Arch Daily |
- Transformation of a Bungalow in Amsterdam / Workshop Architecten
- Podgorje TimeShare Kindergarten and School / Arhitektura Jure Kotnik
- Studio for Two / Studio Wood
- Woods Bagot Mixed-Use Project Named One of Shenzhen's Most Important of 2016
- Grupo Talca and Cazú Zegers to Lead Two-Month Workshop in the Chilean Andes
- La Maison Noire / agence anArchitecte
- Arquitectonica’s Undulating Hotel Tower to Be Nashville’s Lastest Landmark
- AR Issues: Looking Back on 120 Years of The Architectural Review
- Regional Center of Industrial Heritage / Mihailo Timotijević & Miroslava Petroivić Balubdžić
- WE Architecture’s Winning Proposal Combines Green Space with Social Housing in Aarhus
- Black Clay Family Residence / NEBRAU
| Transformation of a Bungalow in Amsterdam / Workshop Architecten Posted: 25 Feb 2017 09:00 PM PST  © Workshop Architecten
 © Workshop Architecten From the architect. A bungalow, located on the banks of the Zuider Amstelkanaal in the south of Amsterdam, was originally built with a closed facade facing the waterfront.  Diagram Since the renovation it has generous views over the canal. The former garage is transformed into 2 bedrooms and a bathroom, and is connected to the bungalow in such a way that one can see through the whole building. This sightline extends from the south west facade to a new bay window, that is situated where there used to be a garage door.  © Workshop Architecten  First Floor Plan  © Workshop Architecten By a number of precise interventions, an incoherent bungalow from 1955, has been transformed into a unique Amsterdam family home. A house that has been stripped down to its essence: the brickwork has been reduced to 3 walls that carry the wooden roof. The walls stand on a new concrete base that forms a ramp to the entrance and terraces on the west and south side.  © Workshop Architecten This posting includes an audio/video/photo media file: Download Now |
| Podgorje TimeShare Kindergarten and School / Arhitektura Jure Kotnik Posted: 25 Feb 2017 06:00 PM PST  © Janez Marolt
 © Janez Marolt New TimeShare Kindergarten and School is located in the central area of small Slovenian village settlement Podgorje as an extension of the existing primary school. The kindergarten's special feature is its open plan approach with unified play space, which covers as much as 85% of the entire surface. Children here are encouraged to be physically and socially active with a series of inviting design elements. One of such is meandering road between playrooms, which visually connects different spaces and invites children to follow it (walk, run, ride their kick scooter or bike). Special road signs have been designed, encouraging children to mimic movements of a particular animal (butterfly, crab, lizard, etc.), and go either fast (cheetah) or slow (snail). Various thematic play nooks (there are as many as 42), numerous blackboards, sports equipment of all kinds, and the accessibility of equipment encourage children to be active, discovering and pursuing their passions. Research showed that the this open principle in kindergartens boosts social contacts by more than twice, children's access to equipment increases threefold and their physical activity is seven times that of their peers in traditional kindergartens in the region.  © Janez Marolt  Floor Plan  © Janez Marolt Playrooms, intentionally designed differently to accommodate different interests, are only closed for naps and activities demanding a high level of concentration, the open design fostering excellent cooperation among teachers and allowing children to play with peers with shared interests regardless of age.  © Janez Marolt The exterior of the kindergarten is also tailored to its inhabitants, with a series of façade elements functioning as play elements. The west-facing wall has a growth chart with typical heights of selected animals indicated in it. The segments of wall interrupting the glazed south side of the kindergarten are covered in blackboards so children can scribble and draw on it, and it also features a climbing wall in the corner.  © Janez Marolt A component part of this project is a classroom for primary school first graders. Its signature feature is design elements that effectively help children gain different types of knowledge. An example is the floor angle meter next to the door, which indicates various angles as the door swings back and forth, or ceiling paintings with geometry elements. Each chair in the classroom has white letters attached to its back, helping children passively learn small and capital letters.  Diagram  Diagram The building has been designed as an energy efficient building of the B2 class, with an average energy consumption of 33 kWh/m2 a year. Low energy consumption is mainly due to good orientation with south-facing openings, energy-efficient windows, and good façade insulating coating. The full-wall timber construction from local wood ensures the highest standard in sustainable construction. Prefabricated timber elements were assembled and all the work, including the playground, was completed in only 21 weeks.  © Janez Marolt Product Description. Lesoteka Hiše provided CLT construction that enabled very quick assembly - the whole building was built in 21 weeks only. Lots of visible timber in the interior gives not only a cozy natural atmosphere, but also brings kids in direct contact with this most optimal construction material in the Alpine area.  © Janez Marolt This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Feb 2017 12:00 PM PST  © Rohan Dayal
 © Rohan Dayal From the architect. In the year 2016 Studio Wood was entitled with a unique brief to design a light weight temporary structure atop a roughly 1200sq.ft apartment. The construction needed to be limited to a certain weight and was constrained by a tight timeline. After a few days of brainstorming the team proposed using metal girders and trusses to form the exoskeleton and mild steel panels refurbished from used shipping containers wrapped around the envelope.  © Rohan Dayal To begin with a grid of 150mmx150mm vertical and horizontal I beams were laid on the existing terrace floor to raise the floor height. This was done with the intention of giving the room a floating effect and to avoid rainwater percolation into the structure. The outer walls took support from the floor grid and a sloping roof grid clad with Trafford sheets was put in place. Since the structure was built on the terrace the ceiling plane was exploited as much as possible for daylight and natural ventilation with a provision for two skylights varying in width.  Floor Plan A Having young entrepreneurs as our client's the aim was to bridge the dichotomy of a work space and a place for rejuvenation by designing a multi-purpose work studio by day and entertainment hub by night. The space was divided in 3 zones, Open outdoor area, the semi-open portico characterized by the wooden decking and the closed cabin.  © Rohan Dayal Entry to the cabin was marked by a 3 part sliding UPVC glass door allowing for a seamless integration of the interior space with the exterior. The semi open cantilevered deck clad with wood gives the space a cabin like feel and is the perfect place to enjoy a cup of tea in the morning. The landscape was riddled with several playful features including a swing and multipurpose cubic blocks installed at varying heights. These structures could be moved around in linear fashion to create a new identity each time.  © Rohan Dayal Perhaps one of the most challenging features of this project was to design the sliding door for the outdoor bathroom. The 10ft high door had to be designed to slide smoothly despite its heavy weight. This feat however was achieved by using ball bearing mechanisms predominantly used by automobile manufacturers to ensure a smooth transition from open to closed state. Another prominent feature of the landscape was the multi-level feature wall. We constructed ladder like elements in mild steel and placed custom-made fibreboard planters at different levels. With this technique, the greenery was not only the part of the floor scape but also an entire wall.  © Rohan Dayal The interiors were designed to echo the concept of modularity. With a simple push the sofa could transform into a bed or continue as a comfy 5 seater. The design was born keeping in mind orientation, climate and comfort. Apart from the built up area the terrace landscaping was also undertaken which involved designing a controlled microclimate using plants, water bodies and sunshades.  © Rohan Dayal This posting includes an audio/video/photo media file: Download Now |
| Woods Bagot Mixed-Use Project Named One of Shenzhen's Most Important of 2016 Posted: 25 Feb 2017 08:00 AM PST .jpg?1487736608 "Courtesy of Woods Bagot") Courtesy of Woods Bagot Woods Bagot's Shenzhen Hazens Longgang Longteng Mixed-Use project has been rated by the Shenzhen Government as one of the city's most important projects of 2016. Located in Shenzhen's Longgang District, the 393,000 square meter site will feature 1,500,000 square meters of gross floor area subdivided into office space, retail space, a shopping mall, residential communities and facilities, and over 90,000 square meters of green and public space. As a part of the design, the development will rejuvenate a river park area running through the existing site, with the northern bank becoming a commercial and leisure focal point, and the southern bank featuring a community of residential towers connected by retail podiums and green spaces. .jpg?1487736441 "Courtesy of Woods Bagot") Courtesy of Woods Bagot
.jpg?1487736491 "Courtesy of Woods Bagot") Courtesy of Woods Bagot An elevated pedestrian link will connect visitors from the northern bank's subway station through several layers of retail space to an elevated bridge, "enhanced with social and community platforms," that crosses the river and connects to a smaller neighborhood plaza and retail street on the south bank. .jpg?1487736650 "Courtesy of Woods Bagot") Courtesy of Woods Bagot .jpg?1487736570 "Courtesy of Woods Bagot") Courtesy of Woods Bagot
.jpg?1487736532 "Courtesy of Woods Bagot") Courtesy of Woods Bagot Moreover, a series of stepping platforms to the riverbed will create community, leisure, dining, sport, and wellness spaces. Area: Site area 39.3 hectares; GFA 1,519,000 square meters News via: Woods Bagot. This posting includes an audio/video/photo media file: Download Now |
| Grupo Talca and Cazú Zegers to Lead Two-Month Workshop in the Chilean Andes Posted: 25 Feb 2017 06:00 AM PST Los Andes, as an unexplored territory, is where the investigation and developing experience of the Andes Workshop is settled. Is here where a huge amount of establishments could achieve the domestication of their territory, where the complex locations and scarcity of resources are understood as a virtue that are part of the design, developing and construction process of solutions that give the territory an specific value defying these territorial endeavors capable of understanding the system as a total, where the communal job is comprehended under the reciprocity concept. Andes Workshop is born by the understanding of how we are inhabit slight and precarious, referring to a low tech architect but with an powerful and expresive impact, understanding that the greater value of Chile and Latin America is in it’s territory:
 Courtesy of Grupo Talca Andes Workshop presents an experimental exercise, where the interdisciplinary and the contact with the community where the problems are develop, are absolutely neccesary to find answers. The Workshop will be developed in Lo Castillo Neighborhood, in Casa Aira. It will be organized and guided by Cazú Zegers and Grupo Talca (both chilean and recognized architects). This experience combine investigation and teaching with culture and thoughts, from an humanist and transversal spirit.  Courtesy of Grupo Talca Andes Workshop offers the opportunity to live, 2 months, the experience of working in a collaborative way with students, graduated architects, tutor architects and other disciplines in the investigation, development and construction of a proyect proponed in the Maipo River Valley, where the territorial, lanscaping and enviromental problems are the study base to inform proposals from the local processes; so that these ones can be able to give value to the fragile land that currently is being threatened by several projects.  Courtesy of Grupo Talca Casa Aira, as a Workshops Studio, will be the common space where the architecture and meditation are reflected. This inspiring place will be the meeting point of the participants of three courses that will share the Studio with artistic activities, such as:  Courtesy of Grupo Talca Script, dancing, theater, scenography, poetry, carpentery, territory and engraving guided by Cristian Silva-Avaria, Checoslovaquia Group, Claudio Valdés, Ducci Brothers, Sergio Elortegui and Teresa Montero respectively. Andes Workshop pretends to be the new platform of thoughts and action that reffers to local problems. These are the ones that the urban establishments are currently facing, located in the Andes, considering the value of the mountain area, taking advantage of the scarcity as a virtue and the complex locations as action fields. Andes Workshop: Cazú Zegers and Grupotalca  Courtesy of Grupo Talca This posting includes an audio/video/photo media file: Download Now |
| La Maison Noire / agence anArchitecte Posted: 25 Feb 2017 05:00 AM PST  © Pascal Leopold
 © Pascal Leopold From the architect. Location – History – Project This house is located in an old granite quarry, along the Breton seashore. At the outset, the future inhabitants wanted a one-story, unobtrusive house giving on to a panoramic sea view. And they had their minds set on Breton-style landscaping, punctuated by multiple terraces.  © Pascal Leopold The home will be inhabited year-round by a couple beginning a new chapter of their life,after raising their three children.  © Pascal Leopold Concept The concept behind this house could be summarized as "watching without being seen"; taking advantage of a long traveling-shot panorama, yet at the same time remaining totally integrated into the landscape.  © Pascal Leopold To this end, the house is designed around a superb sea view. This long home is perfectly integrated into its environment. Built on top of a hill, the only hill remaining at the old granite quarry, is very inconspicuous--a lookout, hidden behind a few cypress trees, judiciously preserved and pruned to let your eyes wander.  © Pascal Leopold The raw concrete walls are painted black and stained to give a distressed look, and the large bay windows reflect the landscape, enhancing the integration into landscape. In fact, the use of the raw, black glazed concrete, which absorbs, rather than reflecting light, is what makes the desired inconspicuous effect possible. As a result, your eye isn't attracted to the house, which appears to fade into the surrounding vegetation.  Ground Floor The design of an elongated, one-story house, with a flat roof following the topography and landscape, and using the existing vegetation like a light veil, also supports the inconspicuous effect.  © Pascal Leopold From one room to the other, the framing changes, playing with the horizon, the sea, and the vegetation present on the site, taking advantage of the four majestic gorgeous magnificent tall cypresses. There are three porches designed to fit perfectly with the house, making both inside and outside living possible. They keep you in touch with the outside environment, from inside the house as well, and they allow you to follow the course of the sun throughout the day (East at sunrise, South during the day and West at sunset).  © Pascal Leopold Landscape In the garden, we made the choice of keeping the four magnificent cypresses that were already on the property of the old granite quarry. They have been pruned in a Japanese-silhouette style so as to not obstruct the view, while preserving the history of this site. By the same token, the idea was to keep the rocks extracted during excavation, in order to maintain the garden in, as close as possible, to its natural state. Thus, the landscape of the house was designed with local species present in the Breton ecosystem (gorse, broom, heather, etc.). The property limits are marked with a fence (chestnut and galvanized iron), always present on the Breton seashore.  © Pascal Leopold Product Description. The raw concrete walls are painted black and stained to give a distressed look, and the large bay windows reflect the landscape, enhancing the integration into landscape. In fact, the use of the raw, black glazed concrete, which absorbs, rather than reflecting light, is what makes the desired inconspicuous effect possible. As a result, your eye isn't attracted to the house, which appears to fade into the surrounding vegetation.  © Pascal Leopold This posting includes an audio/video/photo media file: Download Now |
| Arquitectonica’s Undulating Hotel Tower to Be Nashville’s Lastest Landmark Posted: 25 Feb 2017 04:00 AM PST  © Arquitectonica Nashville is set to receive its newest and tallest luxury landmark, in the form of the JW Marriott Hotel, designed by esteemed Miami firm Arquitectonica to be completed in 2018. Situated in the center of downtown, the 33-storey undulating tower will offer expansive views of the surrounding cityscape from a height of 386 feet; one of highest points in the city. the inspiration for the hotel's design was derived from Nashville's symbolic Cumberland River and its varying character, which compliments Tennessee's natural geography. Sculpture, fountains, and art are features incorporated into the curved glass façade, and a sheltered outdoor terrace on the 33rd floor provides public space and views capturing the city.  © Arquitectonica "The elliptical form introduces the first aerodynamic curving tower to Nashville's high-rise vocabulary," said Arquitectonica's Principal, Bernardo Fort-Brescia. "Its projecting observation bar hovers over the corner to face the downtown skyline."  © Arquitectonica Visitors to the JW Marriott will also have access to luxury dining experiences, such as Nashville's first Bourbon Steak and over 1000 wines and cigars available in the lobby. In addition to the 553 rooms, other amenities include a spa, sauna, and fitness center on the top floor, as well as 50,000 square feet of space specifically for hosting events and meetings.  © Arquitectonica The hotel is situated within close proximity of some of Nashville's iconic locations, such as the Music City Center, The Country Music Hall of Fame and Museum, and the Schermerhorn Symphony Center. News via: JW Marriott Nashville. Arquitectonica Designs New Luxury Residential Tower for Boston This posting includes an audio/video/photo media file: Download Now |
| AR Issues: Looking Back on 120 Years of The Architectural Review Posted: 25 Feb 2017 01:30 AM PST  Courtesy of The Architectural Review ArchDaily is continuing our partnership with The Architectural Review, bringing you short introductions to the themes of the magazine's monthly editions. In this introduction to the December – January 2017 issue—the magazine's celebration of its 120th anniversary—Editor Christine Murray discusses the legacy that comes from more than a century being one of architecture's most respected magazines, and looks forward to the future of the publication. "Looking forward, we are committed to doing things differently – which, paradoxically, is what we've always done," she explains. The archive of The Architectural Review is a great cabinet of curiosities – a cacophony of voices, styles, illustrations and photographs, Outrages and Delights, personalities and proclivities, polemics, failures and fetishes. In creating this anniversary edition celebrating 120 years of criticism, we wanted to capture the diversity and eccentricity of this ongoing architectural conversation. As such, the archive content is organized not chronologically, but in perennial themes that have echoed and evolved across the decades, from technology to education – forces that have shaped the profession.
 Courtesy of The Architectural Review Each thematic chapter is prefaced with a newly commissioned piece of writing that explores the significance of these architectural concerns which have captivated our readers for more than a century. While the keynote essay looks to the future, considering the role of architectural criticism in a post-truth era, a complete history of The Architectural Review is provided at the heart of this special edition. It is our privilege to act not only as custodians of this great archive and its treasures, which cannot all be reproduced here, but also as agents of change bringing the traditions of this historic brand to new audiences and new futures. We hope this eclectic selection will whet your appetite. We will continue to share inspiring archival material and the contemporary provocations it elicits as we celebrate across our 120th year. Will the AR of the future be collated by artificial intelligence, delivered into an earpiece, or consumed as a psychedelic drug that induces instant creativity while implanting in the mind a thousand precedent studies from the archive? It is vertiginous to contemplate the next 120 years. For now, I am preoccupied with current opportunities and challenges. There's the thrill of a readership that spans six generations (GI, Silent, Boomer, X, Millennial and Z), all with their different tastes, politics and appetites – the youngest of which, under the age of 24, has surprised us by being delightfully passionate about print.  Courtesy of The Architectural Review We're enthused, also, by the new creative toys in our play den – films, talks, podcasts – while relishing the sense of event and craft at the heart of everything we do: curating our matrix of global collaborators; editing disparate voices; distilling the art of photographers and filmmakers; focusing the website and its breathless, instant, endlessness; and, of course, making the magazine itself – the painstaking assemblage of every page, every sentence, and working with our printing house to achieve the hand-inserted mix of papers, perforations, die-cuts and gatefolds. As for the challenges, they are rooted in this troubling post-truth era, in which too many architects fail to recognize the difference between an independently written article by a critic who has visited the building and a press release – a distance that should be as obvious as the gulf between reality and render. But some don't care. Like Narcissus, they prefer the digital mirror's filtered fantasy selfie – blue skies above a sanitized architecture in which 12-year-olds fly kites on private corporate estates, while in the windswept real world, 12-year-olds stare only at their mobile phones. Meanwhile, here at the AR, we are so old that we are becoming brand new – reincarnate and slippery as a wet baby in a caul of resistance, committed to doing things differently, which, paradoxically, is also how they have always been done. We are committed to a slower journalism – carving out space for ideas to unfurl. We exist for readers who feel dissatisfied, standing against that empty scroll of clickbait images. We want you to pause for reflection, to quench your thirst for some meaning, a glimpse of enlightenment, an idea on which to place a stone.  Courtesy of The Architectural Review Creativity takes time, requires nourishment. But in the post-human future it is the most valuable skill architects have left – to synergize past, present and future, and care about complex social contexts. While artificial intelligence may learn to design buildings for a site, it can't make moral decisions, predict the future or perform jazz; it lacks empathy and complex understanding. While firmness, commodity and delight may be reduced to an algorithm, architecture that serves people and place for 100 years cannot. To enhance the creativity of our audience, we need to commission empathic writers who spend more than 15 minutes at a building and can tell the story of its context, documentary photographers who know how to capture reality, filmmakers who can craft a rich, thoughtful and compelling experience – we need to create a considered arena for journeys of discovery and change, as well as events that bring us together to challenge traditional viewpoints and talk about the issues that matter to you. Good journalism is honest, not neutral, and architects need a critically independent voice to consider the impact of what we build, beyond aesthetics. Over the coming year we are planning special editions, salons and documentary films that will confront some of the most pressing issues of our time and how architecture can address them: water and the lack or excess of it; the post-digital and post-human society; craft and delight. We can only do this with the continued support of the subscribers who invest in our work and secure our future. I'm grateful to you, a global tribe that shares our belief in the importance of critical thought to spur architecture forward. You resist with us.  Courtesy of The Architectural Review About the cover Dissatisfied with the muse of architecture portrayed on the cover of the first issue of The Architectural Review – a Pre-Raphaelite mother-of-all-arts clutching a tiny Arts and Crafts castle in her hands (right) – we desired a new muse for the future of the AR. Our first cover was, after all, a retake of the Classical muse, typically painted slaving over drawings and clutching a tiny Parthenon. For this 120th issue, we sought fresh inspiration and pay tribute to the goddess Kali, with all her complexity: mother of creation and destruction, warrior, protector and liberator of souls, with the permanence to outlast the universe. The darkness of Mother Kali is the darkness from which everything was born, a mother not of the arts, but of nature – appropriate because architecture is part of nature as it springs from the human instinct to build, just as a bird constructs its nest and a spider its web. As slayer of the human ego, which must be destroyed to attain moksha, we have placed a garland of starchitects around Kali's neck to free the profession of its earthly vanity and focus instead on its social responsibility beyond a single lifetime. In Kali's hands we have placed not one style of architecture, but an arsenal of antecedents, each representing the power of our architectural precedents. Illustrated by the Mexican creative studio Skinpop, this powerful interpretation is a provocation to the profession to come. Subscribe to The Architectural Review here, or purchase the December – January 2017 issue here. This posting includes an audio/video/photo media file: Download Now |
| Regional Center of Industrial Heritage / Mihailo Timotijević & Miroslava Petroivić Balubdžić Posted: 25 Feb 2017 01:00 AM PST  © Ana Kostić
 © Ana Kostić Senjski rudnik represents a town of miners, located in eastern Serbia, with all the attributes of an industrial settlement. Exploitation of coal started in 1853, and today, until recently, it was still active, although in a significantly decreased capacity. In order to find the most optimal development strategy – shutting down the mine, while mitigating the social risk of increased unemployment - the Government of Serbia and EU Delegation conceptualized reconstruction of the mine complex in order to preserve it as a industrial heritage and engage the former miners in its new activities.  © Ana Kostić  Floor Plan + Section  © Milica Lopičić Design and reutilization of the building complex into a specific open-museum site, aimed to establish lasting image of this authentic space of the oldest industrial complex in Serbia. Recounstruction demanded interventions on two levels:  © Ana Kostić In this way, the reconstruction design project aims for the harmonious coexistence between the existing and the new. The authenticity, as a basic value in design, is achieved by using materials that are already present on site. Interventions preserve the identity of place primarily through the form and function including a landscape as an inseparable part of an entity.  © Ana Kostić Newly built annex of the future museum was built on the concrete structure with a facade coated in 5mm thick corrugated steel. The choice of the façade material resulted from the idea to emphasize the contrast of the new reconstructed parts. The area around the building was enhanced with the carefully positioned artifacts - pieces of the former mine equipment.  © Ana Kostić Reconstruction of the existing part of the building that once served as a warehouse, opened up the subject of a pioneering use of concrete in Serbian industrial architecture. All divisions were removed in order to rediscover and show the authentic look of the baring structural system and space for exhibitions and other cultural events. Steel elements of the secondary structure, as well as window frames, in the interior were painted black to emphasize the contrast with the concrete structure of the roof and ceiling.  © Ana Kostić The former workshop building was reconstructed in a timber framed structural system. Due to ist partial deterioration, some of the construction elements, as well as parts of the brick walls, were replaced.  © Ana Kostić External glass corridor provides comfort of the overview of artifacts placed in both inside and outside exhibition spaces.  © Mihailo Timotijević Interior design brings back the authentic ambient of the working space with carefully selected objects that illustrate the atmosphere of everyday life in the mine.  © Ana Kostić Interventions on the ground floor revived the images of productinon proccesses that ensured the coal distribution: industrial rails, station and waggons. This posting includes an audio/video/photo media file: Download Now |
| WE Architecture’s Winning Proposal Combines Green Space with Social Housing in Aarhus Posted: 25 Feb 2017 12:00 AM PST .jpg?1487638854 "© WE Architecture") © WE Architecture A competition for a new social housing complex in Aarhus, Denmark, has been won by WE Architecture, in collaboration with local practice JWH Arkitekter and commissioned by Ringgaarden, a Danish housing organization. Titled "Saltholmsgade", the winning proposal is a reinterpretation of Aarhus' historical housing typologies along Hjortensgade, creating modern and green communal spaces. The complex consists of 38 individual apartments, offering tenants views of the city through the inclusion of rooftop gardens. .jpg?1487638874 "© WE Architecture") © WE Architecture By referencing the heights, volumes, profiles, and façades of nearby buildings, the project is able to integrate into the urban fabric. However, the continuation of the perimeter block and building structure creates a "city wall", which in turn opens up Aarhus' compact character to public green space. .jpg?1487638533 "© WE Architecture") © WE Architecture .jpg?1487638556 "© WE Architecture") © WE Architecture The building's volumes are also subdivided, with alternating recessions that create semi-public social areas at street level and allow for landscaping at the front of the building.
News via: WE Architecture. LOHA's Latest Supportive Housing Complex Curbs LA's Increasing Homelessness This posting includes an audio/video/photo media file: Download Now |
| Black Clay Family Residence / NEBRAU Posted: 24 Feb 2017 09:00 PM PST  © Laurynas Avyzius
 © Laurynas Avyzius Idea Lithuanian architecture studio NEBRAU main task was to create minimal architecture with clear lines and simple volumes, using long-live and natural materials, creating natural and minimal landscape surrounding where people can relax from their daily life routine.  © Laurynas Avyzius In the same plot built a small building for www.elegantepress.com letterpress printing studio.  © Laurynas Avyzius Integration to the environment The place of the house in the quarter: square-shaped land plot which continues the row of houses. The area contains a mix of large, contemporary homes and older dwellings dating to the 1970s and 1990s.  © Laurynas Avyzius The Function The building is convenient to use and functional. The young family house is very comfortable by its planning functionality. House is one storey. The main entrance is in the middle of the house, where free-time zone (living room with kitchen) is separated from sleeping zone (bedrooms).  © Laurynas Avyzius  Plan  © Laurynas Avyzius The Architecture Family residence is located in Lithuania, Kaunas city. House volumes are different height for it's inside functionality and exterior dynamic. The finish is a solid concrete tiles on walls, which gives horizontal shadow structure for the house. Architectural volumes of the house are separated with a vertical larch wood planks, which left naturally to get grey. Dark colors and natural material merges into the surrounding.  © Laurynas Avyzius Lithuania is in the weather zone, where temperature is from -35C till +35C. House insulation should be well prepared for all seasons and comfortable living. Energetical class of the house is A. Heating - geothermal, Windows – wood frame with aluminum outside. The Interior The interior was created as a warm, cosy atmosphere. Natural and reliable decoration materials shall be used such as natural wood look floor tiles of the greater part of the areas, guest room, kitchen, as well as kitchen. We love natural oak mass furniture, which used for table tops in the kitchen.  © Laurynas Avyzius This posting includes an audio/video/photo media file: Download Now |
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