeseon Dynasty, in addition to creating an organic integration of nature and architecture. This strategy is exemplified by the landscape of the Children's Museum, which allows children to play and adventure within the space. Similarly, the Archives Museum will be nestled in a mountainous environment, creating a secluded identity, while the Architecture Museum is distinguishable in an urban landscape.  Courtesy of Office OU  Courtesy of Office OU News Via: Office OU This posting includes an audio/video/photo media file: Download Now |
| Is Arch has Unveiled the Winners of its ISArch Awards for Architecture Students Posted: 10 Dec 2016 06:00 AM PST  Courtesy of Is Arch Is ARCH has announced the winners of the seventh edition of the ISArch Awards, an international award competition for students of architecture. In an effort to provide students with a "gateway to the professional and corporate world," the competition calls for students to engage in dialogue and debate within the framework of their university studies. The three winners of the seventh IsArch Awards are: First Prize: Delta Reconfiguratoria / José Alberto González Martín; Spain  Courtesy of Is Arch The Ebro Delta is disappearing because of sea level rise due to climate change and the lack of sand coming from the mountains due to over construction of reservoirs. This project proposes a temporary low-tech industrial overlay made of traditional knowledge and local materials and techniques that will let Nature itself draw a new productive delta and restore balance. Second Prize: No man's land / Orit Theuer; Academy of Fine Arts Austria  Courtesy of Is Arch Regarding the Israeli-Palestinian Conflict, this law is a powerful political tool to prevent a union between two peoples. I interpret this lack of status and the gaps in the legal system as a socio-political No-Man's-Land. With the architecture I want to discuss the role of borders and walls through materiality and through the site. The veil represents the metaphysical border between two people. This border gets dissolved by lifting the veil in the wedding ceremony. The changing geometry of the cloth represents the vagueness of the border and the changing power relations. Third Prize: Explorative Synergy / Stephan Ritzer; Universtiy of Applied Arts Austria  Courtesy of Is Arch Education guides us towards our collective and individual future. This project combines a Kindergarten and cognitive research center into a prototype, exploring, discussing, and playing with novel pedagogic concepts, which extend our supporting capabilities for fostering all children based on their individual talents. News and project descriptions via Is Arch. This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Dec 2016 05:00 AM PST  © Lara Swimmer
 © Lara Swimmer NorthEdge is a 208,000-square-foot hi-tech office space in Seattle, Washington's Wallingford neighborhood.  © Lara Swimmer It's design inspiration came from the adjacent Gasworks Park, which was former home to the city's municipal gas works. The park today contains much of the original 1900s machinery. The rustic and modern materials selected for NorthEdge harmonizes with materials found at the park to celebrate the area's industrial past.  Diagrams Perkins+Will's design approach focuses on a single four-story building with stepped forms and natural coloration to enhance and transform a site that, until recently, was a derelict and contaminated brownfield.  © Lara Swimmer The building is organized around a 38-foot wide central outdoor court comprised of a series of small roof terraces and walkways that step down the site toward the lake. Developed on a challenging 60-foot terrace, Perkins+Will's design strategically stacks all four floors of the building along the grade to take advantage of nearby views. The lobby creates a multi-story link that is highly transparent to frame views for pedestrians who also have access to a public roof terrace.  Section The building is certified LEED-Silver by the U.S. Green Building Council. The construction phase included substantial water conservation and clean up to improve water quality in the near and long-term  © Lara Swimmer Product Description. One of the principal materials used on this project was weathered steel (A606), often referred to by its trademark name Cor-Ten. The panels were pre-weathered off-site for six months and used in a rainscreen application. Thoughtful detailing sought to minimize oxidation run-off including providing sill flashing with river rock to help filter any residue.  © Lara Swimmer This posting includes an audio/video/photo media file: Download Now |
| PLH Arkitekter Wins Rail Baltica Competition with Arch-Inspired Infrastructural System Posted: 10 Dec 2016 04:00 AM PST  Courtesy of PLH Arkitekter PLH Arkitekter has been announced as one of two winners in the international design competition for Rail Baltica, organized by The European Railroad Lines, Ltd. As a part of the European transport network, Rail Baltica will be a multi-modal public transport hub in the Latvian capital of Riga, with a railway bridge crossing the Daugava River. The focal point of the project will be a train station building "that creates a strong visual identity in the cityscape, strengthening the sense of Riga as a metropolis." Inspired by the archetypal form of the arch and the Art Nouveau period, the building will feature canopies that resemble arched fern leaves. On the north side of the building, the canopy shape allows for a unique view over the historic city, ideal for travelers entering or leaving the city to create a strong sense of place.  Courtesy of PLH Arkitekter  Courtesy of PLH Arkitekter  Courtesy of PLH Arkitekter  Courtesy of PLH Arkitekter Throughout the building, geometric features, symmetry, and repetition will enhance wayfinding and maintain orientation throughout travel.  Courtesy of PLH Arkitekter The project additionally features two new train tracks that run parallel to existing tracks and over a new bridge . The architects explained that it will be "designed with a light and floating expression. To maintain the relationship between the old and the new, the bridge has a varying cross section that emerges on the underside of the bridge, with a rolling, wavy line that refers to the large arch construction of the old bridge. The new bridge is designed with integrated bicycle and pedestrian paths, creating a better connection along the rails and across the Daugava."  Courtesy of PLH Arkitekter  Courtesy of PLH Arkitekter A sew sequence of green urban spaces will also be included in the project, in order to "remedy climate challenges by creating better micro-climates in the city, and improving air quality, thermal comfort, biodiversity, stormwater management, and preventing urban heat islands."  Courtesy of PLH Arkitekter  Courtesy of PLH Arkitekter
 Courtesy of PLH Arkitekter News via PLH Arkitekter. This posting includes an audio/video/photo media file: Download Now |
| A Look at London's New Design Museum Through the Lens of Luc Boegly & Sergio Grazia Posted: 10 Dec 2016 01:30 AM PST  © Luc Boegly & Sergio Grazia With the opening of the new Design Museum in London, the former Commonwealth Institute building designed by RMJM in 1962 has been given a new lease of life. With an exterior renovation by OMA and Allies & Morrison, and interiors by John Pawson, last month the building reopened after a fourteen-year closure—finally offering the public a chance to experience the swooping paraboloid roof from the inside. Read on to see photographs of the Design Museum's new home by Luc Boegly & Sergio Grazia.  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia  © Luc Boegly & Sergio Grazia This posting includes an audio/video/photo media file: Download Now |
| Farm Grubbehoeve / Jeanne Dekkers Architecture Posted: 10 Dec 2016 01:00 AM PST  © Holly Marder
 © Holly Marder Jeanne Dekkers Architecture redeveloped a existing L-shaped farm in the hilly countryside of Limburg into a residential home with studio, exhibition hall, holiday accommodation and a carport. The authentic shape of the carre-farm is restored in a contemporary way. The carre is a farm which encloses an inner courtyard; a typology often found in the Province of Limburg. By means of a horizontal façade of larch wood, starting from the old farm into a new carport and closing the courtyard, the carre shape is restored.  Sketch  Ground Floor Plan This new heart has become an essential part of the internal experience of the whole complex. A non-symmetrical composition of anthracite concrete and Belgian block stone combined with local and native vegetation determines the format of this enclosed outdoor area. The height difference is visible by means of a water system which flows in through the courtyard ending in a round basin. In the complex, the old horse stable is transformed into a light and modern living space with an office. Two large openings, made of Iroko wood, frame the landscape and let light inside. In the middle of the building a stainless steel core is placed, it contains the kitchen, bathroom, toilet and storage. Two round wooden stairwells connect the ground floor with the second floor. The new intermediate floor consists of large oak beams with an aoak floor. The old characteristic beams remain in sight, at the same time, the whole roof and all walls are insulated. The original shed has been converted into a spacious studio with a large round skylight, this space can be used for exhibitions and meetings.  © Holly Marder This project is a collaboration between architect Jeanne Dekkers and her son Anton Zoetmulder (architect) and daughter Elise Zoetmulder (designer). For the design they employed a wide research of the environment and its scenic and architectural history. As a result, the modern design seamlessly joins with the local landscape and small-urban context. In addition, the traditional qualities of the area are highlighted by the historical shape of the building and the use of authentic materials.  © Holly Marder  Axonometric  © Holly Marder Product Description. Throughout the entire project we found collaboration with local artisans, and we used locally available materials and techniques. Sustainable materials of high quality were used and the house was built according to the sustainable principles of a passive house. Also materials were reused in different ways; the old steel ledgers of the intermediate floor are reused as construction of the new terrace, the roof tiles are used for an artistic pavilion in the landscape and the removed bricks are used for a new gate for the landscape.  © Holly Marder This posting includes an audio/video/photo media file: Download Now |
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