Arch Daily |
- AD Classics: Empire State Building / Shreve, Lamb and Harmon
- German School Madrid / Grüntuch Ernst Architects
- Wigglyhouse / ifdesign
- Panorama House / CAPD
- Death Masks From MIT Capture Your Dying Breath
- Ziya Imren Architects Releases Plans to Integrate Nature and Urbanity in Turkey
- St. Trinitatis Church / Schulz und Schulz
- MAD Architects and Asplan Viak Release Feasibility Study for Urban Dock Development in Norway
- Sassen, Kimmelman and More Discuss the Urban Evolution of Migration in reSITE's Small Talks
- La Casa of Paul & Sigi / MXMA Architecture & Design
- Nabil Gholam Wins 2016 World Architecture Festival with Bank Headquarters
| AD Classics: Empire State Building / Shreve, Lamb and Harmon Posted: 04 Dec 2016 08:00 PM PST  (2005). Image © Wikimedia user robertpaulyoung (licensed under CC BY-SA 2.0) Even in Manhattan—a sea of skyscrapers—the Empire State Building towers over its neighbours. Since its completion in 1931 it has been one of the most iconic architectural landmarks in the United States, standing as the tallest structure in the world until the Twin Towers of the World Trade Center were constructed in Downtown Manhattan four decades later. Its construction in the early years of the Great Depression, employing thousands of workers and requiring vast material resources, was driven by more than commercial interest: the Empire State Building was to be a monument to the audacity of the United States of America, "a land which reached for the sky with its feet on the ground."[1]  View across Manhattan. Image © Wikimedia user Smithfl (licensed under CC BY-SA 3.0) The rapid and unchecked development of Manhattan was a matter of serious concern in the early years of the 20th Century. The construction of the Equitable Life Building in 1915, while by no means the starting point of the debate, provided a clear example of what could happen to New York City should building height and form continue unregulated: the Equitable Life Building, which occupied an entire city block in Lower Manhattan, rose forty stories high without any setback from the sidewalk. Fears of New York streets forever cut off from sunlight by man-made canyons of skyscrapers spurred the passing of the 1916 Zoning Regulation, a landmark document which required setbacks for buildings passing heights specified by their location in the city.[2] These regulations would lead to the characteristic stepped forms for which New York skyscrapers—and Art Deco skyscrapers around the world—would come to be known.[3] Skyscrapers typically rose for one of two purposes: to serve as showcase headquarters for companies, or else as speculative projects by real estate developers.[4] The Empire State Building was the latter, a scheme concocted by former New York City governor Alfred E. Smith in collaboration with his finance partner John Jakob Raskob. Less than a month before the Stock Market Crash of 1929, Smith and Raskob called together a meeting of the city's wealthy financiers to discuss their solution to the impending financial disaster: an office tower of unprecedented height. According to Raskob, the massive undertaking would both inspire the American people and help stabilize an economy that was about to fall to pieces. By the meeting's end, Smith and Raskob managed to raise the funds to purchase the old Waldorf-Astoria Hotel, which would be cleared away to make room for their visionary tower.[5]  Image via Wikimedia (Public Domain). ImageLaying of the tower's foundations Only twenty months passed from the start of concept design in September of 1929 and the building's opening in May of 1931. Those twenty months were a flurry of constant activity: once the designs were drafted, an army of 3,500 workers tore down the Waldorf-Astoria and assembled the Empire State Building at an astonishing rate. At the peak of activity, the tower rose just over one story in a day – a rate of construction which, while still impressive by today's standards, was unheard of in the 1930s.[6] The material costs of the Empire State Building were every bit as high as those of labor. 210 foundation columns were sunk into the sturdy granite bedrock of Manhattan – a measure necessary to support the 365,000 tons of skyscraper above. 50,000 steel beams were then assembled and clad with glass, brick, and limestone to form a tower 1,250 feet (380 meters) tall. In spite of this, the building was not only completed on time, but a full 45 days ahead of schedule and $5 million (€4,556,016) under budget.[7]  Image via Wikimedia (Public Domain). ImageUnder construction Its speculative purpose required that the Empire State Building provide as much rentable office space as could be built. The setbacks mandated by the 1916 Zoning Regulation, while still expressed in the new tower's form, were countered by the fact that the lot on which the building was situated was roughly twice that of most of the surrounding structures; therefore, architect William Lamb was able to design a primary tower shaft with ample space for both offices and elevators, a dilemma less satisfiably resolved in the previous tallest building in the world, the Chrysler Building of 1929.[8] Given that the Chrysler Building had only held the title of "world's tallest building" for approximately a year before conceding to the Empire State Building, it is perhaps inevitable that the two skyscrapers would be subjected to endless comparison. In pure metrics, the latter is the greater building: it is 204 feet (62 meters) taller, and its 2 million square feet (186,000 square meters) of office space was more than double that of the former.[9,10] However, debate over which tower is the more aesthetically accomplished is not so easily settled.  Image via Wikimedia (Public Domain). ImageUnder construction The Empire State Building, despite its Art Deco styling, is significantly more austere in appearance than the more ostentatious Chrysler Building. Devoid of the sunburst windows and Moderne gargoyles that adorn the older tower, the Empire State Building is strikingly subdued. It is not entirely without ornament, however: a pair of sculpted concrete eagles flank the entrance, and shining aluminum extensions reminiscent of wings taper up toward the pinnacle of the tower.[11] The exuberance of the Chrysler Building's metal crown, when contrasted with the quiet dignity of the Empire State Building, can be seen as the changing attitudes of a country before and after the onset of the Great Depression – and it falls to the observer to decide which, if either, is the more appealing. Despite the optimism with which Smith and Raskob had originally proposed the project, and despite the rapture with which New York had watched its newest landmark grow toward the sky, the Empire State Building could not escape the realities of the deepening Depression. Initially, the building's owners could not find more than a few tenants to occupy their tower, which soon received an unflattering nickname: the "Empty State Building."[12]  The pinnacle of the tower. Image © Wikimedia user David Corby (licensed under CC BY-SA 3.0) History would come to vindicate the new skyscraper. Those who did not deride the building upon its completion showered it with acclaim, most notably declaring the Empire State Building the 'Eighth Wonder of the World.'[13] Its introduction into the Manhattan skyline would represent the end of the city's competition for the tallest building until the World Trade Center finally dethroned it in 1972. The building itself also became a profitable venture in its own right, hosting over 15,000 workers and countless more visitors hoping to see the city from the observation deck on the 86th floor.[14] Although the Empire State Building has long since lost its status as the world's tallest building, it has never quite lost the adoration which it engendered in 1931. Just as Smith and Raskob envisioned, it has become an enduring monument to democratic—and more specifically American—perseverance and achievement. Even as skyscrapers continue to grow taller, eclipsing the record once set by the Empire State Building, its particular impact on New York and the idea of the skyscraper as a whole will likely remain. Joe Carbonelli, who worked as a water boy at the construction site during his youth, put it best: "Although there are now numerous buildings that are even taller, this one has remained a symbol for New York and America, and for courage and adventure."[15] References
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| German School Madrid / Grüntuch Ernst Architects Posted: 04 Dec 2016 07:00 PM PST  © Celia de Coca
 © Celia de Coca The new building in northern Madrid replaces its predecessor building in the city centre. With its special educational program and evening theatre performances and concerts, the German School Madrid is an important site for cultural exchange.  © Celia de Coca In this large complex, the school's diverse areas of use are legible as clearly defined units. The individual buildings – the kindergarten, the primary school and the secondary school – each frame an inner courtyard. All patios open up to the surrounding landscape and a vista of the snow-covered mountains.  © Celia de Coca  Ground Floor  © Celia de Coca Reflecting both the requirements of the architectural brief and the topography of the site, the buildings develop differentiated spatial situations, yet all components unite into an organic ensemble with strong sculptural presence. The common areas – the "foyer courtyards", the cafeteria, a concert hall/ auditorium with 750 seats and the sports hall – connect the individual school buildings.  © Celia de Coca All children meet in the foyer courtyards before dispersing in their individual school buildings. Here the sculptural strength of the polygonal skylights creates a captivating play of light, providing the pupils with valuable shade.  © Celia de Coca School buildings play a key role in conveying both building culture and sustainability. A return to traditional simplicity, while demonstrating innovative technological sophistication influences the design approach, it's construction and building services. The implementation of ancient wisdom, such as natural cooling through a subterranean thermal maze, will ensure the building's sustainable operation.  © Celia de Coca A school is more than a matrix of classrooms; it is the centre of the students' living environment and shape their understanding of both the built and natural worlds as well as their sociocultural experience. The spatial compositions and visual connections within the school promote a sense of group identification and intercultural exchange in order to carry on the tradition and success of the German School.  © Celia de Coca This posting includes an audio/video/photo media file: Download Now |
| Posted: 04 Dec 2016 06:00 PM PST  © Andrea Martiradonna
 © Andrea Martiradonna Wiggly house is a single-family residential building located in a difficult context 50km away from Milan in Italy, characterized by multi-storey buildings that surround it.  © Andrea Martiradonna Because of this promiscuity, the house tries to protect itself reducing the openings toward the outside as much as possible, compensating with big or smaller patios, both closed and open, that give light to the inner spaces in a more suitable way.  © Andrea Martiradonna The covering reaffirms this principle. Canadian gray granite covers the entire building to symbolize this idea of protection with the exception of the walls where the volume is subtracted by the grey-plaster made patios.  © Andrea Martiradonna This way the building tries to open upwards: the pitch of the roof folds restless in search of the zenithal light in an almost gestural attitude, generating three light stacks in the living room,in the kitchen and in the "meditation room" at the end.  © Andrea Martiradonna The pitches of the roof alternate, "wiggling" the sequence of the lines of the roof section.  Section So in the inner spaces the value of the light is emphasised. From the typological point of view, the project investigates new combinations depending on the change in the family structure and the use of contemporary living spaces that seems to be radically changed in recent years.  © Andrea Martiradonna The Italian architect Cesare Cattaneo assumed in "the house for the Christian family" a growth hypothesis of the building organism; the new paradigms on which the evolution of the families of our times are assumed call for a deep reflection on the status of the new housing models.  Floor Plan What is proposed is an ability to survive to subsequent configurations, at least for some key spaces of the house, but also an organism with a spatial structure that is able to grow in the future.  © Andrea Martiradonna So the project is not completely saturated by the volume allowed for the lot, occupying it in the manner of a matrix, which leaves voids in the plan and arranges the rooms along a North-South axis, waiting to be completed and added in the future.  © Andrea Martiradonna Product Description. The covering affirms the principle to protect the house from the sorroundings . Canadian gray granite covers the entire building to symbolize this idea of protection with the exception of the walls where the volume is subtracted by the grey-plaster made patios.  © Andrea Martiradonna This posting includes an audio/video/photo media file: Download Now |
| Posted: 04 Dec 2016 12:00 PM PST  © Daisuke Shima / ad hoc inc
 © Daisuke Shima / ad hoc inc It is a residential area near the prefectural capital location, but blessed with nature with scattered fields and water ponds. Among them, facing the lake, surrounded by rich greenery, it is a perfect location that seems to come out as a movie or a fairy tale. The so-called painting architecture is a site with power that can be drawn any number of times.  © Daisuke Shima / ad hoc inc Although I would like to open wide towards the lake surface, I hit nearly in the west, especially concerning the influence of the western sun in the summer. The opening was designed to be a space that can fully capture the privileged site environment while limiting as much as possible.  © Daisuke Shima / ad hoc inc  Floor Plans  © Daisuke Shima / ad hoc inc 1F was a piloti, the main living space was concentrated on 2F, and an opening was made so as to make one round around the 2F part of the building. By doing this, it is easy to hide the eyes of the usual and easy to see the view, giving floating feeling and omission to the building, it is a slightly larger building, but the sense of pressure is extinguished and harmonized with the surrounding environment.  © Daisuke Shima / ad hoc inc  Section  © Daisuke Shima / ad hoc inc The interior, especially the living, uses the wall arrangement, the reflection of the glass of a wall or a wall-mounted TV, and because the reflection of the light of the lake surface is swaying on the ceiling through the opening, it is designed to take light from all directions We devised it.  © Daisuke Shima / ad hoc inc This posting includes an audio/video/photo media file: Download Now |
| Death Masks From MIT Capture Your Dying Breath Posted: 04 Dec 2016 08:00 AM PST  Courtesy of MIT Media Lab In the ancient world, traditional death masks were believed to strengthen and protect the soul of the dead as they progressed to the afterlife. It was this mythical notion of transition from death to new life that inspired Vespers, a collection of death masks from Neri Oxman and her team at MIT's Mediated Matter Group.  Courtesy of MIT Media Lab Death masks were traditionally made of a single plaster modeled to the deceased's facial features. Created as part of Stratasys's New Ancient collection debuting in the London Design Museum this November, Vespers' 3D-printed masks are built using spatial mapping algorithms that generate colored internal strands enveloped by transparent curved volumes. Rather than memorializing the dead, these masks are designed with an emphasis on cultural heritage, reimagining the potential utility through high-end technologies such as high-resolution material modeling, multi-material 3D printing, and synthetic biology.  Courtesy of MIT Media Lab Vespers consists of three series of five masks each. The first series, Lazarus, combines a model of the wearer's visage with an enclosure to contain their last breath. The material composition is designated by the air flow and distribution of this breath. The design is data-driven, digitally generated, and additively manufactured; the design team thus wanted to express the contemporary technological spirit in their version of these ancient artifacts.  Courtesy of MIT Media Lab News via: Mediated Matter Group This posting includes an audio/video/photo media file: Download Now |
| Ziya Imren Architects Releases Plans to Integrate Nature and Urbanity in Turkey Posted: 04 Dec 2016 06:00 AM PST .jpg?1480654086 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects Ziya Imren Architects has released its plans for Re-Naturing the Kizilirmak in Turkey, a new eight-kilometer-long urban design project around the Kizilirmak River. As the longest inland river in Turkey, the Kizilirmak, also known as the Red River, "has been regarded as a hard edge to the city due to access and safety concerns." After recent municipal advancements, many areas around the river have been opened to a design competition with the goal of integrating the riverfront into the existing city fabric. .jpg?1480654008 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects In an effort to stray from the typical dichotomy of nature and city, the project focuses on the integration of nature in three parts, borrowed from the writings of John Dixon Hunt—unchanged nature, nature changed by human intervention, and designed landscape. Thus, by overlapping these typologies of nature, the connection between the river and the city can be better facilitated, creating "a permeable interface" between the two landscapes. .jpg?1480654127 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects .jpg?1480654102 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects .jpg?1480654296 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects The project additionally features the integration of culture, specifically the culture of the City of Sivas, which borders the river, via a "path of culture," which will connect the city center and riverfront. This path will include a high-speed rail system, intended to not only connect nature and the city but also to connect Sivas to other cities in order to facilitate growth. .jpg?1480654174 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects .jpg?1480654040 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects .jpg?1480654189 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects Natural wetlands will be preserved within the project, and are expected to likewise preserve important landscape and biodiversity. "Our basic principle is minimizing the amount of intervention to nature and maximizing the socio-cultural contribution which will bring the presence of water into the daily living of the city dwellers," said the architects. Thereby, water is intended to become a main focal point of the city, as well as a place to host new programmings, such as urban agriculture of varying scales and social centers for sport, entertainment, rest, and more. .jpg?1480654159 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects .jpg?1480654024 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects .jpg?1480654071 "Courtesy of Ziya Imren Architects") Courtesy of Ziya Imren Architects
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| St. Trinitatis Church / Schulz und Schulz Posted: 04 Dec 2016 05:00 AM PST _Simon_Menges_14.jpg?1480704219 "© Simon Menges") © Simon Menges
_Simon_Menges_21.jpg?1480704290 "© Simon Menges") © Simon Menges From the architect. The consecration of the church ended the odyssey of the Leipzig parish community that has lasted over seventy years. Its permanent return to the centre of the city is manifested in the construction of the new Trinitatis church. _Simon_Menges_04.jpg?1480704201 "© Simon Menges") © Simon Menges The new parish church is develop out of the organism of the surrounding city. It obtains its presence through its high church hall, church tower and inviting openness of the parish courtyard. In a prominent location across from the New Town Hall the Trinitatis church define a site that respectfully integrates into its surroundings and forms a clearly distinguishable edge along the city centre ring. The structure is now being put up with the ‚pouring' of the triangular plot of land and the concreting of the poles of the church hall and church tower on opposite sides. The parish courtyard was cut into the area between the two highpoints to create a new central meeting location. The silhouette of the new church marks the beginning of the further development of the underused neighbouring urban area. _Simon_Menges_31.jpg?1480704342 "© Simon Menges") © Simon Menges The Trinitatis church is primarily characterised by light, space and material. With its interior height of over 14 metres, the church hall enables a transcendent spatial experience that is further intensified by the large skylight located in 22 metres high. Daylight of varying intensity falls from this along the rear wall of the altar in the church hall and defines the atmosphere of the hall. Another important element is the large ground-level church window (by artist Falk Haberkorn) that produces communication between the community and the city as if through an interactive store window. It opens and delimits the church hall at the same time while serving as a targeted opening as an interface between the world of the profane and the realm of the sacred.  Floor plan The church hall is situated crosswise and creates sufficient room for the arrangement of the community in an open surrounding area whose optical and scenographic centre is the chancel. Partitions separating the community were eliminated, additionally opening the chancel as a multidimensional space usable for various forms of liturgy. Merely a gentle slope surrounds the chancel and permitting optimal visual perspectives. Across from the large cross on the rear wall of the altar (by artists Jorge Pardo) is a second cross carved into the large wall area above the gallery as a negative imprint that opens the church hall to the light of the setting sun in the west. The gallery offers room for the organ, the choir and additional pews to be set up here. _Simon_Menges_24.jpg?1480704359 "© Simon Menges") © Simon Menges Product description. Facade made of Rochlitz porphyry. By using Rochlitz porphyry is continuing a tradition of construction of the city of Leipzig, such as with the Old Town Hall, and of the region, such as with the Benedictine Priory of the Holy Cross in Wechselburg. The horizontal layering of the various heights firmly anchors the building with the plot of land and allows it to symbolically grow out of the ground. The projections and recesses in the layering convey the rich _Simon_Menges_26.jpg?1480704254 "© Simon Menges") © Simon Menges This posting includes an audio/video/photo media file: Download Now |
| MAD Architects and Asplan Viak Release Feasibility Study for Urban Dock Development in Norway Posted: 04 Dec 2016 04:00 AM PST _web.jpg?1480391508 "Courtesy of Mad Arkitekter and Asplan Viak") Courtesy of Mad Arkitekter and Asplan Viak MAD Architects and Asplan Viak have collaborated to create a feasibility study for Visjon Dokken, an idea for a 25-hectare urban development dock that could become a new center for "residential, business park, commute, and energy sufficient systems." Located in Bergen Harbor in Norway, the project would be the second largest development in the country and could house 3,500 dwellings and 8,000 workspaces, 37,000 square meters of public parks, as well as a connected walkway system and bicycle paths.
_web.jpg?1480391485 "Courtesy of Mad Arkitekter and Asplan Viak") Courtesy of Mad Arkitekter and Asplan Viak  Courtesy of Mad Arkitekter and Asplan Viak The construction of Visjon Dokken hopes to revitalize Bergen city center, by promoting the area as a natural focal point and urban mixed-use environment.  Courtesy of Mad Arkitekter and Asplan Viak  Courtesy of Mad Arkitekter and Asplan Viak _web.jpg?1480391497 "Courtesy of Mad Arkitekter and Asplan Viak") Courtesy of Mad Arkitekter and Asplan Viak In order for the project to be developed, an existing cargo port at the site must be moved elsewhere. While Visjon Dokken does not offer suggestions for where the port should be moved, it does suggest possibilities for new ferry and cruise ship docks.  Courtesy of Mad Arkitekter and Asplan Viak New via MAD Architects. This posting includes an audio/video/photo media file: Download Now |
| Sassen, Kimmelman and More Discuss the Urban Evolution of Migration in reSITE's Small Talks Posted: 04 Dec 2016 01:30 AM PST .jpg?1480789673 "Courtesy of reSITE") Courtesy of reSITE "What is your city? And what do you need to make that entire city yours?" These are some of the questions being posed by co-founding principal of nArchitects, Mimi Hoang, in reSITE's Small Talks series. The videos, produced and edited by Canal180, were recorded during the reSITE event that took place in Prague earlier this year, titled "Cities in Migration." Reiterated again and again by several of the interviewees is the fact that migration is, in the words of founder and chairman of reSITE Martin Barry, "a natural human phenomenon; everyone is moving to cities to improve their lives." Since 2011 reSITE has exploded into an international platform; a democratic process to "integrate people in a 21st century modern, contemporary, sustainable way," says Barry. Michael Kimmelman, architecture critic at the New York Times, calls it "a place where people can come from different parts of the world and have a conversation; often a conversation that doesn't really take place in public." Saskia Sassen, Urban Sociologist Professor at Columbia University and the London School of Economics, reiterates that the conference "is really wonderful because it is bringing so many different perspectives." The "migration question" is not a new one; Sassen makes a point of saying that we have always seen "this on-going influx of migration" in big cities. However, as Kimmelman reflects, "architects maybe lost touch in many cases with that role that they played more clearly, even a century ago, trying to shape society." He continues to say that now is the time to reiterate these beliefs that "will shape the way the cities of the future looks." Watch the series to hear about the rest of their thoughts. Michael Kimmelman, NYT Saskia Sassen, Columbia University Martin Rein-Cano, Topotek 1 Joana Dabaj & Riccardo Conti, Catalytic Action This posting includes an audio/video/photo media file: Download Now |
| La Casa of Paul & Sigi / MXMA Architecture & Design Posted: 04 Dec 2016 01:00 AM PST  © Adrien Williams
 © Adrien Williams From the architect. MXMA Architecture & Design is inspired by the foliage of Montreal's Lafontaine Park in this metamorphosis of a duplex interior to create an innovative living space with abundant wood surfaces.  © Adrien Williams Located in the heart of Montreal's Plateau-Mont-Royal Borough, facing Lafontaine Park, this turn-of-the-20th-century duplex recently underwent a major interior transformation. The project, realized by MXMA Architecture and Design, was inspired by the park's abundant foliage. As we enter the home, at the second floor level, we discover a vast wooded area that gradually unfolds as you look into to the inner reaches of the space, resembling the character of a branch. Composed of solid planks of white oak, this branch is arched and deformed, redefining the sense of being at home in the city. Wood surfaces extend continuously into the space, metamorphosing into floors, walls, ceilings, handrails and even built-in furniture.  © Adrien Williams The organization of the living spaces revolves around the architectural form of the ceiling. Continuity of wooden surfaces becomes the organizing principle of the home's more public areas, such as the entrance, the living room, the dining room and the kitchen. It creates an experience of movement that leads to the third floor, where the more private areas, including three children's bedrooms and the master suite, are located.  Floor Plan The natural, vibrant ambiance of the Casa is enhanced by the irregular surfaces of the ceilings. Their angular volumes adjust to the conceal the new structure, which includes an imposing steel beam (33 feet long) that supports the third floor. They also cover all the ventilation ducts. Finally, the ceiling melts comfortably into the structure of the existing staircase and then unfolds to become a railing on the third floor, like a flower opening up towards the sunlight, which enters the space through a large skylight.  © Adrien Williams The woodwork gives the home a homogeneous, natural and lively feeling. Technically, it demonstrates how wood can be used to provide flexible and complex solutions with a high-quality finish. Surfaces, materials and light resonate together to create a living space that emanates warmth and is inspired by its context.  © Adrien Williams Product Description. The casa of Paul & Sigi faces the important greenery of Parc Lafontaine in Montreal, hence the use of wood in the indoor spaces. To reach the residence, you must climb to the second level. From there, one discovers a vast wooded-space filled with life that unfolds to the hollow of the house, like a branch. This branch, composed of massive white oak planks, is vaulted and deformed on several angles in an effort to challenge our sense of being at home. It becomes, in turn, floors, ceilings, guardrails and integrated furniture. In the Casa, wood is used in different ways. The continuity of the wooden surfaces accompanies us in our movements while ordering spaces. The quality of the wood gives a homogeneous, natural and living aspect to the project. This posting includes an audio/video/photo media file: Download Now |
| Nabil Gholam Wins 2016 World Architecture Festival with Bank Headquarters Posted: 04 Dec 2016 12:00 AM PST  © nabil gholam architects Nabil Gholam Architects' unbuilt proposal for a future bank headquarters competition, a.spire, has been named the winner of the Office-Future project category at World Architecture Festival 2016. The project, designed for the Mar Mikhael neighborhood of Beirut, Lebanon, is a flexible intervention meant to both meet the client's needs in the present day and adapt to its long-term evolution. The exterior of the proposal is deceptively simple, housing a complex layering of working and living spaces on the interior. The core of the project's design philosophy is the duality of inhabitants and neighbors, both of whom are served with several levels of private and public spaces.  © nabil gholam architects Most visitors, clients, and employees will first experience the headquarters on the ground floor, which serves as the dominant interface between the Tower and surrounding neighborhood. The second tier is a raised ground floor, which is exclusive to pedestrians and fosters interaction with public space away from vehicular traffic. This level serves as the threshold to the main lobby and secret gardens, inviting visitors upward with views of the surrounding site.  © nabil gholam architects The tower will contribute to Mar Mikhael's quickly developing skyline, eschewing ornament for an understated sculptural facade that transforms throughout the day with the angle of the sun. The building appears monolithic from a distance, while upon closer examination its porous facade and rhythmic landscaping become visible. The upper-level platform will serve to add healthy green space to its urban environment and at night, the lit sky gardens can be recognized from all parts of the city.
News via: Nabil Gholam Architects This posting includes an audio/video/photo media file: Download Now |
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_Simon_Menges_21.jpg?1480704290 "© Simon Menges")
_Simon_Menges_20.jpg?1480704324 "© Simon Menges")
_Simon_Menges_11.jpg?1480704237 "© Simon Menges")
_Simon_Menges_07.jpg?1480704306 "© Simon Menges")
_web.jpg?1480391485 "Courtesy of Mad Arkitekter and Asplan Viak")
_web.jpg?1480391497 "Courtesy of Mad Arkitekter and Asplan Viak")
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