Arch Daily |
- Sivas Stadium / Bahadir Kul Architects
- AD Classics: Royal Basilica of Saint-Denis / Abbot Suger
- Refuge II / Wim Goes Architectuur
- The Music Conservatory of Versailles Grand Parc / Joly&Loiret
- Loft House / CAPD
- Mystical Game / Feel Design
- Caravanserai - French Island / Lai Cheong Brown
- Jacobs Institute for Design Innovation / LMS Architects
- Zaha Hadid-Designed Statuettes for BRIT Awards 2017 Unveiled
- Hall Cafe / República Portátil
- MVRDV Designs Y-Shaped House with Rooftop Pool in Taiwan
- Riel Estate / Joris Verhoeven Architectuur
- Guggenheim Helsinki Plans Abandoned After Rejection by City Council
- Sir Sandford Fleming College - Kawartha Trades and Technology Centre / Perkins + Will
- Cappadocia’s Fairy Chimneys: A Collaboration Between Humans and Rocks
- Domus Aurea / Alberto Campo Baeza + Gilberto L. Rodríguez
- 6 Cities That Have Transformed Their Highways Into Urban Parks
- RIBA Announces 2016 House of the Year Finalists
- In with the Old and with the New / Scenario Architecture
- Sam Jacob Studio Creates a "Soft Baroque" Backdrop to New Design Museum's Inaugural Exhibition
| Sivas Stadium / Bahadir Kul Architects Posted: 01 Dec 2016 09:00 PM PST  Courtesy of Bahadir Kul Architects
 Courtesy of Bahadir Kul Architects From the architect. Sivas is located in the cold-dry climate region of Turkey, so its winter is strong and the city is under heavy snow in long periods. This parameter is foreground in the design decisions of Sivas Stadium. Energy efficiency is designed according to ecological design criteria, high passive air conditioning measures, active energy production systems, rainwater harvesting and gray water cycle.  Courtesy of Bahadir Kul Architects Due to the fact that stadium is located in a cold climate zone, the building shell is designed to be compact and inward, and this makes a buffer zone for cold winds in the north side of the facade. Creating this kind space in the inner shell to provide thermal insulation with air. In the summer, reserve covers on the north side are opened, allowing for air transfer between the walls. If the north facade is not exposed to direct sunlight, this part will be colder than the other fronts, and on this side there will be low pressure points between the walls. This will result in a continuous and stable airflow in the wall, which will also reduce the energy used for building cooling actions in the summer.  South Elevation  Section In genaral, eastern and western facades are exposed to solar radiation three times more heat than the south and north side facades. Because of this reason, window spaces were created in Sivas Arena on the east and west facades for allow to take solar heat. This approach is thought to significantly reduce building heating actions. .jpg?1480549981 "Courtesy of Bahadir Kul Architects") Courtesy of Bahadir Kul Architects  Floor Plan  Courtesy of Bahadir Kul Architects  Floor Plan  Courtesy of Bahadir Kul Architects Stadium's roof area, rainwater canal designed for falling rain and snow water. The collected water will be stored in the reserve area to be used in the environment water and wet spaces. This approach will significantly reduce the amount of building water consumption. Moreover, in the roof area, the solar panels will be positioned on the south side to receive the sun's rays and will generate 798,000 W of energy per day. When it is assumed that a house consumes 5000 W of energy per day; the energy generated in the stadium corresponds to the energy that 160 houses spend. In this context, the building will reduce its energy costs to a minimum by producing its own energy.  Courtesy of Bahadir Kul Architects This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Royal Basilica of Saint-Denis / Abbot Suger Posted: 01 Dec 2016 08:00 PM PST  West Façade. Image © Wikimedia user Thomas Clouet (licensed under CC BY-SA 4.0) The origin of Gothic architecture, a style which defined Europe in the later Middle Ages, can be traced to a single abbey church in the northern suburbs of Paris. The Basilique royale de Saint-Denis (Royal Basilica of Saint-Denis), constructed on the site of an abbey and reliquary established in Carolingian (800-888 CE) times, was partially rebuilt under the administration of Abbot Suger in the early 12th Century; these additions—utilizing a variety of structural and stylistic techniques developed in the construction of Romanesque churches in the preceding centuries—would set medieval architecture on a new course that would carry it through the rest of the epoch.  Map of the Town of St. Denis by Félibien (1706). Image via pitt.edu Saint Denis of Paris became established as the patron saint of the Frankish people (a group of people who occupied what is now known as France) by the 7th Century. In the 3rd Century, Denis, along with two companions, was sent to Paris by Pope Fabian as a missionary, and was subsequently martyred by the Roman Emperor Decius.[1] Legend holds that after his decapitation, Denis' body carried his head to the site of the town and church that now bear his name. The village was well-established before the Frankish King Dagobert established an abbey there in the 7th Century, but generous gifts from both Royal patrons and droves of pilgrims greatly elevated its status in both the Catholic Church and the Kingdom of France. Despite the abbey's significance, however, it would not be altered in any meaningful way for half a millennium.[2] In 1122 Suger became Abbot of Saint-Denis at a time when the abbey itself was badly in need of renovation. The wooden Basilica, having both been a symbol (and necropolis) of Merovingian, Carolingian, and Capetian French rulers and housing relics from the Passion itself, was too small to accommodate the crowds of pilgrims it drew during feasts and festivals.[3] Saint Denis himself had also recently been ordained as the official patron saint of France by King Louis VI, affording even greater emphasis on the abbey which bore his name. Unfortunately for Suger's ambitions, he could not simply demolish the old church to make way for the new – it was widely believed to have been consecrated by Jesus Christ himself.[4]  Engraving of Funeral Procession of King Louis IX by Félibien (May 22, 1271). Image via pitt.edu The first element of Saint-Denis to be rebuilt was the western façade. Two key imperatives drove this decision. Firstly, the façade was seen as the least sacred portion of the old basilica; its redesign and reconstruction could therefore be accomplished with a minimum of resistance. Despite its being the least "holy" part of the church, however, it was through the western façade and its doors that visitors would have to pass in order to enter the building. It therefore followed that this face of the building would be the first that most pilgrims would see – their first impression of the abbey, then, would be that of Suger's comparatively contemporary addition.[5] Work on the western façade commenced in 1135, proceeding under two different Master Masons in the following five years. A series of "trios" in the design referenced the Holy Trinity: three doors, three vertical strata, and several groups of triple arches form the lower portion of the façade. The division between this lower portion and the two towers that rose above was demarcated by crenellations. While crenellations were a defensive feature atypical for a religious structure, their inclusion here was more a symbolic reference to the New Jerusalem of the Book of Revelations than it was a practical fortification (Suger's willingness to use it as such in case of an emergency notwithstanding).[6,7]  Félix Benoist (Public Domain). ImageEngraving (1861) As was custom for French churches, a pair of towers flanked the central portal below. Although both were planned under Suger's abbacy, only the southern tower was completed in his lifetime. Its taller northern counterpart, completed by one of his successors, did not fare well through history: it was rebuilt twice, due to lightning strikes in both 1219 and 1837. The latter of these efforts, led by architect François Debret, was handled so incompetently that the tower had to be completely dismantled in 1846. This deconstruction left Saint-Denis as it is today, with a single, southern tower – as it was during the time of Suger himself.[8] When the new western façade was dedicated in June of 1140, attention turned to the far end of the church building. The façade, despite its updates, was essentially Romanesque and introduced no particular stylistic innovations; it was in the choir and chevet (eastern end) that the abbey church would begin to codify a new architectural style. This innovation resulted from Suger's fascination with light as another reference to the New Jerusalem, which is vividly described as appearing to be built of glittering gems and gold that is clear as glass. It was this glowing architectural image which Suger strove to express in his abbey, a feat that he determined to accomplish through lavish use of stained glass.[9]  Rose Window. Image © Wikimedia user Diliff (licensed under CC BY-SA 3.0) The need to allow for easy circulation of pilgrims, and Suger's desire to dematerialize the heavy stone masonry with enormous stained glass windows, required a method of structural support that ran counter to the thick, heavy construction of Romanesque churches. The solution was to replace the deep walls that typically separated the small chapels at the church's eastern end with slender columns – architectural features which, coincidentally, emulated similar columns in the 8th Century nave. Rib vaults forming pointed arches supported the ceiling, allowing for an unprecedented openness in the double ambulatory of the chevet that also permitted a virtually uninterrupted view of the stained glass that filled the majority of the wall space.[10] It is important to note that the structural innovations employed in the chevet—the pointed arch, the flying buttress, and the vault rib—were not originally invented for Saint-Denis itself. These techniques, which offered greater structural integrity and adaptability, had been available to Romanesque architects who subtly employed one or the other in various buildings long before Suger. The significance of Saint-Denis, then, was not that its master builders pioneered these forms of construction; it was simply the first time that they were used together with the intention of creating a markedly different effect than that which prevailed in the abbey's Romanesque contemporaries. In combining these pre-existing threads into a unified architectural logic, Suger and his architects built the earliest example of what would eventually become known as the (French) Gothic style of building.[11]  Floorplan by Félibien (1700) – note: not current. Image via pitt.edu The completion of the western and eastern ends of the abbey church left only the Carolingian nave to be rebuilt. Unfortunately for his grand project, Suger was forced to turn his attention to matters of state when King Louis VII, who had departed to join the Second Crusade, appointed him to serve as the Regent of France. With Suger's focus elsewhere, construction on Saint-Denis slowed to a crawl, and only the foundations of the new nave were completed when the abbot died in 1151. For eighty years, the abbey church remained an awkward, eclectic hybrid of architectural styles. Work resumed on the nave in 1231, a project that included reconstruction of the upper works of the choir in order to ensure a relatively unified aesthetic. The nave, as completed in 1281, was as innovative as the chevet that preceded it: its massive windows and slender masonry typified the Rayonnant Gothic style, again establishing Saint-Denis as the example to follow for sacred spaces across Europe.[12.13] Very little of the abbey church changed after the 13th Century. Its accessory structures were rebuilt between 1701 and 1781, but the church itself was allowed to remain much as it had been since 1281. As a Catholic abbey, Saint-Denis was unfortunately a victim of the French Revolution's rebellion against the church: its lead roofing was stripped away, its royal tombs desecrated, and its innovative sanctuary put to ignominious use as grain storage. The former abbey's salvation came at the hands of Napoléon Bonaparte, who appointed François Debret to restore the church to its former glory for service as his family mausoleum. Debret, who worked more as a decorator than an historian, did not restore the church so much as create a general air of medievalism. His failures at structural restoration, which led to the aforementioned dismantling of the north tower, led to his resignation and replacement with Eugène-Emmanuel Viollet-le-Duc, who did everything he could to replace Debret's work with the more accurate reconstruction that exists today.[14]  Eugène Viollet-le-Duc (Public Domain). ImageElevation (1860) Today, the Basilica of Saint-Denis is recognized as the very first example of Gothic art and architecture. Returned to the Catholic Church, it was officially granted the status of 'cathedral' in 1966. It is also the world's largest museum of medieval and Renaissance statuary, home to over 70 pieces of funerary sculpture from the Twelfth to the Sixteenth Centuries.[15] Its northern tower may be gone, but its imaginative Gothic interiors continue to be admired by visitors who, in entering Saint-Denis, step into a turning point in architectural history itself. References
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| Refuge II / Wim Goes Architectuur Posted: 01 Dec 2016 07:00 PM PST  © Filip Dujardin
 © Filip Dujardin From the architect. Spring We were asked by our client, diagnosed with ALS (Amyotrophic Lateral Sclerosis), to adapt his house with an eye on the future. After meeting with the ergotherapist, we knew we had no time to spare considering the aggressive nature of the condition.  © Filip Dujardin Refuge II is a temporary project.  © Filip Dujardin Summer More than a 100 friends and family contributed in constructing Refuge II.  © Filip Dujardin Fall Everyone being involved recognized him/herself in Refuge II.  Floor plan Winter Everything will be taken away.  © Filip Dujardin This posting includes an audio/video/photo media file: Download Now |
| The Music Conservatory of Versailles Grand Parc / Joly&Loiret Posted: 01 Dec 2016 06:00 PM PST  © Schnepp Renou
 © Schnepp Renou The project is located at the heart of a city block in a school playground. The new volume extends an existing school building up the slope of the passageway that leads onto the site, and settles itself onto the playground's sloping surface.  © Schnepp Renou The building is accessed from the street by passing through a porte-cochère that opens onto a passageway. From here the southernmost end of the building can be seen in all its verticality. This stretched volume signals the presence of the dance centre. The building's pale facade of hand-made brick fits well with the creams and beiges of the neighbouring buildings. Rather than breaking with the context, the building fits into the existing stone-coloured environment, at the same time underlining its own presence with its eye-catching volumes and natural materials.  © Schnepp Renou Surrounding homes look over the steeply pitched roofscape with its glazed white tiles, a dancing sculpture of changing colours as sunlight plays across the undulating dance studio roofs.  © Schnepp Renou As you walk up the passageway, large windows give views into the heart of the building's organisation; horizontal and vertical circulation spaces provide generous reception areas and spaces for meeting people, waiting and relaxing between classes. These uses are visible from outside, comings and goings are theatricalised, different activities meet and a relationship with the town is developed. The ambiance inside is hushed. Soft lighting is tinted by oiled oak and the clay-rendered walls. On the ceiling a piece by artist Marie Maillard evokes nature, the sun, the movements of dance and the hum of music. These circulation spaces contrast with the white, light-filled practice rooms. On the ground floor overlooking the playground, two openings are provided into each music room. A large square window frames views of planting at the rear of the site. Its high level sill screens views in from the playground and separates the view from the bustle. A small opening for ventilation hidden behind brick screens allows for manual adjustments to the temperature in the room.  © Schnepp Renou  Section  © Schnepp Renou The dance studios on the first floor have wide windows that come down to the floor, overlooking the playground. Large glazed skylights for ventilation bring in extra diffuse light and highlight the asymmetric ceiling that is particularly suitable for use in a dance studio  © Schnepp Renou This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Dec 2016 02:00 PM PST  © Daisuke Shima / ad hoc inc
 © Daisuke Shima / ad hoc inc From the architect. Located in the southernmost part of Tokushima Prefecture, the town overlooking the majestic Pacific Ocean. To clear a site of about 110 square meters, husband and wife, of residential dwelling is a family of four of two children plan. As you can see, clear concept to the big box made of roof and wall, in extremely simple that in a residential packed a small box as needed.  © Daisuke Shima / ad hoc inc Passed a structure with beams and walls, to form the building of the box-like with no pillar warehouse, private room, rather than the required space as water around like a house on the wall and columns, separated by a box. By doing this, the upper space of each private room becomes a loft-like, as a playground for children who dressed, also books a lot of your owner-like archive, also to something elimination of storage shortage of things more often parenting generation play a role buy.  Floor Plan The interior is he drew the intention of your owner-like, Kiyoshi of the top class among the houses that have been designed until now. The beams rest part number that has been burned, mortar of Doma followed from Entorasu, partition "box" is structural plywood as it is of the form, the wall is not the filling was painted putty, find the seam of the plate it is clearly state . Material who hide without showing covered with a cloth or tile usually is, this in the house claiming to show proudly the figure, a personality no other.  © Daisuke Shima / ad hoc inc  © Daisuke Shima / ad hoc inc However, rather than to go unchecked it, tighten with the discipline of design, was sublimated in housing that also combines a kind of elegance, yet seemingly rough.  © Daisuke Shima / ad hoc inc This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Dec 2016 12:00 PM PST  Courtesy of Feel Design
 Courtesy of Feel Design From the architect. The project is located in one industrial zone of Shenzhen, China; the former architectural space was in chaos and disorder when the Owner took it over after being ended with the run-down industrial workshop and warehouse. The operating team of the project hoped to turn the space into a complex that includes dining, coffee, musical activity and Tarot zones; further, the designing and construction would last two months only. The estimated cost of the project is relatively low, in fact the project can be designed and constructed with very little difficulty. Therefore, optimization of materials and the processes will be the subject of focus throughout the entire project. As-cast finish concrete shall be utilized as the main material in view of its economy, convenient construction process, and duration. Construction of all spaces shall be implemented sequentially in an attractive tonal gradation when the unified material atmosphere is available. On this basis, the arc steel pipe customization shall be the important element in the space, and the column structure dividing the space shall be formed by the round pipes in bundles; and their integration shall also be the greatest highlight of this project.  Courtesy of Feel Design  Plan  Courtesy of Feel Design The concept of environmental protection shall be integrated into the project with the upmost imperative due to the design and understanding of the material and the process; therefore, all materials can be recycled, the pollution to the site can be reduced and the duration of the project can be mitigated by using this method of customized installation. Besides, the energy-saving factor shall be considered fully in terms of application of light of the project, and the light effect which is warm and has rich levels shall fit positioning of the project well.  Courtesy of Feel Design Inspiration After embarking on the project, the design team started with the mysterious color that emanated from the thematic concept of the project and they expect to draw inspiration from buildings on a spiritual level. The design team checked and visited a large number of Gothic architectures, and felt a sense of power and connection with God in the tall and straight spatial structure. They then transplanted it in the project as a salute to traditional buildings in a contemporary form of structure.  Courtesy of Feel Design Meanwhile, after deliberating the spiritual strength of the project and taking into account the fact that the site will be a consumption space, the design team decided not to design it entirely in accordance with a religious space. On the contrary, the design team selected many interesting contemporary art works to introduce a fashionable and relaxing environment to temper the space, and then accompanied it with multi-faceted lighting giving the space a graceful and interesting Yuppie look. The serious and facetious atmosphere of the space made the project one of the favorite spaces by contemporary artists on the block where the project is situated.  Courtesy of Feel Design The circular-tube design evolved from Gothic architecture and is regrouped and alternated in the space, thus deducing Gothic drama. The climax of such drama is nothing more than a white floating cloud in the coffee house. Time seems stop at the moment when you sit under the cloud and smell the coffee. This posting includes an audio/video/photo media file: Download Now |
| Caravanserai - French Island / Lai Cheong Brown Posted: 01 Dec 2016 11:00 AM PST  © Jaime Diaz-Berrio
 © Jaime Diaz-Berrio From the architect. The project's principal design decisions were driven very much by the location of the house on an Island disconnected from mainland Australia by road and not serviced by any public utilities or Council amenities. The site sits on a ridgeline looking out across Philip Island to Bass Strait and back across bucolic, pastoral landscapes to the French Island National Park.  © Jaime Diaz-Berrio  Floor Plans  © Jaime Diaz-Berrio This leads to views in almost all directions which we were keen to capture but also to an intense exposure to the winds and driving rain coming in off the Strait. Our solution was to design a simple square form courtyard house which would provide a sheltered outdoor space while also maximizing daylight and natural ventilation into a house that was going to need to be self-sustaining in terms of power.  © Jaime Diaz-Berrio This worked well with the prefabricated nature of the build, enabling an easy module breakup, and allowed us to route circulation around the courtyard while living and bedrooms were given the opportunity to look out to sea. A family project, the house needed to accommodate aging grandparents while also allowing friends and extended family to stay over when occasionally marooned by bad weather.  © Jaime Diaz-Berrio This posting includes an audio/video/photo media file: Download Now |
| Jacobs Institute for Design Innovation / LMS Architects Posted: 01 Dec 2016 09:00 AM PST  © Tim Griffith
 © Tim Griffith From the architect. The Jacobs Institute for Design Innovation is devoted to introducing design innovation at the center of university life, preparing students to address some of society's most pressing challenges. The project is a team-based, project-centric educational space and a compelling symbol to the region of the University's commitment to sustainable innovation.  © Tim Griffith  © Tim Griffith  © Tim Griffith Built and operated by the UC Berkeley College of Engineering, the Jacobs Institute fosters interdisciplinary engagement across the University, welcoming undergraduate students from other departments, inventors, tinkerers and over thirty student clubs to an environment of creativity, collaboration and innovation.  © Tim Griffith The tiny corner site, formerly a volleyball court, lies at the northern edge of campus within a diverse context. Two 4-story engineering buildings border the site on the west and south while an existing two-level basement underlies nearly a third of the site. A variety of residential buildings line the street to the north.  Diagram The compact building makes efficient use of its tight urban site, cantilevering over the existing basement while retaining a south-facing solar court. Large, flexible design studios are bordered by project rooms, instructor's offices and fabrication equipment rooms with a variety of rapid prototyping tools. Transparency and overlooks reveal the hum of creative activity within. The south wall opens to the sun for optimal daylighting and passive solar benefit, connecting to the adjacent Wozniak Terrace and the campus beyond.  © Tim Griffith At the exterior, the building presents a new threshold to the UC campus – a "beacon of innovation" that communicates the values of the Institute and the University. Glassy stairs project outward, glowing after dark to welcome visitors from the campus to the south. A cantilevered photovoltaic array ascends to the north, expressing the ecological values of the Institute to the University and the public. The array provides 58% of the building's energy, reducing total building energy by 90%.  © Tim Griffith This posting includes an audio/video/photo media file: Download Now |
| Zaha Hadid-Designed Statuettes for BRIT Awards 2017 Unveiled Posted: 01 Dec 2016 08:00 AM PST The designs of the Zaha Hadid-created statuettes to be handed out at this year's BRIT Awards have been unveiled. One of Hadid's final commissions before her death this March, the design consists of a family of 5 interrelated trophies take the form of abstracted female figures representing diversity. One of those family members, meant to represent Britannia, the female personification of Great Britain, will be awarded to musicians for their victories in the BRIT Awards ceremony this February.  Following Hadid's passing, the project was carried out by Zaha Hadid Design Director Maha Kutay and the BRIT Awards' Niamh Byrne, who set to follow through on the late architect's' vision. "Zaha was truly excited to be doing this," remarked Kutay at the concept unveiling last month. "Her vision was, being an architect, to focus our efforts more on the 3D element, as the statue had previously been used as a canvas for artists to paint on for the last few years. Our design expresses Zaha's unwavering belief in progress and optimism for the future and a break from the norm. The biggest challenge was to create something different within certain guidelines, yet achieving a result recognisable to the public. You have to respect the existing to create something new." "We are delighted with the finished statues," said Brit Awards chairman Jason Iley. "Like Zaha, they are innovative and original and have gone well beyond our expectations to create something special that will progress the award into the future." Previous designers of BRIT Awards statuettes have included artists Artists Damien Hirst and Sir Peter Blake. News via BRIT Awards, BBC. Zaha Hadid-Designed Statuettes to be Presented at BRIT Awards 2017 This posting includes an audio/video/photo media file: Download Now |
| Hall Cafe / República Portátil Posted: 01 Dec 2016 07:00 AM PST  © Gino Zavala
 © Gino Zavala Hall Cafeteria  © Gino Zavala In the beginning of the year 2016, the need to rethink the available space of the cafeteria was urgent. For this a new work alliance was created between the School of Architecture, the workers of the University of Biobio (Afunab) and the students. This joint effort came to give life to a space with no program, adding the proposal from the architects that wanted to give back to the school that special meeting and discussion area, in a context of productive creativity.  © Gino Zavala The proposal searches to generate a containing element for the cafeteria space, a configurant , that at the same time holds the activities that occur in the "Hall del Pilar". This new element separates with out isolating, respecting the relationship between both spaces. With two openings, it distributes the accesses and organizes the paths that the Hall used to have as a space to go through, giving this place neutrality that could gather teachers and students of the School of Architecture UBB.  Section Scaffolds for the memories  © Gino Zavala  Isometric  © Gino Zavala Three places to be  © Gino Zavala The bar, is a furniture that creates a space for people to enter from the exterior of the cafeteria. Its allowed to be used standing up or to be sited on 4 tall stools of 70cm. The thin table top lets its users reunite and have coffee for a few moments or sitting down, in a frame full of shelves of the bar, getting a general panoramic view of the "Hall of Architecture".  © Gino Zavala  Courtesy of República Portátil  © Gino Zavala The embedded bench of 4m long covers the whole back wall, there are two shelves that have a small angle and act like a back support being able to receive users as if it was a couch in a home. The furniture keeps underneath it, benches and chairs that allow the flexible use of the space according to the needs of the encounter. In some moments circles are created for meetings surrounding the bench and the other tables are staked to form working surfaces, installing portable computers on top of them. This furniture creates one of the most dynamic spaces inside of the cafeteria, allowing students, teachers and the public in general to adjust to their own criteria the disposition of the furniture that the proposal gives.  Section This posting includes an audio/video/photo media file: Download Now |
| MVRDV Designs Y-Shaped House with Rooftop Pool in Taiwan Posted: 01 Dec 2016 05:05 AM PST  © MVRDV MVRDV, working with co-architects KAI Architects, has designed a new Y-shaped residence in Northeast Tainan, Taiwan. Known appropriately as Y House, the 330 square meter (3,552 square foot) villa will become a standout addition to a new residential development aimed at becoming a weekend retreat for city workers.  © MVRDV A 40-minute drive from Tainan City and the sea, the villa has been designed as a futuristic space for escaping the city. The house's distinctive Y-shaped form is the result of several design decisions. To give its residents unobstructed views over the surrounding landscape, the trunk of the structure rises to several levels above the height of its neighboring buildings. At the top of the trunk, the form expands to give priority to the communal spaces of the house, the living and dining rooms. In turn, this split creates a cradle for a unique rooftop pool and sundeck.  © MVRDV Additionally, by lifting the main spaces of the house into the sky, the building can maintain a minimal footprint, allowing it to be set into a pool of water surrounded by a garden. A series of stepping-stone pathways, positioned according to the principles of Feng Shui, lead homeowners to the front door, giving a tranquil quality to the procession from vehicle to home.  © MVRDV  © MVRDV Inside, a garden tea room on the ground level provides space for entertaining guests. The next level is designated for sleeping quarters, including two children's rooms, a master bedroom and guest bedroom. In the upper portion of the Y, the living space is hovered over the open kitchen, where it meets the sloping walls to become seating and integrated bookshelf. Stairs and a lift provide access throughout these levels of the house, before an additional stairway leads to the solarium, changing rooms and up to the rooftop pool.  © MVRDV An assortment of large, circular windows puncture the building's concrete shell throughout, providing an abundance of light into the interiors without disrupting the overall Y-shape. The punctures continue up onto the roof and within the rooftop pool, letting dappled light shine down into the living spaces.  © MVRDV "How to make a house that literally rises above the 'sea' of houses? How to create a view towards the sea over the other houses?" says MVRDV co-founder Winy Maas. "By making the program downstairs as narrow as possible, a large garden is created and situating the majority on the top floors a view is created. And in the heart of the elevated house, the rooms diverge/move apart to give space for a valley to swim in with a view towards the sea…"  © MVRDV Y House will be MVRDV's second project for realization in Tainan, following their competition-winning scheme to transform the T-Axis in downtown Tainan into an urban lagoon. News via MVRDV.  © MVRDV
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| Riel Estate / Joris Verhoeven Architectuur Posted: 01 Dec 2016 05:00 AM PST  © John van Groenedaal
 © John van Groenedaal House Riel Estate completed in 2014 is located in a new residential development in the small village Riel near the town Tilburg. The property conforms with its archetypal main structure and materialization with the rural character of the village and the surrounding countryside; a main building with a gable roof, rural hand-molded bricks and heavy oak doors.  © John van Groenedaal In the province of Brabant, where the dwelling is situated, it is customary to enter through the back door. By seperating kitchen and living room from each other, a separation is also made between the formal entrance and the informal back door. Also arise an afternoon and evening terrace.  © John van Groenedaal The staircase is located in the intermediate zone between kitchen and living room. It rises up along the gentle slope of the roof and ensures a clear connection between the ground floor and upstairs. The presence of this stairs is further emphasized by the skylight above it folding over the roof which ensures light gliding down the stairs.  © John van Groenedaal  Plan  © John van Groenedaal An asymmetric sculptural play of mass and openness is created by tilting the roof and also with the masonry giving the impression of heavy solid walls. The detailing of the house reinforces this and provides a powerful clarity. Riel Estate is inspired by the minimalistic brick pavilions in the German museum park Insel Hombroich.  © John van Groenedaal Product Description.The window frames and lintels are all detailed out of sight. By this means the bricks and the glass are the only materials in sight for a strong image.  © John van Groenedaal This posting includes an audio/video/photo media file: Download Now |
| Guggenheim Helsinki Plans Abandoned After Rejection by City Council Posted: 01 Dec 2016 03:10 AM PST  © Moreau Kusunoki Architectes / Guggenheim The Solomon R. Guggenheim Foundation is abandoning plans for a museum in the Finnish capital after a proposal for funding was rejected by the Helsinki City Council, 53-32. "We are disappointed that the Helsinki City Council has decided not to allocate funds for the proposed Guggenheim Helsinki museum, in effect bringing this project to a close," Richard Armstrong, the director of the Solomon R. Guggenheim Foundation, told the Helsinki Times. The news comes a shortly after the Helsinki City Board voted to proceed with the scheme by a 8-7 vote, despite the project already being denied funding by Finnish Government in September. The controversial project has been under fire from opponents since its inception. Recent figures to speak out against the project included Finnish MP and architect Anders Adlercreutz, architectural critic Jonathan Glancey, and Finnish architect Juhani Pallasmaa, who criticized the project's "globalisation and commercialisation of art." The competition for the design had attracted 1,715 entries, likely making it the largest architectural competition in history. It was won by Paris-based Moreau Kusunoki Architects, whose proposal was lauded for its contextually-driven design. News via Architect's Journal, Helsinki Times. This posting includes an audio/video/photo media file: Download Now |
| Sir Sandford Fleming College - Kawartha Trades and Technology Centre / Perkins + Will Posted: 01 Dec 2016 03:00 AM PST _02.jpg?1480068211 "© Tom Arban") © Tom Arban
 © Scott Norsworthy From the architect. The Kawartha Trades and Technology Centre (KTTC) was established in 2014 as a central part of the Sir Arthur Fleming college in Peterborough, Ontario. Designed by architects Perkins + Will, the $42 million project used innovative design to leverage campus and community interest in the skilled trades and training programs.  © Scott Norsworthy Aligned with the main north-south axis of the campus, the building is conceived as a new gateway, inviting pedestrian movement from the student residences and Sport and Wellness Centre (also designed by Shore Tilbe Perkins+Will in 2002) to the north. The guiding vision behind the project is the idea of exploring new pathways to learning and the conviction that 'learning can happen anywhere'. A state-of-the-art facility, Fleming College integrates theoretical learning with applied practice in a manner that emphasizes visibility and inter-disciplinary inclusiveness. .jpg?1480068148 "© Tom Arban") © Tom Arban  © Scott Norsworthy The 87, 000 sq. ft. multi-level learning center is illuminated by natural light, exposed structural components and open spaces, creating ideal grounds for learning and collaboration - proponents that Perkins + Will find integral to noble design. A series of flexible spaces, including a large 'learning factory' allow each trade to work collaboratively within one large floor space. Within this space an innovative 4 storey teaching 'cube' provides a flexible framework for electrical and plumbing installations and a more direct simulation of actual site conditions. Serving this space, are a series of dedicated workshops, SMART classrooms, and interactive student and office spaces that support a wide range of services and programs; all supported with wireless access, flexible integrated services and reconfigurable layouts. Fostering the visibility of students working in the bustling commons area below, the facility emulates a real-world construction site and promotes the cross-pollination of ideas, while simultaneously providing the technological tools needed for the traditional teaching above.  Exploded Axonometric The KTTC also incorporates aesthetic details that appeal to students of varying demographics, who may wish to get involved in the trades, effectively shattering the gendered divide that is often seen in the skilled trade sector. Targeting a Gold LEED certification, the KTTC building challenges the perceptions of what skilled trade training facilities look like and serves as first-hand inspiration for the students enrolled.  © Scott Norsworthy The building engages its setting by partially burying its lower floor along the east side and carving out a large sunken courtyard along this face connected to the lower workshop zone. Along the opposite side of the building facing the woodlot, the lower floor aligns with the existing grade enabling unobstructed access into the main project spaces. .jpg?1480068505 "Section") Section  Section A cladding of black cement board, natural concrete, cedar, Corten steel and generous glazing, reinforces this connection to the site creating a combination of rich natural tones and patinated surfaces that blend seamlessly with the natural surroundings  © Scott Norsworthy Product Description. Using wood accenting at the front entrance allows the facility to merge with the existing landscape in a way that is natural and uplifting. The rich cedar introduces neutral tones which are continued through the facility, providing an unobtrusive, yet eye-catching design. .jpg?1480068354 "© Tom Arban") © Tom Arban This posting includes an audio/video/photo media file: Download Now |
| Cappadocia’s Fairy Chimneys: A Collaboration Between Humans and Rocks Posted: 01 Dec 2016 01:30 AM PST  © <a href='http://www.robwhitworth.co.uk/'> Rob Whitworth </a> Fairy chimneys, also known as hoodoos or tent rocks, are spooky looking spires of rock that range from the height of an average person to over 40 meters. While recently on assignment creating one of his time-lapse videos for Turkish Airlines, photographer and filmmaker Rob Whitworth captured the fairy chimneys found in the Cappadocia region of Turkey in all their eerie charm.  © <a href='http://www.robwhitworth.co.uk/'> Rob Whitworth </a> Simply put, fairy chimneys are formed when thick layers of soft rock are covered by a thin layer of hard rock, with the soft rock continuing to erode through cracks in the layer of hard rock. As the cracks deepen, the fairy chimneys come to be shaped into their pillar-like silhouettes.  © <a href='http://www.robwhitworth.co.uk/'> Rob Whitworth </a> While this geological process happens all over the world—fairy chimneys can be found in Taiwan, the US, New Zealand and Jordan—it is only in Cappadocia where they have been transformed into houses and churches through a sort of human-rock collaboration.  © <a href='http://www.robwhitworth.co.uk/'> Rob Whitworth </a> The magical-looking result of this human-rock partnership was many millennia in the making. The first Cappadocian volcanic rocks were formed millions of years ago, followed by further centuries of natural forces that eroded the rock into their distinctive forms. The human touch to the Cappadocian fairy chimneys took less time than Mother Nature's, and began out of necessity when early Christians during the Roman period sought refuge within the rocks. On the run from persecution in Rome, upon reaching Cappadocia (the town of Goreme in particular), they discovered the malleability of the rocks and began to carve into them. A system of manmade caves was created throughout the fairy chimneys, which became homes, churches and stables.  © <a href='http://www.robwhitworth.co.uk/'> Rob Whitworth </a> Today, the fairy chimneys serve as a refuge for tourists rather than those fleeing empire-wide persecution, but remain uncannily unique. Some of the chimney caves have been converted into museums and hotels, letting people truly explore a built environment that owes its creation to volcanoes, wind and rain as much as ancient human intervention.  © <a href='http://www.robwhitworth.co.uk/'> Rob Whitworth </a> This posting includes an audio/video/photo media file: Download Now |
| Domus Aurea / Alberto Campo Baeza + Gilberto L. Rodríguez Posted: 01 Dec 2016 12:30 AM PST  © Javier Callejas Sevilla
 © Javier Callejas Sevilla From the architect. For a Spanish architect, to build a house in Mexico is a privilege. To build a house in Monterrey is a gift. To build the TEC lottery house in Monterrey is amazing. And, logically, I did my utmost to ensure that this house would be the most beautiful in the world. That is my stated intent with every new project that falls into my hands.  © Javier Callejas Sevilla And of course, if Barragán is always present in all my architecture, he is even more in this case, which is why I decided that not only would my house be flooded with light, but that it would be the golden light of Barragán.  © Javier Callejas Sevilla  © Javier Callejas Sevilla With this in mind, after creating a diagonal space resulting from concatenating two spaces of double height, I decided to gild the high vertical wall on which all the southern light would fall and fill it with this much-coveted golden hue.  © Javier Callejas Sevilla Accordingly this light-filled house would be literally flooded with golden light, and thus become a veritable DOMUS AUREA.  Ground Floor  Sketch  1st Floor In functional terms, the house is divided into three planes. On the ground floor the most public areas. Continuity to the garden will be through verandas and shaded areas. On the upper floor, the bedrooms and living area overlooking the lower floor. At the higher rooftop level, the more private areas will be located, including the swimming-pool.  © Javier Callejas Sevilla We dream of a white house, serene, full of light, a golden light, where its inhabitants will be happy.  © Javier Callejas Sevilla This posting includes an audio/video/photo media file: Download Now |
| 6 Cities That Have Transformed Their Highways Into Urban Parks Posted: 01 Dec 2016 12:00 AM PST  Courtesy of Unknown Building a highway in a city is often thought of as a solution to traffic congestion. However, the induced demand theory has shown that when drivers have more routes, they choose to continue using this medium instead of using public transport or a bicycle, and as a result, congestion doesn’t decrease. As a result, some cities have chosen to remove spaces designated for cars and turn what was once a highway into urban parks and less congested streets. Here we have six examples, some have already been completed, while a few are still under construction. To the surprise of some, most of the projects are in the US, which reflects that American designers are looking into further studying European transport policies. Harbor Drive, Portland – USA  Courtesy of Unknown One of the first highways in the US to be eliminated to make way for a park was Portland, Oregon’s Harbor Drive built on the shore of the Willamette River. In 1974 the transformation work began that gave rise to Tom McCall Park.  Courtesy of Unknown The Hawthorne Bridge, which was originally part of the freeway, became a bridge for cyclists and pedestrians, connecting First Avenue with the park. Cheonggyecheon, Seoul – South Korea  Courtesy of Unknown The Cheonggyecheon elevated highway in Seoul was built on a canal of the same name. In order to deal with environmental pollution and the noise generated by the more than 160,000 vehicles using the highway daily, Mayor Lee Myung Bak launched a plan to demolish it and build a park instead.  Courtesy of Unknown The selected proposal was designed by Kee Yeon Hwang, who wanted to clean up the canal and return it to its role as a meeting place. In addition, the recovery of this public space has reduced noise levels and temperature in the surrounding area. Pier Freeway, San Francisco  Courtesy of Unknown In the early 1980s in San Francisco, a plan began to demolish the California 480 highway with the idea of building a park instead. However, it wasn’t until 1991 that the two-story motorway was demolished - after being damaged by the 1989 earthquake. Studies concluded that rebuilding the freeway was much more expensive than making a park.  Courtesy of Unknown Today the place has one of the best views of San Francisco Bay and has many miles of pedestrian and bicycle paths. Madrid Río, Madrid  Courtesy of Unknown In the year 2000, the Madrid Río project was started, which sought to restore the banks of the Manzares River. A difficult task thanks to the stretches of the M-30 highway that crossed it. As there were several historic structures involved, like the Puente de Segovia, the oldest bridge in the city, the Ermita Virgen del Puerto and Puente del Rey, the project carried out the restoration while maintaining these aspects of the city's history in the middle of the park. In addition, the Puerta del Rey, a building dating back to the reign of José Bonaparte, was able to return to its original location, since it had been displaced during the construction of the motorway. .jpg?1398259926 "Courtesy of Unknown") Courtesy of Unknown The park opened in 2011, offering citizens spaces for sports, walks, and opportunities to learn about the city's history. In this instance, the motorway was not completely demolished, but traffic was diverted by underground tunnels. Park East Freeway, Milwaukee  Courtesy of Unknown In the 1960s, a project in the works would see the downtown area surrounded by the Park East Freeway. However, nearby residents began to oppose it, arguing that the project would cause too much noise. For this reason, the highway was never completed and certain parts were demolished between 1999 and 2002 for the development of the Park East Corridor project which, when finished, will allow free access from the city center to the river.  © trevor.patt, via Flickr In total, the new park is 60 hectares, 24 of which were allocated to new buildings to revitalize the area. So far, the northern part of the park is the one that shows the greatest advances through the remodeling of the main avenues that connect with downtown. Alaskan Way, Seattle  Courtesy of Unknown In 2001 an earthquake damaged the overpass of the Alaska Freeway in Seattle. Initially, the plan was to rebuild it, however, it was later decided to make a four lane underground tunnel so that on the surface the areas along Elliot Bay join with the rest of the city through a new pedestrian space. The inauguration of the park is scheduled for next year.  Courtesy of Unknown This posting includes an audio/video/photo media file: Download Now |
| RIBA Announces 2016 House of the Year Finalists Posted: 30 Nov 2016 10:00 PM PST  Antsy Plum / Coppin Dockray. Image © Katie Lock Last week, RIBA announced the first two homes shortlisted for this year's House of the Year Award: Antsy Plum by Coppin Dockray and Outhouse by Loyn & Co Architects. Antsy Plum is a 1960s modernist house located in Antsy, Wiltshire, renovated to reduce carbon emissions by 80 percent; Outhouse, located in Forest of Dean, Gloucestershire, is a partly subterranean concrete structure on a sloped site.  Outhouse / Loyn & Co Architects. Image © Charles Hosea Since 2001, the RIBA House of the Year Award has recognized the best new house designed by a UK architect annually and is sponsored by Hiscox Home Insurance and Paint and Paper Library. RIBA plans to name seven houses in total to its shortlist and name the 2016 House of the Year on December 15. News via: Royal Institute of British Architects This posting includes an audio/video/photo media file: Download Now |
| In with the Old and with the New / Scenario Architecture Posted: 30 Nov 2016 09:00 PM PST  © Matt Clayton
 © Matt Clayton Sustainable extension to a Victorian villa. Our clients have been living in their ground floor flat for several years, before deciding to renovate it. The existing flat had a very old glass conservatory, which was freezing cold in winter and overheated in summer. It was blocking the light to the inner sitting room and the whole space was laid out in a very dysfunctional way.  © Matt Clayton  Ground Floor Plan After  © Matt Clayton The flat had enormous potential being a conversion of a large Victorian villa it had grand dimensions and a very wide back façade. Initially the brief felt a contradictory. On one end our clients were after a modern open extension, which brings plenty of natural light to the living room, but at the same time, they wanted to respect the original proportions and separation of the spaces.  © Matt Clayton The design process and feedback from our clients together with discussion with planners on this propsal within conservation are in hackney, resulted in this unique design. A largely glazed timber (sustainably sourced) clad extension houses the kitchen and dining area and facing the garden. Further into the floor plan, the original back wall of the house remained intact with its windows and doors open, creating an internal balcony, and keeping the cosy and more private feel of the lounge.  © Matt Clayton This posting includes an audio/video/photo media file: Download Now |
| Sam Jacob Studio Creates a "Soft Baroque" Backdrop to New Design Museum's Inaugural Exhibition Posted: 30 Nov 2016 08:00 PM PST  Courtesy of Sam Jacob Studio The inaugural show at the new London Design Museum, Fear and Love, presents a collection of "reactions to a complex world." Featuring eleven specially-commissioned installations designed by the likes of OMA/AMO, Hussein Chalayan, Andrés Jaque and Metahaven, the spatial context which frames them is the work of Sam Jacob Studio.  © Max Creasy According to the architect, the design "plays on the ambiguity at the heart of the exhibition, creating a curving 'soft baroque' plan." A single 190 meter-long curtain winds its way through the gallery to create "a variety of opposing spatial sensations [...] with a controlled consistency."
"Materially, the design uses a simple palette of curtains to create a visual language that is not easily placed. A dark grey translucent PVC gives a futuristic and industrial feel, while its sharp and sinuous folds suggest a sense of luxury. This is contrasted with a Kvadrat felt curtain that gives sensations of warmth and texture. The combination of these materials creates rich and varying effects of translucency and enclosure."  © Max Creasy "At the entrance to the gallery a striking neon and two way mirror totem advertises the exhibition to the foyer of the museum while acting as an atmospheric introduction. The totem appears at first as a blank mirrored box, then as the neon sequence lights up, appears as a deep infinity reflection." Signage and communication was developed with graphic designers OK-RM. Fear and Love runs from 24th November 2016 to 23rd April 2017.  Courtesy of Sam Jacob Studio This posting includes an audio/video/photo media file: Download Now |
.jpg?1480549981 "Courtesy of Bahadir Kul Architects")
.jpg?1480068342 "© Tom Arban")
.jpg?1480068148 "© Tom Arban")
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