Arch Daily |
- The BLOX / DAM.architekti
- Vienna's Donaukanal: A "Powerfully (Precariously) Positioned Planning Proposition"
- Call for Entries: Colored Concrete Works Award 2017
- National Museum in Szczecin Dialogue Centre Przelomy / KWK Promes
- Ex Furnace di Riccione Recovery / Pietro Carlo Pellegrini Architetto
- Breeze Mooloolaba / Tony Owen Partners
- Projects by Alejandro Aravena and Carrilho da Graça Announced in Lisbon
- 105 Valentines for Architects (And Architecture Lovers)
- Bates Smart Unveils Plans for Tallest Engineered Timber Building in Australia
- Schiattarella Associati Unveils Riyadh Stadium Plans
- Marbel's House / MYCC Oficina de Arquitectura
- Stacked Residential Tower to Become One of Newcastle's Tallest Buildings
- #donotsettle Takes Us Inside Herzog & de Meuron's Hamburg Elbphilharmonie During its Opening
- Jardim Vicentina Urbanization / Vigliecca & Associados
- AART Architects Transforms Danish Hospital Into University
- Black Flying House / H3T Architekti
| Posted: 12 Feb 2017 09:00 PM PST  © Filip Šlapal
 © Filip Šlapal From the architect. A new office building with retail areas on the ground floor follows up the basic urbanistic concept of the Dejvice borough. The design of an eight-storied building also contained a landscape design of the nearby park.  © Filip Šlapal The Dejvice neighbourhood is renowned by its urbanistic concept developed at the beginning of the 1920s. Its architect Antonín Engel set down the rules for positioning buildings for a long time ahead, and they have still been followed aside from some minor exemptions.  Location  © Filip Šlapal  Ground Floor Plan It was, therefore, clear that the basic shape of this building must abide by the first urbanistic scheme of positioning buildings in this area.; However, the project had to be developed as very closely linked to the surroundings. That means it had to link even to those buildings disturbing this scheme. The building firmly follows the specified street line on the north side and deals with the difference in level between the open space of the park on the east side and the standard height of buildings along the street line. On the west, towards the Diplomat hotel, the building redefines the substantial attributes of city urbanism by reintegrating the space between buildings preparing it for the possible extension in front of the hotel whose footprint could reach to the street line. A separate chapter is a coexistence of the planned building and the park. The building (the same as the other, existing buildings) uses the park as a substantial means of compensation to the otherwise busy location. Most functions in the building are at least visually related to the park.  © Filip Šlapal The building is optically divided into several plans adjusting its scale to the surrounding buildings. That is into two wings in principle. Their minimalistic architecture uses similar architectural attributes, but eventually distinguishes between them. It is evident that the smaller wing parallel with Evropská is the more formal part including entrances and public areas; the larger wing, on the contrary, designed along the park is purely utilitarian. The concept of two visually independent blocks is supported by the tectonics of facades used on the larger wing. A dark strip, the distinct element turning into buttresses and consoles has a carefully selected tectonics. Its task is not simple; that is to say. It absorbs some often controversially specified spatial conditions and requirements laid on the project during negotiations. The clear-cut effect interrupts the necessary stepping back or cutting from the central mass that seems to be clear and legible this way.  © Filip Šlapal Layout – functional concept of the building is clear-cut. The major administrative function is entirely present on all storeys above the ground floor. The ground floor accommodates functions supporting the offices (reception lobby, canteen, cafeteria) and retail facing the street. A parking garage, technology areas, and back-of-house are in the basement. THE BLOX is a typical representative of an urban office building by its mixed-use concept supporting the city environment.  Diagram Product Description. Although the described material is not the most important in the building regarding the size or technical parameters, its effect in the public interior areas is more than important. It crucially supports the intended minimalistic concept preferring clear areas and open spaces whose borders are rather intuitive than strictly defined. When we decided for floor finishes running through the entire entrance lobby and forming a sort of a connecting platform of several functional parts we chose a classic material. Natural, light grey terrazzo.  © Filip Šlapal Although it was not easy to apply the terrazzo – the application is firstly a wet process, and then it requires a relatively complicated finishing consisting of grinding, polishing and impregnating – the result perfectly matched our expectations. This material is almost joint-free; distances between stainless steel movement strips are meters. It is wear-resistant and almost does not age (this is proved by still functioning, very well preserved floors in houses over a hundred years old). But for us, the most important factor was the sensation of the material's surface. The used light dolomite stones with the grain size up to 20 mm from the Bohdanec quarry imparting to the material the feeling of optical depth. Modified cement is the filler – a bonding agent – together with the above stones, it creates a sense of a somewhat natural downrightness of the material.  © Filip Šlapal It was interesting to see how such a traditional material we can find in almost all Classicist houses from the turn of the 19th and 20th centuries in Prague outperformed our expectations and made such a futuristic appearance in the minimalistic concept of the entrance lobby. This posting includes an audio/video/photo media file: Download Now |
| Vienna's Donaukanal: A "Powerfully (Precariously) Positioned Planning Proposition" Posted: 12 Feb 2017 08:00 PM PST  Historical segment of the Donaukanal bank named Fischerstiege: non-commercial area. Image © Gabu Heindl This article by Gabu Heindl, an Austrian architect and urbanist, was first published by Volume in their 50th issue, Beyond Beyond, the editorial of which is available to read here. Here, Heindl introduces the concept of "powerfully (precariously) positioned planning propositions" (PPPP) based on the Donaukanal project in Vienna. In a certain sense, looking at the beyond is something that we cannot do today, other than from the vantage point of a beyond the 'beyond'. Looking at the connections between progressive political movements and planning/building practices in modernity and their ways of departing into ever new 'beyonds', beyond the boundaries of historically given urban and social formations – today, we are certainly beyond these dynamics. And it is not so much postmodernism that needs to be invoked here, but rather two reflections on politics, planning/building related and otherwise, that are bound for the beyond. One reflection concerns how progressive, modernist, avant-garde politics, even at their height, were compromised by, or even complicit in, affinities with paternalistic, top-down governance (Red Vienna) or even with totalitarian rule (fascism). The second reflection, more pertinent to our present moment, concerns the extent to which the dynamics of going beyond have, since the late 1970s, shifted to a regime of (self-)government and accumulation which is addressed and theorized under labels such as neoliberalism, Post-Fordism or new spirit of capitalism.  Today, much of beyond-bound dynamics seem to have been taken over, or at least compromised, by neoliberalism. This especially goes for the willfully planned erosion of frameworks and positionings – e.g., of differentiations between times and places of work and of leisure, or of the possibility of finding large parts of individual and social experience outside of the reach of capitalization. Posing as 'deregulation', but really being about administering the enforcement of rule changes to the advantage of capital, neoliberal governmentality has far extended imperatives of expenditure, of going beyond your limits, of becoming flexible in a self-entrepreneurial way. In the context of urban planning, the ever new 'reaching beyond' of neoliberal capital has turned cities into playgrounds for investors and has often made innovation synonymous with the gentrification and commercialization of urban spaces.  Donaukanalwiese (central Vienna). Image © "Dounaucanale für alle!" All this is well known and has often been analyzed. The kind of going beyond this very beyond that I am proposing here comes with a certain seeming disadvantage, which may turn out to be (just) the necessity and also the opportunity to specify my point(s). This is because I advocate operating by strong planning propositions, by positionings or settings (Setzungen) and, yes, by explicit and formally declared regulations in the face of neoliberal hegemony. And the precarious aspect of my approach in planning/building matters, its aspect in need of specification, is this: I advocate positionings that go beyond the beyond – and not a return to what we once had, to any notion of stable grounds, of guarantees etc. In other words, if there are turns to be taken involved in my proposal, they are not returns. The issue is how to distinguish sharply between a 'return to stable rules' (which I am critical of) on the one hand, and powerfully (precariously) positioned planning propositions (PPPP) in the context of urban justice on the other.  Donaukanal Partitur: overview of the area. Image © ARGE Heindl/Kraupp Let me bring up three points here, involving my own practical and theoretical/critical/activist experience as an architect and urban planner based in Vienna. The first answers to the possible objection that PPPP would be a return to centralist state authority. It thus highlights the way in which PPPP seen historically – that is: here and now – act to an overwhelming degree only negatively and in a non-hegemonic way. This is because the appropriations of urban space (and people's lifetimes) by neoliberalism – and also by increasingly tight security regimes, racist and classist in character, – today act as ruling powers that often go almost unchallenged. PPPP are a way to manifest some dispute and dissensus over the commercialization and policing of cities. And it goes without saying (and yet should be added) that the propositions made through PPPP are subject to criticism, objection and dispute themselves. This is something enabled by their character as explicit positionings – rather than vague sloganeering or guidelines that are flexibly adaptable to investors' desires whenever and wherever they arise. My understanding of PPPP is about limiting excesses of capitalization and preserving some non-commercial, undefined spaces, especially in centers of cities. The negative (negating) aspect of such a strategy becomes manifest in the example of the non-building plan in which Susan Kraupp and I, commissioned by the city of Vienna, drew up urban development guidelines for Vienna's Donaukanal, a central channel riverside area that has become a recreational and nightlife hotspot, and is as a profitable place now under strong pressure from ever more investors. The non-building plan for the Viennese Donaukanal is a reaction to the intensified commercialization and quasi-privatization of this centrally located urban riverfront, and it references in graphics and precision the building plan codes. We invented this planning instrument in order to strongly advocate zones of non-building, central urban areas free of commodification.  Donaukanal Partitur: excerpt from the Partitur Infrastructure. Image © ARGE Heindl/Kraupp A second aspect of our Donaukanal non-building plan carries further the necessity to distinguish going beyond the beyond from a mere going back to old authorities. This concerns the problem of how to inherit, how to draw lessons from, the planning and wealth redistribution politics of 1920s and early 1930s social-democratic 'Red Vienna'. To cut things short: looking back on Red Vienna as an egalitarian political project with intense building and planning activities, one has to confront the paternalistic, disempowering sides of this period of urban governance. In this context it becomes especially salient that our non-building plan, as an instance of PPPP, was not imposed as an administrative regulation tool of city politics. Rather, an eminently political charging of that plan came about when in 2015/16 a grassroots movement of city dwellers tried to protect the last horizontal stretch of grass in the central parts of the Donaukanal open to the public from being 'developed' into a large restaurant – and that movement (Donaucanale für alle! – part of the Viennese Right to the City movement) used our non-building plan as a prescription which they politicized by situating it in the staging of a dispute over the right to central urban space. So, rather than working top- down by imposing rules on people, the non-building plan was put into action by moments of self-empowerment that ran bottom-up. Or rather, the way the protests used and reframed our plan was a way of going beyond its technical and administrative character and also its potentially authoritarian character (in fact only potentially, because not everybody in Vienna's city administration supports a planning tool so unfulfilling of investors' wishes). And the protesters, going beyond a technical planning measure, thus turning it into PPPP in the first place, limited the going beyond the boundaries of public space by which capital's private appropriation of cities proceeds and operates.  Donaukanal Partitur: excerpt from the 'Nichtbebauungsplan'. Image © ARGE Heindl/Kraupp The third and final point concerns the vexed issue of participation, and this is again an instance of PPPP not wanting to go back to any Golden Age of all-encompassing state or city government authority, nor to any naive concept of 'ideal conditions of speech'. Rather, a planning strategy that sees itself as democratic, empowering and dissensus-enabling (for facilitating conflicts rather than silencing them is critical of a scenario in which today's city administrations appear as omnipotent wish-fulfilling agencies: they appear as the ersatz sovereign to be approached by the people with a wish list of fancies and interests relating to planning and development of urban space. This, of course, is a scenario all-too often found in situations labeled with the catch-all phrase 'participation', used as a panacea in post- democratic governance. The flipside of this scenario would be a kind of fetishization of individual preferences; a neo-feudal approach to city administrations as Santa Clauses handing out presents to those who behaved well in participation processes, is the flipside to the high esteem in which tastes, whims, and spleens are held in neoliberalism. This is the point at which our non-building plan chose to not become entangled in the bias of individual wishes regarding certain Donaukanal areas. Rather, we chose to preserve areas for undetermined short-term functions that would allow any usage to take place (i.e., would not end up as private appropriations of space). In this manner, an instance of PPPP went beyond the individual with his or her well-learned readiness to go beyond the limits of the self, the everyday, the urban... – into an opening of spaces that remain open for any anonymous purpose in the future. Such an opening, however, requires a position(ing) at which it is developed.  :Donaucanale für alle!": public campaign movement to preserve Donaukanalwiese as a non-commercial area. Image © Matthias Heckmann This posting includes an audio/video/photo media file: Download Now |
| Call for Entries: Colored Concrete Works Award 2017 Posted: 12 Feb 2017 07:30 PM PST  The third Colored Concrete Works Award will be presented to modern architects who focus in their work on the beauty and aesthetic quality of this special building material. Previous winners being David Chipperfield and Akihisa Hirata. Colored concrete is being used increasingly as a premium building material. Numerous buildings are constructed every year around the world that are colored with inorganic pigments. Specialty chemicals company LANXESS will be presenting in the third Colored Concrete Works Award in 2017 to architects who create modern architecture with colored concrete and focus on their work, the beauty and aesthetic quality of this special, natural building material. Architects of completed building projects from all over the world are welcome to submit an entry by March 10, 2017. The most important criteria for participating: Buildings must be no more than five years old, and the concrete used must be colored with inorganic iron oxide or chrome oxide pigments. Detailed information and entry forms are available online at www.colored-concrete-works.com or can be requested directly by sending an email to ColoredConcrete@lanxess.com. The international jury comprises architects, representatives of the trade press, and pigment and marketing experts from the LANXESS Inorganic Pigments business unit. The jury will select the best projects from all entries. Criteria include the building's colorfulness, function, and significance. The three finalists will be notified at the end of March 2017. All decisions are final. The members of the international jury are amongst others: Professor Ralf Niebergall, Vice President of the German National Association of Architects, Ulrike Kunkel, Editor-in-Chief of the journal "Deutsche Bauzeitung", professor Tobias Wallisser, partner of LAVA Laboratory for Visionary Architecture and Bernd Heuer, expert in sustainable urban development. The award ceremony will be held on May 17, 2017, at the LANXESS office in Berlin. The winning project will be presented in an international campaign in the trade and technical press, which includes multilingual publications of a case study on the building. LANXESS is the world's largest manufacturer of iron oxide pigments and a leading producer of inorganic pigments based on chrome oxides, which are used to color concrete, among other applications. For many years now, the LANXESS Colored Concrete Works initiative has been inspiring architects and developers to promote modern architecture through the use of colored concrete. The Colored Concrete Works Award is an essential element of the initiative and was given for the first time to architect David Chipperfield for his "Ciutat de la Justícia" project in Barcelona, Spain. The most recent winner in early 2015 was Akisha Hirata, in recognition of his design of the "Alp" apartment complex in Akabane-Nishi, Tokyo, Japan. LANXESS documents the integration of colored concrete in exemplary international building projects and presents these case studies in its "Colored Concrete Works" series of publications. The publications are available in several languages both in print and on the Internet at www.colored-concrete-works.com. At accompanying forums and symposiums, LANXESS provides a platform for architects, site managers, and construction companies to exchange ideas and discuss the possibilities of coloring concrete with pigments.
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| National Museum in Szczecin Dialogue Centre Przelomy / KWK Promes Posted: 12 Feb 2017 07:00 PM PST  © Juliusz Sokołowski
 © Juliusz Sokołowski Szczecin is one of the largest victims of historical violence in Poland. Until 1945, the city lay within the borders of Germany, after which it was suddenly incorporated into Poland. Instant exchange of its population deconstructed the social fabric and distorted the city's identity. Before the war, the current Solidarności Square was the showcase of the city, featuring a quarter of representative tenements, enclosed by the Konzerthaus in the North. During bombing raids of the Allied forces the quarter and its vicinity ceased to exist, creating a gap in the urban tissue. Furthermore, this fragment of the city was cut through by a transportation route. This quasi-square became the arena for worker protest in 1970, which was brutally pacified, and 16 protesters were killed. From that moment on, this place became a symbol of fight for freedom.  © Juliusz Sokołowski  Site Plan  © Jakub Certowicz For years, the Solidarności Square had been a square by name only – with vague borders, open frontages, burdensome busy street neighborhood and the absence of a defined function, despite the dominating one – to commemorate the events of December 1970, where the place was provided a monument in 2005. In the 21st century, the area became the arena of significant architectural interventions. In 2014, the former Konzerthaus was replaced by a new philharmonic venue designed by Estudio Barozzi Veiga. The building became the new city icon, winning the main Mies van der Rohe award in 2015.  © Juliusz Sokołowski  © Juliusz Sokołowski The next initiative, which contributed to changing the perception of the space was the National Museum's Dialogue Centre "Przełomy", devoted to the history of Szczecin. When designing the Museum we set our mind humble to the history of the place and the new city icon closeby. Thus, the idea to hide the museum underground to create a background architecture.  © Juliusz Sokołowski Two contradictory traditions: of a quarter and of a square were the point of departure for the design, an urban design hybrid which encloses the space as a quarter, while retaining the values of open public space. The flattened areas of the square create foregrounds in front of the philharmonic and the church. The quarter forms in oposite corners as elevated square floor. The one elevation houses the museum facillity, the other one is an artificial hill, closing up the urban interior and shielding it from the tumult of the busy street. There is no definite boundary between architecture and ubanism.  © Juliusz Sokołowski  Section  Courtesy of KWK Promes The architecture follows topography, hence the museum's form is a continuation of the concrete floor of the square which is covered with rectangular tiles. In the elevated corner these tiles gain 3rd dimension, becoming cuboidal blocks. The whole makes a monolith that transforms when the museum opens. Some of the vertical plates rotate, thus creating the arcades unveiling two entrances. The third entrance is determined by a ramp carved in the square's curvature. Ground floor is a square's extension and it functions as an entrance hall.  Diagram The exhibition space is hidden underground. When we go down the stairs the concrete ends and we submerge in blackness that is a background for the tale of Szczecin since the II world war, in a connection of what was happening in Poland and the rest of the world. Simultaneously with the historic exhibition, based on pure information, we add a narration spinned by artists' masterpieces – both, the works from long before the museum was opened, and the ones intentionally created for this venue. This kind of attempt allowed the exhibition to become wider and more universal. The blackness allows to focus on presented objects while giving the impression of an infinite space. This brand new formula for the exhibition makes a historical museum an art museum as well.  © Juliusz Sokołowski  Floor Plan  © Jakub Certowicz Before, the square was only to commemorate the history – as a result of redevelopment this part of the city became attractive for the other (remaining) habitants. Yet, its open formula encourages its users to express their impact. Artificial hills provide an opportunity for discovering new outlooks on the city, welcome walking tours and invite to sunbathing. The slanted floor inspires various activities: for skateboarders, this is the ideal spot to practice. In the winter, the square serves as a sled track. The yard has retained its symbolic dimension – the monument is still attracting veterans during annual celebration events – it is not dominating aspect after all. Today, this urban space is a place of amicable coexistance of different age and societal groups.  Courtesy of KWK Promes This posting includes an audio/video/photo media file: Download Now |
| Ex Furnace di Riccione Recovery / Pietro Carlo Pellegrini Architetto Posted: 12 Feb 2017 06:00 PM PST  © Mario Ciampi
 © Mario Ciampi From the architect. The project concerns the recovery of the Ex-Furnace Riccione (sqm. 40,000), an industrial complex for the production of bricks, built in 1908 and decommissioned in 1970. The old destinations give way to the new one, taking advantage of the spatial possibilities of the old buildings, which maintain their forms, the historical memory of the place: in the buildings a Middle School of 18 classes, a 650-seat multi-purpose theater (not yet built) and a building offices, will be located. The project has the aim to minimize the environmental impact and so was privileged the substitution of existing buildings with new construction of high energy efficiency, without the occupation of additional surfaces.  © Mario Ciampi  © Mario Ciampi The purpose of design is to create simple and easily recognizable architectural volumes, standardizing forms, materials and colors, reinterpreting the historical aspects of preexisting archaeological sites in the way of the contemporary; following a process of "addition" never concluded, the project aspires to a certain continuity with history, not so much in stylistic terms, as for the compositional syntax, allowing the transformation of the use, without they lose their identity. We wanted to pursue, finally, the policy of energy savingresearching easily materials found in "km 0". The middle school consists of a body with a plan and another, connected with this, with two floors above ground. The project is generally characterized by one side to the restoration and enhancement of the existing brick masonry elements, on the other to differentiate the new from the existing one retaining a consistent overall composition of the intervention.  © Mario Ciampi  Floor Plan  © Mario Ciampi Externally along the perimeter an insulating red brick color coat glass wool flowing to the pillars, while the infill of the walls is entrusted to brick blocks with the cavities filled with insulating material. Inside a layer of plaster serves as a finish. The coverage will be given to the type of metal trusses (Polonceau) and a system with a double planking, insulating layer, and a mantle of cover tile type flat tile side by side, above the gym a terrace is enclosed by the system brise soleil creating uniformity with the school building. The exterior finish of the walls will be a system of brise soleil ('brick brise soleil' using a traditional material in an innovative form) terracotta-colored dry straw-mounted: these ensure the duotone request (with red insulation panels below), and the protection of the back coat from sunlight direct. Also the facade foster microventilation that will contribute to the insulation wall. The whole system of heating/air conditioning/production hot water is entrusted to the massive use of electrical heat pumps fed by a photovoltaic system integrated into the building envelope, supported by radiant floor heating.  © Mario Ciampi Product Description. The most widely material used in the realization is the brick. It was chosen as strongly evocative of the old furnace and its color; also the brick, as a material, was already present in the furnace, and also was manufactured in that place; the use of brick not as masonry material but as brise soleil testifies to its versatility, its contemporary use and therefore its beauty, the daughter of a past that saw him star and a future that will be able to witness it due to his skills.  © Mario Ciampi  Detail  © Mario Ciampi This posting includes an audio/video/photo media file: Download Now |
| Breeze Mooloolaba / Tony Owen Partners Posted: 12 Feb 2017 12:00 PM PST  © Peter Sexty
 © Peter Sexty From the architect. Mooloolaba is a resort town on the southern coast of Queensland. It has expansive beaches and a laid back feel. The Breeze Apartments are located on the main beachfront promenade. The Breeze contains 33 apartments all with Oceanfront views. It contains a pool, gym and gardens. The building was designed to maximise views to the ocean, with wide living areas and sweeping balconies. The units have a light and open feel consistent with the area.  Level 4º-9º Floor Plan The unique curvilinear design was inspired by the natural forms of the tidal estuaries nearby. The large balconies alternate between levels creating a rhythm on the façade. The façade is the result of a melding of concrete forms and perforated mesh panels. The panels provide solidity and privacy for bedrooms and curve down to maximise views in front of living areas and balconies. This creates a fluid effect. The design at once continues the local language, yet creates a completely new expression.  © Peter Sexty Product Description: The building is clad in painted masonry. The balconies are sheathed in Perforated metal screens to create a feeling of solidity whilst allowing views of the ocean. The undulating curves are created from in-situ concrete made by a special shuttered formwork.  © Peter Sexty This posting includes an audio/video/photo media file: Download Now |
| Projects by Alejandro Aravena and Carrilho da Graça Announced in Lisbon Posted: 12 Feb 2017 10:00 AM PST  Alejandro Aravena during the 2016 Pritzker Prize Ceremony. Image © John Parra-Getty Público published a report today that Chilean architect and 2016 Pritzker Prize Laureate Alejandro Aravena has been invited to design a project for the EDP (Energias de Portugal), complementing the Aires Mateus-designed Sede da EDP (EDP Headquarters) in Lisbon. At the end of 2016 Portuguese architect João Luis Carrilho da Graça was invited to design a hotel to support the EDP's new facilities and refurbishment of its existing spaces. Carrilho da Graça is also responsible for the urban plan of the area in which the projects will be developed and built--the Zona da Boavista Nascente, between Santos and the Cais do Sodré Aravena's project will follow the demolition of an existing EDP building and is expected to improve views of the Tagus river from the Santa Catarina lookout, while simultaneously providing a more permeable feel to the neighborhood. The president of the EDP expects the project to be ready by 2020. News via Público (in Portuguese). This posting includes an audio/video/photo media file: Download Now |
| 105 Valentines for Architects (And Architecture Lovers) Posted: 12 Feb 2017 09:00 AM PST
If there was ever a time when the world needed a bit of extra love, that time is now. And even though Valentine's Day is a celebration of romantic love, we know these uplifting messages of affection will resonate with peers, friends, and family members, alike. ArchDaily's mission is to improve the quality of life of the world's inhabitants by publishing content for architects, designers, and decision-makers. We also realize how important tolerance, acceptance, and love are to the process of building a better world. So, from us to you, and from your fellow readers to the world, may you feel a wealth of love on this Valentine's Day.  Shaghayegh Daneshmand- Saman Farahmand  Joe Island  Andrew Greene  Bob Rattray  Christina Donaldson  Joe Ireland + Zoe Crooks  Stephany Emma Govier  Brittany Newman  reSITE
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Gif submitted by Yang Luo-Branch  Mieke Tamara Immigration-Themed Valentine's Day Heart Erected in Times Square The Best Submissions to Our Valentine's Day Card Contest Send These Valentines To the Architects You Love This posting includes an audio/video/photo media file: Download Now |
| Bates Smart Unveils Plans for Tallest Engineered Timber Building in Australia Posted: 12 Feb 2017 08:00 AM PST  Courtesy of Bates Smart Australia-based Bates Smart has released the plans for 5 King, a high-performance commercial space and the tallest engineered timber building in Australia. At 52 meters tall, the building will additionally feature the largest gross floor area (GFA) for an engineered timber office building worldwide. Based on the concepts of connecting with nature and preserving the environment, 5 King will utilize a combination of cross-laminated timber (CLT) and glue-laminated timber (Glulam) to achieve "the structural strength of concrete and steel with a low carbon footprint."  Courtesy of Bates Smart
 Courtesy of Bates Smart A 54-meter-long timber colonnade lined with cafés and restaurants will be featured on the ground level of the building, in order to serve as creative space outside the workplace, in addition to functioning as an entry to the building. With its side core design, the building will offer 1,588 square meters of net leasable area (NLA) floorplates, with a total of 14,921 square meters available over its ten floors.  Courtesy of Bates Smart The building's environmental goals will be reinforced through its use of a glass façade on the main south elevation that will maximize natural daylight, sunshades on the other façades to reduce energy consumption, rainwater harvesting, energy efficient lighting, optimized air conditioning, as well as end of trip facilities for 152 bicycles. News via: Bates Smart. This posting includes an audio/video/photo media file: Download Now |
| Schiattarella Associati Unveils Riyadh Stadium Plans Posted: 12 Feb 2017 06:00 AM PST  Courtesy of Schiattarella Associati Rome-based Schiattarella Associati has unveiled its designs for the King Fahd International Stadium, a refurbishment project that will modify the existing structure, located in Riyadh, Saudi Arabia, to accommodate almost 50,000 spectators. In order to link the ground level with the concourse level of the structure, the design focuses on creating an artificial hill at the base of the stadium.  Courtesy of Schiattarella Associati  Courtesy of Schiattarella Associati Almost 1,000 parking spaces, as well as access areas to the West Stand—which will be renovated to fit FIFA requirements and accommodate spectators in a 12,000-square-meter space—will be featured in this hill.  Courtesy of Schiattarella Associati  Courtesy of Schiattarella Associati  Courtesy of Schiattarella Associati  Courtesy of Schiattarella Associati Between the hill and the stadium space, a green area will allow in natural light, illuminating entrances, and will act as a filter between the stadium and parking lots.  Courtesy of Schiattarella Associati  Courtesy of Schiattarella Associati
 Courtesy of Schiattarella Associati
News via: Schiattarella Associati. This posting includes an audio/video/photo media file: Download Now |
| Marbel's House / MYCC Oficina de Arquitectura Posted: 12 Feb 2017 05:00 AM PST  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG From the architect. A sports-loving couple gets in touch with us with the idea of becoming a house in a quiet urbanization outside Madrid and from which they can train for the next mountain trails.  © Fernando Guerra | FG+SG The objective is to make a house practical, functional, resistant and whose construction process is respectful with the environment. Of course it is also important that the house is energy efficient and the construction is agile and clean.  © Fernando Guerra | FG+SG It was a surprise to know that the customers shared our interest in the Passive House, one that by its morphology and finishes is able to work with the minimum energy supply. So the housing is developed with the aim of minimizing demand.  © Fernando Guerra | FG+SG  Floor Plan  © Fernando Guerra | FG+SG A semi-manufactured structure is then selected from pre-cut wood panels already cut in the factory, which are assembled in just four days as if it were a model. The façade, on the other hand, is built with a SATE system of 10cm of insulation that provides an efficient coat to the dwelling with a waterproof acrylic mortar finish, stable and durable.  © Fernando Guerra | FG+SG In the first contact with the site we also discovered that the slope of the topography allows us to enjoy the Madrid mountain landscape, so we incorporate this condition to the design process. In this way the piece is embedded in the hillside and is configured on two floors, the low access related to the plot and the first floor of bedrooms related to the landscape. The volume is strategically modeled to achieve south orientation in all rooms and large windows are projected that enhance these connections with the surroundings.  Sections The ground floor is conceived thinking on the area that is expected to be the most used: the kitchen, which is conceived as a large meeting space, to share with family and from where you can go outside to the porch taken up by a pool. This includes a Fastlane swimming machine, as a part of the training, and solar panels to enjoy hot water, allowing its use all year.  © Fernando Guerra | FG+SG Vegetation also plays an important role in the project. Two ecological decks linked to two bedrooms that appear as green carpets at the foot of the bed, a large slope covered by aromatic and culinary species as a backdrop to the South garden or the planting of large trees to offset CO2 emissions Generated in the construction process.  © Fernando Guerra | FG+SG The color chosen for most of the envelope is light gray, which is intended to avoid overheating by solar radiation and provide a neutral tone from the street. This decision emphasizes the bright colors of the patios: green and yellow, which are only discovered when you begin to walk through the house. Chromatic contrast enhances the importance of these transition spaces between housing and garden, while defining them as more domestic and independent places. Both patios are located in such a way that it is impossible to see them at the same time unless you are in the kitchen which, not by chance, is the place with more activity of the house.  © Fernando Guerra | FG+SG This posting includes an audio/video/photo media file: Download Now |
| Stacked Residential Tower to Become One of Newcastle's Tallest Buildings Posted: 12 Feb 2017 04:00 AM PST  © FaulknerBrowns Architects Planning approval has been granted to British firm FaulknerBrowns Architects, for the construction of a new residential tower on the site of a dilapidated warehouse building, in Newcastle upon Tyne. "We have worked extremely hard to design a building of the highest quality and we believe this development will create a positive landmark for the city, representative of its ambitious and forward thinking outlook," said Paul Rigby, partner at FaulknerBrowns.  © FaulknerBrowns Architects Having been vacant for 12 years, the warehouse will be replaced by a 26-storey tower consisting of 96 single-bedroom apartments, and 66 two-bedroom apartments. The scope of work also entails upgrades to public infrastructure, to promote future investments in the city.  © FaulknerBrowns Architects The project has been planned specifically for Newcastle's residential rental market and aims to further the city's economy by offering additional privately managed housing options. In particular, catering to graduates and young professionals is also intended to greatly benefit and contribute to the UK's economy, and add to Newcastle's vision as a leader in the fields of emerging technologies and science. News via: FaulknerBrowns Architects. The Word - National Centre for the Written Word / FaulknerBrowns Architects This posting includes an audio/video/photo media file: Download Now |
| #donotsettle Takes Us Inside Herzog & de Meuron's Hamburg Elbphilharmonie During its Opening Posted: 12 Feb 2017 01:30 AM PST In the latest video from architecture vlogging favorites #donotsettle, the infectiously energetic duo of Wahyu Pratomo and Kris Provoost team up to take us inside Herzog & de Meuron's newly-completed Elphilharmonie in Hamburg. Filmed during the music venue's "family day," part of its three-week-long opening festival, #donotsettle gives us an engaging look into the building's many spaces—cleverly accompanied by an annotated cross-section of the building which allows us to track their progress through the project's labyrinthine interior. The up-tempo video takes us through the many impressive features which recently helped the building win the Cultural Architecture Prize in ArchDaily's Building of the Year Awards. From the gently curving escalator at the building's entrance which becomes less steep as it ascends, to the curved glass which gives the building's exterior its signature look, to the CNC-milled acoustic walls in the performance spaces, #donotsettle takes an uncompromising look at the project's finer details. Given the building's fraught construction process which generated so much controversy that it was deemed worthy of a spot at discussion in the 2012 Venice Biennale, it is heartening to see that (almost) all of those around the vlogging duo seem enthused about the building's much-awaited opening. Elbphilharmonie Hamburg / Herzog & de Meuron This posting includes an audio/video/photo media file: Download Now |
| Jardim Vicentina Urbanization / Vigliecca & Associados Posted: 12 Feb 2017 01:00 AM PST  © Leonardo Finotti
 © Leonardo Finotti From the architect. This is an urbanization and social housing project at Jardim Vicentina, on the outskirts of the city of Osasco, greater São Paulo. This project was part of the Brazil Pavilion at the 2014 Venice Biennale. With an intervention area of approximately 95 thousand m², it was partially urbanized with a large part of it located at a thalweg. The existing situation was precarious, being composed by one or two-storey wood or masonry self-built houses placed in an area subject to landslides, floods and contamination.  Location  Sketch The project proposed to remove and relocate those living in the most critical areas along the river and to implement three different typologies, grouped in a line along the channeled stream, defining two new urban fronts, one on each side of a proposed services road axis. All units have two bedrooms with an average area of 50 m². Construction was done in exposed ceramic block in order to have a better thermo-acoustic performance and a low maintenance facade.  © Leonardo Finotti  © Leonardo Finotti  © Leonardo Finotti The project established a continuity to the existing urban structure, generating new urban conditions by creating a new spatial reference and a recognizable road element, defined by new urban borders. It values pedestrians by establishing a new public space scale by completely eliminating residual spaces.  © Leonardo Finotti This posting includes an audio/video/photo media file: Download Now |
| AART Architects Transforms Danish Hospital Into University Posted: 12 Feb 2017 12:00 AM PST  Courtesy of AART architects AART Architects have won the competition to transform the Aarhus Municipal Hospital into a new campus for Aarhus University in Denmark. In an effort to renew and enhance the original qualities of the site—like its red tile façades and consistent compositions of public space—as well as to support academic and urban life of the future, the project will uphold "the site's historical potential by paving the way for new prospects to create a forward-looking transformation of this unique spot."  Courtesy of AART architects
 Courtesy of AART architects  Courtesy of AART architects The project will feature new opportunities for research, business, housing, cafés, and other various programs, all with the goal of "[enriching] the story of Aarhus […] as a vibrant, attractive university city for the benefits of students, researchers, citizens, and companies."  Courtesy of AART architects Learn more about the project here. Location: Aarhus, Denmark News via: AART Architects. This posting includes an audio/video/photo media file: Download Now |
| Black Flying House / H3T Architekti Posted: 11 Feb 2017 09:00 PM PST  © Martina Kubešová
 © Martina Kubešová Black flying house hovers under the arch of the old railway bridge. Attracts attention, entices you to visit and raises questions. Black flying house is an installation which is composed of a living room with a stove and a sleeping loft. The object is suspended by steel cables.  © Martina Kubešová  Floor Plan  © Tomáš Rasl The installation includes also a ladder that is hidden nearby. It's a bit of a conundrum that encourages passers-by to think. Its archetypal depiction adds the mysterious atmosphere of the military complex. This area is located just 15 minutes walking from the city center of town Pardubice. The formal solution is succinct. The resulting picture almost picturesque.  © Martina Kubešová This posting includes an audio/video/photo media file: Download Now |
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