Arch Daily |
- AD Classics: Space Needle / John Graham & Company
- The State Museum of Egyptian Art / Peter Böhm Architekten
- Maher Store / Harmonic Trend [L]
- Oasia Hotel Downtown / WOHA
- Hui | Origin of Everything / C.DD
- St Kilda East House / Claire Scorpio Architects
- Blue Bottle Coffee Shinagawa Cafe / Schemata Architects
- 2016 RIBA President's Medals Winners Announced
- Palermo Lake House / Reims Arquitectura
- San Miguel de Tango Convention Center / PAR Arquitectos
- New Short Films Reveals the Lives of Residents in Mies van der Rohe's Lafayette Park
- Villa Tempérée / ARTELABO
- Construction Begins on World's Tallest Religious Building
- Larson Bergquist / Salmela Architect
- Faith & Form's 2016 Religious Architecture Awards Recognize 28 Projects from Around the Globe
- Nötkärnan / Wingårdh Arkitektkontor
- The Planners' Guide to Trees in the Urban Landscape
- New Mixed-Use Complex Expresses Past, Present, and Future of Chinese Culture
| AD Classics: Space Needle / John Graham & Company Posted: 06 Dec 2016 08:00 PM PST  Courtesy of Wikimedia user Rattlhed (Public Domain) The opening of the Century 21 Exposition on April 21, 1962 transformed the image of Seattle and the American Northwest in the eyes of the world. The region, which had been known until that point more for its natural resources than as a cultural capital, established a new reputation as a center of emergent technologies and aerospace design. This new identity was embodied by the centerpiece of the exposition: the Space Needle, a slender assemblage of steel and reinforced concrete which became—and remains—Seattle's most iconic landmark.[1]  Courtesy of Wikimedia user Cacophony (Licensed under CC BY-SA 3.0) Seattle was particularly fragile as the Space Age dawned. At the time, the city depended on two primary sources of employment: maritime trade and that of aircraft manufacture (the Boeing Corporation). Shipping between the western United States and other countries along the Pacific Rim frequently passed through Seattle, but the growing popularity of the jet airplane allowed for shipments to cross the ocean without ever passing through the region. Boeing, which had made its headquarters in the city in 1910, was also one of the largest employers the area, but the threat of economic downturns—and the layoffs that followed—drove both local business owners and city officials to begin brainstorming a way to entice other companies to settle in the city.[2] Impetus for the 1962 World's Fair, as it was colloquially known, did not come only from Seattle itself. The launch of the Soviet satellite Sputnik in October of 1957 was an undeniable challenge to a United States in the midst of the Cold War, necessitating a timely and emphatic response. It was under this mandate that the federal government selected Seattle as the host for the country's next World's Fair; one which, it was hoped, would demonstrate American technological superiority – both on Earth and beyond.[3]  This sketched rendering of the Space Needle dates to April 1961 – one year before its opening. ImageCourtesy of Seattle Municipal Archives (Public Domain) The idea for the Space Needle itself came not from the Soviet Union, but from Germany. When Seattle World's Fair Commission chairman Eddie Carlson dined in a restaurant in Stuttgart's Fernsehturm in 1959, he quickly decided that the Century 21 Exposition required a similar landmark attraction. He wasted no time in sketching out his vision of this tower on a number of postcards sent to other fair officials; while rather crudely detailed, the slender form of his concept drawing was clearly inspired by the Fernsehturm. In response, one of the officials suggested that Carlson enlist architect John Graham, Jr. to turn his sketch into a reality.[4] The collaboration between Carlson and Graham resulted in substantial revisions to the initial concept. Early versions of the Space Needle resembled an enormous balloon, either tethered to the ground or sitting atop a column; it was Graham who turned the sphere into a saucer, a form perhaps more fitting in light of the tower's Space Age inspiration. Approximately a dozen designers contributed to the project, each recruited into a team by Graham for the task. One member in particular, Victor Steinbrueck, was responsible for the tripod support shaft; its double-decked crown was concocted by member John Ridley. The final design was decided upon only a year and a half before the fair's intended opening in 1962.[5,6]  A 1962 cutaway drawing of the Space Needle's tophouse. ImageCourtesy of Flickr user James Vaughan (CC BY-NC-SA 2.0) The next six months were spent securing a lot upon which to build the tower. Although the Space Needle was to be the exposition's greatest attraction, its construction was not financed by the city; the investors, therefore, had to purchase a lot within the fairgrounds. Eventually, a 14,400 square foot (1337.8 square meter) site was found, and construction could finally begin with only a year left before the beginning of the Exposition.[7] With the deadline looming, construction proceeded rapidly. The first step was to dig a hole 30 feet (9 meters) deep and 120 feet (36.6 meters) across into which the building's foundation could be poured. This concrete pour would be the largest attempted in the West to that date: over the course of an entire day, a total of 467 cement trucks worked to fill the gaping hole. The resulting foundation was so heavy that it weighed as much as the tower that sprouted from it. In spite of the Space Needle's slightly top-heavy appearance, its center of gravity is only 5 feet (1.5 meters) above the ground.[8]  The Space Needle under construction before its opening in April 1962. ImageCourtesy of Seattle Municipal Archives (Public Domain) From this massive foundation arose a slender tower whose skyward growth did not end until it had reached 605 feet (184.4 meters) tall. The structure comprises a steel tripod, with each of the three legs pinched just above the middle of their height and topped by a multi-level tophouse reminiscent of a flying saucer. This tophouse consists of five stacked layers: a revolving restaurant, a mezzanine level, an observation deck, a mechanical equipment level, and at the tower's pinnacle, an elevator penthouse. The structure was also originally crowned by a 50 foot (15 meter) natural gas torch.[9] Suiting the futurist leanings of the fair, the Space Needle was also painted in the colors Astronaut White, Orbital Olive, Re-entry Red, and Galaxy Red.[10] Despite the tight schedule under which it was organized, the Century 21 Exposition opened as scheduled on April 21, 1962. The fair was one of the most successful in history, exceeding projected attendance and even turning a profit; exit polls of attendees indicated a stunning 98.4% approval rating. The Space Needle itself, the tallest structure west of the Mississippi River at the time of its opening, was a smash hit with guests and almost immediately adopted as an icon of Seattle. It remains a popular tourist destination, with over a million visitors paying to access its observation deck every year.[11]  A view from the observation deck; at the time of its construction, the Space Needle was the tallest building in Seattle. ImageCourtesy of Flickr user Chris Yunker (CC BY-SA 2.0) In the late 1990s, the Space Needle was declared a historic landmark by the Seattle City Council – the first structure to qualify in each of the six potential criteria for the title. Once built as a heady vision of a spacefaring future, it is ironically now recognized as a relic from decades past.[12] The city around the Space Needle has changed since 1962. It now enjoys the commercial diversity so intently sought by the fair's organizers, apparently validating their efforts. The Space Needle now stands as a symbol of the bright 21st Century Seattle hoped for in 1962 – albeit not quite the way they envisioned it.[13] References
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| The State Museum of Egyptian Art / Peter Böhm Architekten Posted: 06 Dec 2016 07:00 PM PST  © Dieter Leistner
 © Dieter Leistner The extraordinary urban development with the large free square in front of the Old Pinakothek made it possible to close this square with a generous, quiet building in the south, which takes up approximately the proportion of the Old Pinakothek, vis-à-vis in the north, where the new building lies. In accordance with the lateral emphasis of the Old Pinakothek with its space-limiting risalits and avenue, is the entrance to the University of Film and Television located in the east of the new building and in the west the entrance to the State Museum of Egyptian Art, which is buried like an archaeological excavation underneath the green forecourt.  © Dieter Leistner The public is invited to use the numerous facilities and events like the library, movie screenings, lectures and festivals by the Foyer of the University- a large opening in the stone pedestal of the building. The public space continues inside the building, where it is surrounded by cinemas, seminar rooms, the cafeteria and a library. In contrast to the extroverted foyer, the studios are located in the protected concrete base to ensure a concentrated and protected work. In the glass upper floors, smaller offices and office-like uses are accommodated.  Section "In the museum, my aim was to create a place for the precious exhibits, in which the atmosphere of ancient temple complexes, from which they are largely derived, is translated into a modern architectural language." Peter Böhm  © Dieter Leistner  Ground Floor Plan  © Dieter Leistner The large walls of the pedestal are executed in a light, slightly ocher-colored concrete, while the wall of the Egyptian Museum is kept in a darker, red granite-like shade - a coloring game which is found in the Old Pinakothek (with the addition of Döllgast) . The double skin of the glass body of the upper floors is a chirping, flickering band with the light play of rotatable glass discs and sun protection lamellae in varying positions. The entrance to the Egyptian Museum, which is marked by a large wall slab, is reached via a separate forecourt, which is designed as a flat inclined ramp. The museum is based in the underground and its rooms are grouped around atrium, which is cut into the lawn area and is also used for exhibition purposes.  © Dieter Leistner This posting includes an audio/video/photo media file: Download Now |
| Maher Store / Harmonic Trend [L] Posted: 06 Dec 2016 06:00 PM PST  © Hamed Badami
 © Hamed Badami From the architect. Project subject Interior design and reconstruction of "MAHER" women's apparel (clothes – dresses) store, which is a part of a fine 40 years old building. MAHER store has been in Hamedan for more than 60 years.  © Hamed Badami Locality (Location in city) This building is located next to the circle, which houses the mausoleum of late BOO ALI SINA a well- known doctor and philosopher. This location is a tourist attraction. City dwellers and tourists are wondering around in the area for shopping or otherwise. This point has been a main source for the design idea.  © Hamed Badami Design description Design has been formulated in such a way in which store's internal space is a continuation of city's space and impact of the city is felt in the store. In fact, if the commercial application of the store is removed, still it could be a proper space for people to wondering around the city and could be taken as a part of city. The experience and memory of a space whether commercial or otherwise motivates people to go back to space, for shopping or entertainment.  © Hamed Badami Huge staircase, aligned with city There was a balcony inside the building, which was demolished during the reconstruction, due to structural problems. This created a space with 5.5 meters height. We placed the staircase in this space as an independent object. This object (staircase) is independent, with 50 cm distance from the walls of the main building. The staircase has created diverse spaces with various applications within 5.5 meters height. People could walk through the stairs, which goes through store's glass showcase, stop at landings of it and look around. They could also stop at the last landing, which is a kind of a balcony.  Diagrams Showcase, a place for people to go through, not mannequins Usually, mannequins placed in the showcase to attract people, and customers to the store. However, in MAHER store, mannequins are not placed in a showcase and instead people see some walkers who go through, stop or even sit in the showcase. People from outside watch those inside and those inside watch them outside. In a way, mannequins and people have taken each other place.  © Hamed Badami In MAHER store, people who go through staircase in the showcase are visible and attracting people from outside not the dressed mannequins. This feature gives a distinctive position to the MAHER store, as mannequins have scattered throughout store.  Section In this design project, a social topic is addressed and a social expression, evaluation and interpretation of mannequin-ism are done via architectural space.  © Hamed Badami Inner space skin (membrane) An independent inner space skin, coordinated with old building's walls is created in the main space of the building with 5.5 meters height. This is an integral membrane, which covers floor, walls and ceiling and its form and texture are integrated with Persians patterns in a nostalgic way.  © Hamed Badami In relation to the organizing volume of huge staircase, diversified and attractive spaces are created (in every turn 0f 360 it happens frequently). Depths, shades and repetitions in the texture, creates a particular space which promotes the space potential and people desire for shopping and converts it to a desirable space for wondering around and entertainment.  © Hamed Badami Supports and services allocations Fitting room is located at the top of the huge staircase, on a last landing as an attached box with a triangle base. Services and storage spaces are separately located on the store's ground floor.  Floor Plan Handrails and regales, an integrated and continuous structure Staircase's handrails and landings end up to regales and dress hanging location, which make an independent, continuous and integrated structure, while each as an separate object has its own structure and configuration. Either at the top or on the ground floor, all of them are integrated and continuous pipes, which are running at 50 cm distance from the staircase and main membrane.  © Hamed Badami A central column We did not try to hide that column and we approached it as an added element in general space design and in contrast with ... ceiling. In addition, it was a major factor for laying out elements in internal zoning, circulation and directions. This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Dec 2016 03:00 PM PST  Courtesy of WOHA
 Courtesy of WOHA From the architect. A verdant tower of green in the heart of Singapore's dense Central Business District (CBD), Oasia Hotel Downtown is a prototype of land use intensification for the urban tropics. Unlike the sleek and sealed skyscrapers that evolved out of the temperate west, this tropical "living tower" offers an alternative image to the sleek technology of the genre.  Courtesy of WOHA In response to the brief for distinct Offices, Hotel & Club rooms, WOHA created a series of different strata, each with its own sky garden. These additional "ground" levels allow generous public areas for recreation and social interaction throughout the high-rise, despite the inner city high density location.  Courtesy of WOHA  Section  Courtesy of WOHA Closely overlooked by surrounding towers, the tower carves out its own internal spaces and dynamic views instead of relying on external vistas for visual interest. Each sky garden is treated as an urban scale verandah, sheltered at high level by the preceding sky garden and open sided for formal and visual transparency. The openness also allows breezes to pass through the building for good cross-ventilation. In this way, the public areas become functional, comfortable, tropical spaces with greenery, natural light and fresh air instead of enclosed, internalised air conditioned spaces.  Courtesy of WOHA Landscaping is used extensively as an architectural surface treatment and forms a major part of the development's material palette both internally and externally. Achieving an overall Green Plot Ratio of 1,100%, the tower is conceived as a haven for birds and animals, reintroducing biodiversity into the city. This quantum of green is an exciting number, as it effectively compensates for the lack of green in 10 surrounding buildings. The tower's red aluminum mesh cladding is designed as a backdrop that reveals itself in between 21 different species of creepers, with colourful flowers interspersed among green leaves, providing food for the birds and insects. The creepers will form a mosaic with each type taking over its most suitable conditions of light, shade and wind. Instead of a flat roof, the skyscraper is crowned with a tropical bower; floral, diverse, soft and alive.  Courtesy of WOHA This posting includes an audio/video/photo media file: Download Now |
| Hui | Origin of Everything / C.DD Posted: 06 Dec 2016 01:00 PM PST  © OUYANG Yun
 © OUYANG Yun It is a cubic architectural installation of 3m*3m*3m. This is not a large space; however, it carries the designers' great affection and thinking for their hometown Foshan. The core concept of the design could be summed up in one phrase" Origin of everything".  © OUYANG Yun Actually, this architectural installation is an exhibit represents Foshan designed by the designers when invited by Expressions of The City during Guangzhou Design Week. Because the organizer sets limitations to the size of exhibition work, so the designers choose a cube which has the largest volume as the carrier of the architectural installation to express the vast theme "city". The use of the cube allows the designers to present a journey back to "Foshan" and their original minds around the core concept of "Origin of everything".  © OUYANG Yun  Concept  © OUYANG Yun For the structure, the designers use bamboos to form a smaller rectangular space around the geometric center of the cube. A one-way path which allows passage of only one person is thus built along the four lateral facades of the cube. This is the road for the journey. However, when look at the cross section of the whole space from above, the two squares created by the bamboo wall and exterior wall together form the Chinese character "Hui", which symbolizes "return to the origin"  © OUYANG Yun .jpg?1480924063 "Plan") Plan  © OUYANG Yun The process of "Hui"has begun before visitors enter into the architectural installation. Visitors could come into this space alone through a narrow entrance, walk slowly and circle the space with the playing of background music which has a sense of ritual. While looking through the gaps between the bamboos, semi-finished Chinese Southern lion and Chinese leather drum placed in the centre could be seen; it is like a journey from outside to inside of both your inner self and the environment. In respect of spatial level , this journey , from external environment, the steel plate material of the façade, to the bamboo of the inner wall, and then to the traditional prototypes which enclosed by bamboo, allows visitors to experience the process from modern to ancient and from new to old, and offers visitors enlightenment from a different angle.  © OUYANG Yun For the designers, "Origin" means Foshan and the original selves. The Chinese Southern lion placed at the right centre of the space is originated from Xiqiao district, Nanhai county, Foshan. Thus it represents part of Foshan's important traditional culture and it represents the root of the designers as well. Beatings of drum is necessary when performing a lion dance, so a primitive leather drum prototype is placed under the white body of the Chinese Southern lion, they appear as one set. What is worth mentioning is that, the designers choose semi-finished Chinese Southern lion instead of a completed Chinese Southern lion with eyes is because that they could take use of the light permeability of the white body; they could make the image of the Chinese Southern lion more rich through placing flashing lights inside the white body. As the beatings of the drum leads the emotions and actions of the lion dance, the background music in this space matches with the flashing colorful lights. So visitors would see the lion in red or in green from time to time, and the colors express different emotions.  © OUYANG Yun The imagery which represents Foshan also appeared on the façade – the designers piece together the maps of Foshan city and Nanhai county and the words "Foshan"on the steel plate wall with small holes. Functionally, it strengthens the ventilation of the space and gives visitors a better feeling on the one hand; on the other hand, these small holes bring light to the space – apart from that, only the rectangular roof which is partitioned off by bamboos that could provide natural light for the space. From the aspect of artistic conception, considering that mirrors are used in both the ceiling and floor of the corridor, when sunlight enters into the space through the holes, under the reflection of the mirror, the whole space will become more mysterious, fantasy and changeable. This is the artistic conception needed to be created for the journey of our mind. And such artistic conception will change according to the position that the installation is placed— when the angle of the sunshine changed, the picture create by light through the holes will change accordingly.  © OUYANG Yun The whole design process is more like a process of re-learning and understanding of the traditional culture of their hometown, said the designers. But due to the limit of space, so what could be expressed is limited as well. What they hope is that through this well-chosen design expression, more and more people could pay attention to Foshan and try to understand Foshan. From higher level, the designers hope every visitor could be inspired by the architectural installation so as to pay more attention to their hometown's traditional culture and the original self, no matter where they come from and where they are. This posting includes an audio/video/photo media file: Download Now |
| St Kilda East House / Claire Scorpio Architects Posted: 06 Dec 2016 12:00 PM PST  © Tom Ross
 © Tom Ross From the architect. St Kilda East House is a tiny addition to an existing Edwardian House. With just 11m2 of new building works, this project engaged with big ideas within a modest footprint and budget to enhance the quality of everyday experience for the family living here.  © Tom Ross  Section  © Tom Ross This posting includes an audio/video/photo media file: Download Now |
| Blue Bottle Coffee Shinagawa Cafe / Schemata Architects Posted: 06 Dec 2016 11:00 AM PST  © Takumi Ota
 © Takumi Ota From the architect. Walking through the concourse of Shinagawa Station towards the Kohnan exit, one looks up at the glass-clad shopping mall above and find Blue Bottle Coffee Shinagawa Cafe, their 6th shop in Japan, behind the glass facade. The act of "looking up" to find the place inspired James Freeman, the Founder of Blue Bottle Coffee, to imagine a "heavenly space" for the new cafe.  © Takumi Ota Based on this image, we envisioned a serene white space which simultaneously resonates the urban vigor at the station concourse; we chose Takigahara-ishi (tuff stone produced in Ishikawa Prefecture) as the main interior finish, combined with wood to create a space composed of a white color palette.  © Takumi Ota Natural hardness of the stone and the horizontal / vertical composition create a cool and sophisticated impression, while the finely textured stone surface gently receives light to enhance the serene feeling; and the stone finish is seamlessly applied throughout the floor, wall and counter paneling to create subdued calmness.  Floor Plan In terms of plan, a hollow-square shaped counter is placed at the center to facilitate a "fair relationship" between all people present, in the same way as the Blue Bottle Coffee Shinjuku Cafe.  © Takumi Ota This posting includes an audio/video/photo media file: Download Now |
| 2016 RIBA President's Medals Winners Announced Posted: 06 Dec 2016 09:15 AM PST  Silver Medal: Crafts Vault / Thomas Chee. Image Courtesy of RIBA The Royal Institute of British Architects (RIBA) announced the President's Medals Student Awards at a special event today in London. The awards, recognised as the world's most prestigious in architectural education, were inaugurated in 1836 (making them, including the RIBA Gold Medal, the institute's oldest award). Three medals in particular—the Bronze for a Part I student (Bachelor level), the Silver for a Part II student (Masters level), and the Dissertation Medal—are awarded to "promote excellence in the study of architecture [and] to reward talent and to encourage architectural debate worldwide." In addition to these, the winners of the Serjeant Award for Excellence in Drawing and the SOM Foundation Fellowships alongside a rostra of commendations have also been announced. RIBA Silver Medal: Thomas Chee (Chinese University of Hong Kong)Crafts Vault: The V&A Academy of Artisanal Crafts Responding to the uncertain future of traditional crafts industry in the UK threatened by the economic downturn and the rise of new manufacturing technologies, the proposal by introducing crafts workshops into a new extension of the Victoria & Albert Museum in London, tries to promote a new typology of museum building for storing and exhibiting crafts that could help bringing the lost touch of crafts back to the modern city. Tutors: Peter Winston Ferretto, Ingrid Schroder  Silver Medal: Crafts Vault / Thomas Chee. Image Courtesy of RIBA  Silver Medal: Crafts Vault / Thomas Chee. Image Courtesy of RIBA  Silver Medal: Crafts Vault / Thomas Chee. Image Courtesy of RIBA  Silver Medal: Crafts Vault / Thomas Chee. Image Courtesy of RIBA  Silver Medal: Crafts Vault / Thomas Chee. Image Courtesy of RIBA RIBA Bronze Medal: Allan Chong (Mackintosh School of Architecture)'Formless' – An Alternative Typology for Preservation This project takes a theoretical path in creating an alternative typology for preservation. It introduces a compromise between the desire for preservation and the cultural shift necessary for architectural expansion in the city's future. Interpreting the concept of 'formless' in preservation means that architecture and heritage are no longer seen as permanent objects, but they keep transforming to re-frame their key spaces. Tutors: Josep-Maria Garcia-Fuentes, Aldric Rodriguez Iborra  Bronze Medal: Formless / Allan Chong. Image Courtesy of RIBA  Bronze Medal: Formless / Allan Chong. Image Courtesy of RIBA  Bronze Medal: Formless / Allan Chong. Image Courtesy of RIBA  Bronze Medal: Formless / Allan Chong. Image Courtesy of RIBA  Bronze Medal: Formless / Allan Chong. Image Courtesy of RIBA  Bronze Medal: Formless / Allan Chong. Image Courtesy of RIBA Dissertation Medal: Roy Khatchadourian (University of Liverpool)A Juxtaposition of Ideological Expressions: Evaluating the urban transformations of Yerevan (Armenia) during 1915-2015 What determines our sense of belonging to a territory? How can an identity be maintained, or created? Yerevan – the crown jewel and capital city of Armenia – has been grappling with these issues in a quest of rediscovering its national pride, after years of political oppression, even genocide. This dissertation explores the role of architecture in this endeavour through Alexander Tamanyan's work, an overlooked master whose contribution forms today's city branding… Tutor: Iain Jackson  Dissertation Medal. Image Courtesy of RIBA  Dissertation Medal. Image Courtesy of RIBA The Serjeant Award for Excellence in Drawing (Part 1) went to Lucian Mocanu (University of Greenwich, tutored by Rahesh Ram and Tom Noonan) for New Greenwich Civic Centre: A transformative architecture. The project proposes an alternative centre for Greenwich that can be adapted for society's needs. The Serjeant Award for Excellence in Drawing (Part 2) was awarded to James Bussey (University of Kent, tutored by Adam Cole and George Thomson) for The Company, a dystopian graphic novel exploring architecture, isolation and Potemkin villages through the eyes ofa fictional German revolutionary exiled to the island of Helgoland. The UK office of Skidmore, Owings & Merrill (SOM) also awarded SOM Foundation Fellowships to Jack Bailey (Kingston University, UK, tutored by Michael Lee) and Shenpei Ha (The Cass, London Metropolitan University, UK, tutored by Signy Svalastoga, Edward Simpson and Jonathan Cook). Silver Medal Commendations
Bronze Medal Commendations
Dissertation Medal Commendations
Juries for the MedalsSilver Medal
Bronze Medal
Dissertation Medal
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| Palermo Lake House / Reims Arquitectura Posted: 06 Dec 2016 09:00 AM PST  © Ricardo Janet
 © Ricardo Janet From the architect. Palermo Lake is a countryside residence that includes the ideals of a family whose greatest aspiration is to live outside the urban boundaries within a natural, remote, and peaceful environment.  © Ricardo Janet Despite its palpable isolating condition due to its location outside the urban fabric, the purpose of the project is completely the opposite, for this is a house designed to encourage those social activities enjoyed by the family, activities revolving around its passion for equestrian activities, water sports, enology, and, above all, country living.  Ground Floor Plan The parti is determined by the front areas exploitable for such purposes, where the south and the west, which align with the lake and the polo field respectively, define the outline of the house, its landscapes and mainly the unifying thread which harbors all the possible public outdoor recreation areas in a linear promenade, going from the main access to the property, developing along the lake, and ending in the social terrace, crowning the head of the polo field with its shadow.  © Ricardo Janet This design strategy led to a linear and continuous public spine from which the project emerges, and it´s center point along the journey turned became the optimal location for he most important space and the heart of this dwelling -the "great hall"- which purpose is to concentrate, under the same double heighted space, all the possible activities involving family and social dynamics. Aside from being an overwhelming introduction to it´s interior, an efficient distributor of the public and private program in two levels, and a reconfigurable environment, the great hall is the space that allows for light, natural air circulation coming from the south, and the constant breeze of the lake to flow into the house, thus refreshing from the public area to the deepest private spaces of the program in the upper level, in order to keep comfortable interior temperatures during all seasons, in a region with semidesert and warm climate lasting 10 months per year. During the cold months, these large openings oriented towards the south, will allow sunlight to access and generate solar gain while heating the interior, especially the private areas of the residence.  1st Floor Plan Adjacent and around the great hall in the lower level, complimentary spaces are assembled, emphasizing the gourmet kitchen, cellar, dining room, playroom, terrace, and family memory room.  © Ricardo Janet Communicated with the great hall, as a semiprivate mezzanine in the upper level, the family room may be found; an open and continuous space which adapts to the daily necessities and temporary family dynamics. This area brings together, like a hinge, the two private parts of the program which are located at opposite ends; the master bedroom and the children's bedrooms. The direction of each of these areas was determined based on the most preferred view according to the users, orienting the children's bedrooms to the lake due to their fondness for water sports, and the master bedroom, to the polo field, on account of their passion for the equestrian life.  © Ricardo Janet With both ends cantilevering to underline it´s hierarchical ends - the main entrance and the shaded social terrace- the architectural form of the project is defined by a load-bearing mass of reinforced concrete which, apart from giving evidence of its structure, serves as a canvas on which quarry stones from Queretaro, recycled timber from surrounding former railroad tracks, national hardwood finishes treated with oil and steel structures and fixtures tamed by the local workmanship, complement the material palette of this architectural composition.  © Ricardo Janet Finally, the goal behind the outward appearance of the house is to provide a timeless countryside environment, which, despite the fact of formally speaking of its era, it is still open to time's intervention and patina where we believe the weatherization of the selected materials and nature's takeover of its concrete canvas, shall end this work which, as wine does, pretends to age gracefully, improve over the years, and acquire a greater sense of belonging with its site and context.  © Ricardo Janet This posting includes an audio/video/photo media file: Download Now |
| San Miguel de Tango Convention Center / PAR Arquitectos Posted: 06 Dec 2016 07:00 AM PST  © Diego Elgueta
 © Diego Elgueta From the architect. The project seeks the configuration of a central void, as an adaptive and flexible extension to the functions of the various uses required by the program, this complemented by a system of perimeter corridors that articulate the various services of the programmatic edge. This configuration contrasts with the existing anteroom, a park of ancient trees, the patrimonial house and the state chapel.  © Diego Elgueta It is propose the renovation of the preexisting buildings arranged in L-shape, a old warehouse and stables, which together with the construction of two new volumes (kitchen and bathrooms), worked in cob brick masonry, confined in metal profiles and limewash painted, structure and contain the new square; Preserving the original formal expression of the time, a neutral and unitary language.  © Diego Elgueta  © Diego Elgueta As a complement to the above, it is sought, through specific elements, to inject a new contemporary character that dialogues with the existing traditional architecture; Unifying elements such as Cor-ten steel skylights, as light lamps and composed pine pillars as support for louvers and temporary structures. In addition, some specific maneuver are established that give lightness to the profiles of the corridors and accentuations of color with terracotta and wine tones.  © Diego Elgueta  Floor Plan  © Diego Elgueta The take-off or detachment, in terms of the order and arrangement of the new elements with respect to the old ones; Generates the project intervention strategy, a maneuvers that allows to understand the pieces of the project, manifesting the origin of each old or new part.  © Diego Elgueta  © Diego Elgueta The landscape development, focused mainly on point applications; Lines and specific areas of vegetation that accompany paths and "dresses" certain places, maintaining a arid and clear image, which contrasts with the density and leafiest of the existing park.  © Diego Elgueta At the same time, different textures of floors are worked, river bolls with rounded stones in corridors detachments and random lines arranged in the esplanade; concrete refined slab for corridors; Prefabricated concrete tiles 30x60cm in locked arrangement for the square; And framing slate stone for the intervention of pre-existing damaged slabs.  © Diego Elgueta This posting includes an audio/video/photo media file: Download Now |
| New Short Films Reveals the Lives of Residents in Mies van der Rohe's Lafayette Park Posted: 06 Dec 2016 06:00 AM PST In this video, filmmaker Ryan Clancy takes us inside Detroit's Lafayette Park neighborhood, home to the world's largest collection of buildings designed by Mies van der Rohe. Due to the redevelopment of Detroit and the surging popularity of mid-century design, home prices and cost of living in the neighborhood have dramatically increased in just 5 years time – leaving the community on the cupse of turnover. Seeing the need to document Lafayette Park before it changes for good, Clancy uses his camera to capture the diverse group of existing residents in their homes, highlighting their relationships to the timeless architecture.
To learn more about the film, visit the official website, here. AD Classics: Lafayette Park / Mies van der Rohe Mies van der Rohe's Lafayette Park Named National Historic Landmark This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Dec 2016 05:00 AM PST  © Marie-Caroline Lucat
 © Marie-Caroline Lucat From the architect. The project is a second home located in the countryside, in a small village near Lodève, at the north of Montpellier.  © Marie-Caroline Lucat The plot of land has a sloping topography organized in a series of platforms supported by old stone walls. It is opening on the north on a magnificent view on wooded steep hills.  © Marie-Caroline Lucat The projet integrate this landscape : following the lines of the platforms transversely to the slope, it takes shape in a ground floor building stretched in length and turned towards the view.  © Marie-Caroline Lucat The outlines of the platforms are preserved. The dry stone wall below the house is simply rebuilt and extended with the site material. A terrace with a swimming pool is created on the south side of the house.  © Marie-Caroline Lucat A new retaining wall is created in a raw concrete that, by its compact minerality, contrasts sharply with the field's material, revealing it, while in turn the site refers to the purity of the lines of architecture. The pool is digged against the wall, which closes the space of the terrace and forms a nested and intimate place in the heart of a large garden.  © Marie-Caroline Lucat With its flat roofing the house has a horizontal line which highlights the shape of the landscape.  © Marie-Caroline Lucat Its mineral aspect makes it merge with the stony platforms, and, seen from above, the projet « melts » within the landscape. The plan is composed of a very simple rhythm of identical opaque thin « blocks », alterning with large gaps corresponding to the openings of the house.  Floor Plan Each block is a « servant » space with attributed functions, and between them are rooms wide opened on the outside. The project is made of two independant buildings (a main house and children's rooms) connected on the ground level by a large terrace and up, by a light pergola.  © Marie-Caroline Lucat The terrace is at the heart of the project. Second open living room, it allows to live outside while being still in the heart of the house. Its decorative shadows, inspired by the site, gives the living space a poetic dimension.  © Marie-Caroline Lucat The project's balance, in a potentially disturbed harmony - thin changes occurring between identity in variety – as its regular intervals and measures are the keys of its unity.  © Marie-Caroline Lucat This posting includes an audio/video/photo media file: Download Now |
| Construction Begins on World's Tallest Religious Building Posted: 06 Dec 2016 04:00 AM PST  Courtesy of Vrindavan Chandrodaya Mandir, InGenious Studio Construction is underway on a 700 foot (213 meter) tall Hindu temple in Uttar Pradesh, India that, upon completion, will be the world's tallest religious building. Designed by Indian firm InGenious Studio, the structure (named "Vrindavan Chandrodaya Mandir") will surpass the Ulm Minster in Germany, the current tallest church at 530 feet (162 meters). The earthquake-resistant structure will rise 70 tiered stories and cover an area larger than St. Peter's Basilica in Vatican City, and will house a variety of religious and cultural facilities – as well as a theme park filled with attractions. "Attractions planned in the theme park would be like park rides, animatronics, light, sound and special effects as well as the Vraja Mandal parikrama shows and laser shows," project director Narasimha Das told The Spaces.  Courtesy of Vrindavan Chandrodaya Mandir, InGenious Studio Vrindavan Chandrodaya Mandir will be dedicated to Hindu deity Lord Sri Krishna, who scripture states grew up in Vrindavan. The temple will be surrounded by additional social and residential facilities, set into a 30 acre forested area planted to recreate the 12 forests of Braj.  Courtesy of Vrindavan Chandrodaya Mandir, InGenious Studio Current work is concentrated on the building's 180 foot (55 meter) deep foundation, which will contain 511 columns. News via The Spaces. This posting includes an audio/video/photo media file: Download Now |
| Larson Bergquist / Salmela Architect Posted: 06 Dec 2016 03:00 AM PST  © Paul Crosby
 © Paul Crosby  © Paul Crosby The retreat is sited near Taconite Harbor where the boreal forest meets the exposed bedrock of Lake Superior shoreline. The utmost character of the project reveals the predominance of place. There is a sense of old and new, an ageing beauty in the materials that reflect both permanence and impermanence. It is an encounter of something unexpected, of things that are in opposition.  © Paul Crosby  1st Floor Plan  © Paul Crosby Arriving at the site a garage and elongated storage shed to house kayaks form the stone entrance path. Clad with black paper-resin composite, repetitive cedar battens provide each otherwise stealth structure a sense of scale, warmth and resemble adjacent birch tree-trunks. Once on the path, the main building, courtyard and sauna come into view. Native grasses encroach on the path from the sides and through the gaps in random sized stone pavers. Descending and passing through a gap in a low stone wall you enter the court. To the right is a traditional white-washed masonry sauna with outdoor baking oven. The purity of white upon closer examination reveals the texture of the masonry and heightens the slight imperfections embodied in the construction. Ahead stands a L-shaped unchimney which defines the corner of the outdoor gathering area. The residual soot patterns mark the visual, auditory, olfactory stimulation from the presence of fires previous. Permanent outdoor furniture suggests uses related to the outdoor oven, unchimney and sauna.  © Paul Crosby This posting includes an audio/video/photo media file: Download Now |
| Faith & Form's 2016 Religious Architecture Awards Recognize 28 Projects from Around the Globe Posted: 06 Dec 2016 01:30 AM PST  Each year, Faith & Form magazine and the Interfaith Forum on Religion, Art and Architecture (IFRAA) reward the best religious architecture, design and art for religious spaces. In their 2016 awards, the jury recognized 28 projects across 10 categories, with almost half of the winners designed for sites outside of North America. Aside from this diversity of location, another trend in the awards was a tendency toward material honesty and simplicity. "Several jurors were impressed with how designers used an economy of means with simple, elegant materials to meet the needs of congregations," said Michael J Crosbie, editor-in-chief of Faith & Form, adding that "a reverence for natural materials was seen in many submissions, and in winning projects." Read on to see all 28 winners. Jumaa Mosque / John McAslan + Partners (Doha, Qatar; New Facilies)  © Hufton+Crow Chapel of St. Ignatius / John Ronan Architects (Chicago, Illinois; New Facilities)  © Nathan Kirkman Chapel of the Good Shepherd, Alojzij Šuštar Primary School / Robert Dolinar (Ljubljana, Slovenia; New Facilities)  © Luca Markez Totihue Chapel / Gonzalo Mardones Arquitectos (Totihue, Chile; New Facilities)  © Nico Saieh Al Warqa'a Mosque / ibda design (Dubai, United Arab Emirates; New Facilities)  © Sadao Hotta Chinmaya Mission Austin / Miró Rivera Architects (Austin, Texas; New Facilities)  © Paul Finkel / Piston Design The Joyful Church / The Beck Group (Pohang, South Korea; New Facilities)  © Seunghoon Yum St. Francis Chapel / Stocker Hoesterey Montenegro Architects (Breckenridge, Texas; New Facilities)  © Nicholas McWhirter Temple Israel of Hollywood / Koning Eizenberg Architecture (Los Angeles, California; Adaptive Reuse/Repurpose)  © Eric Staudenmaier St. Patrick's Cathedral / Murphy Burnham & Buttrick Architects (New York, New York; Restoration)  © Whitney Cox Congregation Kehilath Jeshurun Synagogue / FXFOWLE (New York, New York; Restoration)  © Chris Cooper St. Cecilia Church / Donham & Sweeney Architects (Boston, Massachusetts; Renovation)  © Bruce T. Martin Photography Palm Beach Synagogue / Arthur Chabon Architect (Palm Beach, Florida; Liturgical/Interior Design)  © Kim Sargent Knock Basilica Interior Design / Wejchert Architects (Knock, County Mayo, Ireland; Liturgical/Interior Design)  © Peter Moloney Temple Adath Israel / Atkin Olshin Schade Architects (Merion Station, Pennsylvania; Liturgical/Interior Design)  © Tom Crane Sacred Heart Cathedral of Kericho / John McAslan + Partners (Kericho, Kenya; Liturgical/Interior Design)  © Edmund Sumner 8-Shaped Passage / Shoji Oshio + UA architects (Ueno, Tokyo, Japan; Sacred Landscape)  © Masaru Niimi Baptismal Font; St. Thomas More Catholic Church / Dekker / Perich / Sabatini (Oceanside, California; Liturgical Furnishings)  © RMA Photography Pipe Organ; St. Dunstan's Episcopal Church / Dobson Pipe Organ Builders, Ltd. (Carmel Valley, California; Liturgical Furnishings)  © Sherman Chu Torah Ark, Bema, and Screen; Gideon Hausner Jewish Day School / Studio Bondy Architecture (Palo Alto, California; Liturgical Furnishings)  © Ken Gutmaker Basilica de N.Senora de la Merced Façade Rehab / Eleftherios Piskitzis, Architect (Madrid, Spain; Unbuilt Work)  © Eleftherios Piskitzis "Mary As Prophet"; Virginia Theological Seminary / Margaret Adams Parker (Alexandria, Virginia; Visual Arts)  © B. Cayce Ramey "Mysteries of the Rosary"; Our Lady of Loreto / Scott Parsons (Foxfield, Colorado; Visual Arts)  © Steve Maylone Cathedral of St. Thomas / Ranjit John Korah (Cochin, Kerala, India; Student Work)  © Ranjit John Korah "City of Spirits" / Rafaela Paes (Recife, Brazil; Student Work)  © Rafaela Paes "Pop-Up Places of Worship" / Lucas Boyd and Chad Greenlee (Various Locations; Student Work)  © Lucas Boyd and Chad Greenlee "The Chapel of St. Adalbert" / Filip Strzelecki (Fiszewo, Poland; Student Work)  © Filip Strzelecki "The Procession of the Souls" / Travis Price Architects with The Catholic University of America (Swinford, County Mayo, Ireland; Student Work)  © Travis Price This posting includes an audio/video/photo media file: Download Now |
| Nötkärnan / Wingårdh Arkitektkontor Posted: 06 Dec 2016 01:00 AM PST  Courtesy of Wingårdh Arkitektkontor
 Courtesy of Wingårdh Arkitektkontor "Paradise is the term for a place of timeless harmony" In Somalia, a simple flue often means death. Especially if you are young or newborn. The death-rate among children is the highest in the world.  Site Plan Sweden has a high influx of Somalian refugees. The Somalian community is concentrated at Bergsjön, a suburb of Gothenburgh. A private health clinic has been highly successful by giving rapid treatment to anxious mothers. It needed to expand.  Courtesy of Wingårdh Arkitektkontor The parking in front of the existing clinic provided a new plot for a new clinic, a new construction above the cars. The drab surroundings of precast concrete, it is basically "a project" of 60s social housing, needed some colour and flair. The new building was conceived as a gift, carefully wrapped in elaborate glass. It should stand out and empower the community!  Courtesy of Wingårdh Arkitektkontor Somalia is a very arid country where the idea of paradise is lush gardens, literally paradise or the garden of Eden.  Courtesy of Wingårdh Arkitektkontor We decided to surround the waiting area with four walls of dense, damp and excessive(in time) vegetation, a rain forest.  Diagram  Plan  Diagram The exterior walls are clad with unique pieces of screened glass. There is a different pattern on the inner pane. The two patterns are juxtaposed. This creates the illusion of movement. A flag of colors slightly shifting in the wind. A celebration of color.  Courtesy of Wingårdh Arkitektkontor Product Description. It was the strong desire of the client to make a colorful and optimistic statement. Therefore, we used standard insulated glass units to print unique rasterized multicolor print patterns on both glass panes. The distance between the overlaid patterns means that the combination of pattern looks different depending on the visual angle they are seen from, and it keeps shifting as you move your vantage point. The result is an illusion of movement, shimmer, shadow and depth, that offer an extra vibrancy of the expression. This posting includes an audio/video/photo media file: Download Now |
| The Planners' Guide to Trees in the Urban Landscape Posted: 06 Dec 2016 12:00 AM PST  via www.tdag.org.uk Tree and Design Action Group is a group that “shares the collective vision that the location of trees, and all the benefits they bring, can be secured for future generations through better collaboration in the planning, design, construction and management of our urban infrastructure and spaces.” “Trees make places look and feel better, as well as playing a role in climate proofing our neighborhoods and supporting human health and environmental well-being, trees can also help to create conditions for economic success.” The Trees in the Townscape guide presents a modern approach to urban forestry, providing officials and professionals with the principles and references needed to realize the potential of vegetation in urban areas. This is an approach that keeps pace with and responds to the challenges of our times. “Trees in the Townscape offers a comprehensive set of 12 action-oriented principles which can be adapted to the unique context of [any] own town or city.” Who should use the 12 principles? “The 12 principles in Trees in the Townscape are for everyone involved in making or influencing decisions that shape the spaces and places in which we live. It will be particularly relevant to local elected members, policy makers and community groups. It will also be useful to those professionals who bring their technical expertise to facilitate delivery, such as engineers, architects, landscape architects or urban designers." How were the 12 principles developed? “This guide was developed by the Trees and Design Action Group (TDAG) based on over 40 interviews and wide consultation with key knowledge holders in the built environment sector including civil engineers, insurers, developers, designers, planners, tree officers, sustainability specialists, arboriculturist, tree nursery managers, ecologists, academics, and not-for-profit organisations specialising in community engagement and trees." via www.tdag.org.uk Here is a brief description of each of the 12 principles: PLAN 1- Know Your Tree Resource Create and maintain easy-to-use records of the existing canopy cover and the nature and condition of the tree population. 2- Have a Comprehensive Tree Strategy Produce, adopt and implement a collaborative strategy for protecting, developing and managing a thriving, benefit-generating urban forest which is in tune with local needs and aspirations. 3 - Embed Trees Into Policy and Other Plans Adopt clear standards for the protection, care, and planting of trees in local plans. DESIGN 4 - Make Tree-Friendly Places Create places where tree species can thrive and deliver their full range of benefits without causing harmful nuisance. 5 - Pick the Right Trees Select and use trees appropriate to the context. 6 - Seek Multiple Benefits Harvest the full range of benefits trees can deliver as part of a local green infrastructure system, focusing on key local aspirations. PLANT / PROTECT 7 - Procure a Healthy Tree Plant healthy, vigorous trees that have been adequately conditioned to thrive in the environment in which they are destined to live. 8 - Provide Soil, Air and Water Ensure trees have access to the nutrients, oxygen and water they need to fulfil their genetic potential for growth and longevity. 9 - Create Stakeholders Work with local political, professional and community stakeholders to champion the value of trees in the townscape. MANAGE / MONITOR 10 - Take an Asset Management Approach Inform all planning, management and investment decisions with a robust understanding of both the costs and the value trees deliver. 11 - Be Risk Aware (Rather than Risk Averse) Take a balanced and proportionate approach to tree safety management. 12 - Adjust Management to Needs Conduct proactive and tailored tree maintenance to ensure optimum benefits in response to local needs. To see the complete guide, click here. This is an adapted version of the original guide released by TGAD with a focus on trees in urban areas. This posting includes an audio/video/photo media file: Download Now |
| New Mixed-Use Complex Expresses Past, Present, and Future of Chinese Culture Posted: 05 Dec 2016 10:00 PM PST _-_Aerial_view.jpg?1480578499 "© Aedas") © Aedas Novotown is China's latest cultural and creative incubator, designed by Aedas as an iconic destination on Hengqin Island in Zhuhai, China. Located just five minutes from Macau, the 120,000-square meter cultural and entertainment complex aims to straddle the roles of tourist destination and local icon. _-_Project_overview.jpg?1480578525 "© Aedas") © Aedas The complex, commissioned by Lai Sun Group, features a retail ring, an expansive courtyard, a shopping mall, a wedding pavilion, a healthcare center, and two indoor themed attractions: Lionsgate Entertainment World and National Geographic Ultimate Explorer. Three upper-level towers house the Hengqin Hyatt Regency Hotel, a 52,000-square meter office tower, and a cultural workshop tower. _-_Heart_of_China_Garden.jpg?1480578509 "© Aedas") © Aedas Novotown's core architectural gesture is an abstraction of an open palm, symbolizing both the embrace and proliferation of China's culture. Construction is scheduled for completion in 2019. For more information, visit www.novotown.com.cn/ News via: Aedas This posting includes an audio/video/photo media file: Download Now |
_-_Heart_of_China_Garden.jpg?1480578509 "© Aedas")
_-_Project_overview.jpg?1480578525 "© Aedas")
_-_Creative_studios_1.jpg?1480578494 "© Aedas")
_-_Western_entrance_to_the_retail_ring.jpg?1480578516 "© Aedas")
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