Arch Daily |
- Confórmi: How Visual References Echo Through the Ages
- The Warehouse Hotel / Zarch Collaboratives
- Vanvaaso / Design Work Group
- National Flower, Global Ambition - DeciBel Unveils the Hanoi Lotus Centre
- Archhive: Architecture in Virtual Reality Competition Winners Announced
- Gála House / Apaloosa
- Denmark’s Largest Exhibition Centre To Be Further Expanded by Urban Agency
- Designing the Year's Best Motion Pictures: 5 Floor Plans from Oscar-Nominated Films
- Bibliothèque Nationale de France Refurbishment / Atelier Bruno Gaudin + Virginie Bréga
- This Rope Reinforcement System is an Innovation in the Structure of Adobe Buildings
| Confórmi: How Visual References Echo Through the Ages Posted: 26 Feb 2017 08:00 PM PST  Alvaro Siza Vieira, Wohnhaus Schlesisches Tor (Bonjour Tristesse), Berlin, 1980-1984 — Alvar Aalto, MIT Baker House Dormitory, Cambridge, MA, USA, 1947-1948. Image © Davide Trabucco Confórmi (also on Instagram) is a project which began two years ago as a way to manage its curator's visual references. Bologna-based Davide Trabucco, the curator in question, describes the archive as "a personal work-instrument" that positions apparently dichotic elements into a visual relationship with each other. All of these images, Trabucco believes, "are already present in our collective imagery and in visual culture." Their visual impact is clear: formally and aesthetically, each visual pairing "is immediately understandable – even to the uninitiated."
"The working method on which the research project is based is comparable to the birth of a new image," Trabucco argues: the moment in which "a drawing, a sculpture or a painting reminds you of something else." Conforming to (confórmi translates to "compliance" in English) rigorous archival parameters—namely that each image is simultaneously square and diagonal—each product of the project reveals something new in its similarities to those which have come before it. According to its creator, the project "will stop growing at the same moment that the tool is no longer useful." It remains, for now, "an open archive that anyone can consult anywhere online." Hover over the images to see their sources.  Alvar Aalto, Padiglione Finlandese, New York World Fair, 1938-1939 — David Chipperfield, MUDEC, Milano, 2015. Image © Davide Trabucco  Alvar Aalto, Silo, Toppila | Oulu, Finland, 1931 — Herzog & De Meuron, Feltrinelli Porta Volta, Milano, Italy, 2008-2016. Image © Davide Trabucco  Ludwig Mies Van Der Rohe, Bürohaus Friedrichstraße, Berlin, 1929 — Herzog & De Meuron, Elbphilharmonie, Hamburg, 2003-2016. Image © Davide Trabucco  Pezo Von Ellrichshausen, Blue Pavilion, Royal Academy of Arts, London, UK, 2014 — Louis Kahn, Yale Center for British Art, New Haven, Connecticut, USA, 1974. Image © Davide Trabucco  Ludwig Mies Van Der Rohe, Memorial to Rosa Luxemburg and Karl Liebknecht, Berlin, 1926 (destroyed by the Nazis) — Altar of the Chians, 3d century B.C, Delphi. Image © Davide Trabucco  Snake — Le Corbusier, Musée à croissance illimitée, Sans lieu, 1939. Image © Davide Trabucco  Le Corbusier, Villa "Le Lac", Corseaux/Lac Léman, 1923 — Luigi Ghirri, Marina di Ravenna, 1986. Image © Davide Trabucco  Ludwig Mies van der Rohe, Model of S.R. Crown Hall, Photography © Chicago History Museum — Edouard Manet, Un bar aux Folies-Bergères, Courtauld Gallery, London, 1881-1882. Image © Davide Trabucco  Frank Lloyd Wright, Solomon R. Guggenheim Museum, New York City, USA, 1956–1959 — Sandro Botticelli, Chart of Hell (La mappa dell'inferno), Drawings for Dante's Divina Commedia, Biblioteca Apostolica Vaticana, Roma, 1480-1495. Image © Davide Trabucco  OMA, Maison à Bordeaux, Bordeaux, France, 1994-1998 — Ludwig Mies Van der Rohe, Riehl House, Potsdam, Germany, 1907. Image © Davide Trabucco  Frank Lloyd Wright, Johnson Wax Headquarters, Racine, Wisconsin, USA, 1936-1939 — Cristofani & Lelli Architetti, TOP CODE, Imola (Bo), Italy, 2005-2010. Image © Davide Trabucco  Herzog & De Meuron, Cottbus Library, Brandenburg University of Technology, Cottbus, Germany, 1993-2004 — Alvar Aalto, Vase, iittala, 1936. Image © Davide Trabucco  Anne e Patrick Poirier, Exegi monumentum aere perennius, Centro per l'arte contemporanea Luigi Pecci, Prato, 1988 — Le Corbusier, Acropolis of Athens, 1911. Image © Davide Trabucco  Louis Kahn, Salk Institute for Biological Studies, La Jolla, California, USA, 1959-1965 — Bas Princen, Ringroad (Ceuta-Fnideq), 2007. Image © Davide Trabucco  Francesco Borromini, Chiesa di Sant'Ivo alla Sapienza, Roma, 1642-1660 — Ludwig Mies Van Der Rohe, Bürohaus Friedrichstraße, Berlin, 1929. Image © Davide Trabucco  Column, Temple of Apollo, Corinth, 540 BC — Ludwig Mies Van Der Rohe, Bürohaus Friedrichstraße, Berlin, 1929. Image © Davide Trabucco  Louis Kahn, Franklin D. Roosevelt Four Freedoms Park, New York City, 1972 — Superstudio, Il Monumento Continuo/Piazza Navona, 1970. Image © Davide Trabucco  Le Corbusier, Tower of Shadows, Chandigarh, India, 1957 — "Ecomostro" | Blot on the Landscape, Ostuni, Italy, 1980. Image © Davide Trabucco You can see more images from the Confórmi project, here. This posting includes an audio/video/photo media file: Download Now |
| The Warehouse Hotel / Zarch Collaboratives Posted: 26 Feb 2017 06:00 PM PST  © Darren Soh
 © Darren Soh From the architect. Sited in a conserved building off Robertson Quay, the Warehouse Hotel's roots extend far back to Singapore's trading history as early as the late 19th century. Three warehouses have been combined and outfitted, starting a new lease of life as a 37-room boutique hotel. The Hotel fronts the Singapore River with a distinctive, symmetrical façade and jacked roofs while original design elements like louvre windows, doors, cornices, mouldings and the Chinese characters on the leftmost gable are sensitively retained and restored. These elements have been complemented with restrained touches, including a metallic black canopy on the main entrance.  © Darren Soh  © Darren Soh The white façade stands apart from the high glass and steel constructs of the urban context, maintaining its presence and historic importance along the Singapore River. A double-volume space greets visitors at the Hotel lobby, with the original warehouse trusses, now re-finished in black spanning the lobby. Natural light filters in through the jack roofs in the daytime, while new portal frames serving as discreet structural interventions fringe the lobby space, providing a clear access and line of sight to the waterfront.  © Darren Soh The spatial configuration of the Hotel sets the entryway in the middle of the volumes, while the rooms are split into two wings, with high-ceilinged corridors leading to the double-volume rooms on the second storey. The rooms are suffused with natural light through a combination of the existing fenestration, skylights and the use of glass blocks; the trusses and portal frames are kept in sight throughout the circulation spaces as well as the rooms, puncturing walls and lines of sight, creating a curious spatial dialogue while accentuating the character of the warehouse's former life.  Diagrams A new extension complements the strong silhouette of the main wing, housing an elevated infinity pool as if hovering just above the Singapore River, provoking visual interest at the corner of the street. Extending the visual (and tactile) connection to the waterfront, consideration was also given to the selection of finishes surrounding the development including the pavers at street level – selected to match those along the promenade of the Singapore River, and the salmon pink tiles used in the pool – serving as a visual metaphor for the relationship between the pavement and the River.  © Darren Soh This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 Feb 2017 12:00 PM PST .jpg?1486685597 "© Ishita Sitawala") © Ishita Sitawala
.jpg?1486685820 "© Ishita Sitawala") © Ishita Sitawala "Vanvaso means to dwell within nature and the design bullseye's the name. Situated in Vav village of district Surat, Vanvaso is a place of refreshment away from the city, and into the countryside surrounded by lush green patches of woods and farmlands. Vanvaso provides a peaceful environment, unlike that offered by a thriving city like Surat. It is a retreat from the routine hustle, a second home, yet one that makes the liver feel more relaxed and 'at home'. .jpg?1486685749 "© Ishita Sitawala") © Ishita Sitawala The house has an urban touch to its exterior, with contemporary luxuries of the the modern day, yet it beautifully amalgamates the traditional spaces within. It comprises of typical Indian features like chowk, wall arts and murals, courtyards and connection to nature, an inseparable part of Indian architecture. .jpg?1486686044 "© Ishita Sitawala") © Ishita Sitawala On site, a path is developed that divided the dwelling from the farmland. The structure is placed at the south west corner of the plot, allowing for party lawn and landscaping at the front yard. This gives privacy and calm environment to the house. Mounds and trees along the entrance avenue veils the structure and adds curiosity and element of surprise as one moves ahead on the path. .jpg?1486685840 "© Ishita Sitawala") © Ishita Sitawala At the entrance a chowk welcomes the visitor, with large walls painted in worli art style and landscaped central region that defines the character of the space. .jpg?1486685512 "© Ishita Sitawala") © Ishita Sitawala The house is designed by dividing the regions based on nature of spaces, giving a gathering space in between for interaction along with public and private zones on either sides. This forms Indian massing as that of village structures surrounding a courtyard; thus attaining the crux of the design. .jpg?1486686768 "© Ishita Sitawala") © Ishita Sitawala The northern block is single storied with large openings, connecting to the landscape on both the sides. It comprises of public spaces - living and dining areas with a beautiful internal courtyard landscaped with a central bonsai tree. The large openings are shaded using overhangs and awnings that form the semi covered ottlas on both sides. .jpg?1486685724 "© Ishita Sitawala") © Ishita Sitawala The spaces between the blocks are shaded by the southern block, that is higher than its northern counterpart. It allows the flow of cool south-west wind filtered through trees and a pool that leads the public area and activity space. It hosts a semi open deck with columns within the pool, connecting the spaces while hammocks and relaxing lounge flourish the deck. .jpg?1486685530 "© Ishita Sitawala") © Ishita Sitawala A water body extension is added beyond the pool and into the gravels, giving the building and the landscape surrounding it a floating effect. Stone chips surround the water body and gives the effect of a dessert, thus the water body seems like an oasis. A meditation deck rests in this peaceful atmosphere. .jpg?1486685647 "© Ishita Sitawala") © Ishita Sitawala The central courtyard contains an open staircase going to the upper floor of the southern block, where a semi open space develops the frame of lush green farm.  Sections The front party lawn space is left open with few features like gazebo, sliding swings along with others. Landscape elements like bamboos, textured cladding, wall colours, lights and sound all add to the ambience and form of an Indian village space. The house thus turns into a home, with the little details creating a bigger picture, making the whole atmosphere much larger than the sum of its constituents." .jpg?1486685914 "© Ishita Sitawala") © Ishita Sitawala This posting includes an audio/video/photo media file: Download Now |
| National Flower, Global Ambition - DeciBel Unveils the Hanoi Lotus Centre Posted: 26 Feb 2017 08:00 AM PST  The Hanoi Lotus draws inspiration from Vietnam's national flower. Image Courtesy of Mike Durek / Shadowlab Australian firm deciBel(Architecture))) has released images of their proposed multi-purpose theater and cultural center in the Vietnamese capital of Hanoi. The Hanoi Lotus draws inspiration from Vietnam's national flower, creating a city-defining piece of public architecture to place Hanoi and Vietnam on the global stage.  The scheme acts as an urban gateway to the city of Hanoi. Image Courtesy of Mike Durek / Shadowlab Situated along an arterial road connecting the city center with Noi Bai Airport, the Hanoi Lotus will act as an urban gateway for locals and tourists. Emerging from a 19ha stormwater mitigation lake, the Lotus will respond to Hanoi's increasing artistic, cultural and economic demands. The center will include a 2000-seat multifunctional theater, high technology business incubator center, ice-skating rink, cinemas, offices, and restaurants, creating a mixed-use public venue for thousands of residents and visitors to the Vietnamese capital.  The Hanoi Lotus draws inspiration from Vietnam's national flower. Image Courtesy of Mike Durek / Shadowlab  The center emerges from a 19Ha stormwater lake. Image Courtesy of Mike Durek / Shadowlab The lotus flower exerts a heavy influence on the aesthetic and structural performance of the Hanoi Lotus. The center's pentagonal grid reflects a ratio commonly found in the natural world, including the structural organization of the lotus flower. Iconic 'structural petals' draw inspiration from the natural flower, with a layered culmination of fins, shells, glazed panels, and grid supports. Inside, the ceiling of the main atrium responds to the colors and patterns of the natural lotus leaf, guiding users from the main foyer to the auditorium entrance.  The ceiling draws inspiration from the underside of a lotus leaf. Image Courtesy of Mike Durek / Shadowlab  The ceiling draws inspiration from the underside of a lotus leaf. Image Courtesy of Mike Durek / Shadowlab
 The Hanoi Lotus draws inspiration from Vietnam's national flower. Image Courtesy of Mike Durek / Shadowlab  The mixed-use center contains a 2000-seat auditorium. Image Courtesy of Mike Durek / Shadowlab News via: deciBel(Architecture))). This posting includes an audio/video/photo media file: Download Now |
| Archhive: Architecture in Virtual Reality Competition Winners Announced Posted: 26 Feb 2017 06:00 AM PST  First Prize: Archhive: Architecture in Virtual Reality / Boris Hilderal; France. Image Courtesy of Bee Breeders Bee Breeders has announced the winners of its Archhive: Architecture in Virtual Reality competition, which asked participants to design a virtual exhibition gallery to showcase future Bee Breeders competition winners. In this virtual gallery, visitors would be able to "walk" around and explore the work of selected winners and guest contributors. The three winners of Archhive: Architecture in Virtual Reality are: First Prize:  First Prize: Archhive: Architecture in Virtual Reality / Boris Hilderal; France. Image Courtesy of Bee Breeders Second Prize:  Second Prize: On the Bottom of the Top / Alžbeta Krbylová and Juraj Horňák; Academy of Fine Arts and Design in Bratislava. Image Courtesy of Bee Breeders Third Prize:  Third Prize: The Infinite Gallery / Paolo Antonio Zurk Castillo; Universidad de los Andes. Image Courtesy of Bee Breeders News via: Bee Breeders. This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 Feb 2017 05:00 AM PST  © Carlos Berdejo Mandujano
 © Carlos Berdejo Mandujano A house of rest and recreation for a couple who want to take advantage of the weekends in the company of their children and grandchildren. A risky proposal to the uses and Customs of the users, but with a good accepted when understanding the relation exterior-interior with the micro environment that was generated.  © Carlos Berdejo Mandujano Located in a fraction of everage interest, with a view Impressive towards Tuxtla Gutierrez, Chiapas; A facade was sent to consequence of the área of multiple uses uses that also Works as garaje, and the pool with its engine room that are placed before the Street. Having a facade to the south, with the constant solar caloric incidence, was proposed as a “buffer chamber” to the stairs cube that moderate and sifting the natural light by a latticework of brick.  © Carlos Berdejo Mandujano  Floor Plan  © Carlos Berdejo Mandujano A study, dining room and bedroom were the necessary elements to achieve a more sober and relaxed composition in your program. The pool is appreciated from every área of the dwelling and the undulating reflection of the wáter with the sunlight is perceived in the plafones of Exposed concrete. Brick walls in twisted or better known as “Wall 21” and exposed, reflecta n identity and character in the house. This posting includes an audio/video/photo media file: Download Now |
| Denmark’s Largest Exhibition Centre To Be Further Expanded by Urban Agency Posted: 26 Feb 2017 04:00 AM PST  © Urban Agency Dublin and Copenhagen-based practice Urban Agency has been commissioned to design the expansion of the MCH Messecenter in Herning, Denmark's largest exhibition center. According to the architects, the intent was "to create a strategy that will make the complex a more attractive and coherent structure with a new focal point." To achieve this, the design converges two circulation routes at the building's new point of entry, further complimented by usable art displays and foliage, including green walls. The circular form of the roof defines the event square, with ramps serving as outdoor seating and shelter from inclement weather.  © Urban Agency  © Urban Agency With a particular focus on landscaping, the central multi-purpose outdoor square allows for a flexibility of uses, such as a skating rink, an exhibition space, or simply a resting area for visitors. Issues of circulation and public flow are addressed by the varying ceiling heights, working in conjunction with the open floor plate. From the easily accessible entrance, visitors are directed through security and to their intended destination, such as the concert hall or central exhibition area.  © Urban Agency  Ideology Diagram. Image © Urban Agency On the ground floor, programs include a leisure zone, waiting area, ticket offices, and washrooms, while the first floor features an externally accessible restaurant; a vantage point for views of the event square and exhibition hall. In addition to the new building, a public promenade is intended to connect the building to the Museum of Time at the northern side of the MCH, which is yet to be realized.  Exhibition Square Diagram. Image © Urban Agency  Ice Skating Diagram. Image © Urban Agency
Named the "River of Time", the space will function as the primary axis of the complex, linking the exhibition halls together.
News via: Urban Agency. Urban Agency and OUALALOU+CHOI Collaborate to Create an Adult Educational Desert Oasis This posting includes an audio/video/photo media file: Download Now |
| Designing the Year's Best Motion Pictures: 5 Floor Plans from Oscar-Nominated Films Posted: 26 Feb 2017 01:30 AM PST  © Boryana Ilieva You've seen the floor plans from Hit TV Shows brought to you by Iñaki Aliste Lizarralde, Homes.com, and Drawbotics. Now, with the Academy Awards just around the corner, we're bringing you a series of floor plans from Oscar-nominated films, all painted in watercolor by Boryana Ilieva (who previously brought us the floor plans of Stranger Things). With movies such as La La Land, Fences, Elle, 20th Century Women and Toni Erdmann depicted in meticulous details, Ilieva's watercolors not only provide us with a new perspective of the familiar spaces, but also highlight the important architectural features that help construct these captivating storylines. 1. La La Land © Boryana Ilieva From a film that has been nominated for 14 Oscars after already winning 7 Golden Globes, an overview of Mia's apartment gives us an understanding for the timelessness in La La Land's set design. Writer/director Damien Chazelle took inspiration from the bright prime colors in movies such as The Umbrellas of Cherbourg and The Young Girls of Rochefort, clearly seen from the wall colours in Mia's apartment, and also reflected in the colours of the dresses that the group of girls wore on their night out: blue, red, green and yellow. 2. Fences © Boryana Ilieva As a movie adaptation of a play, Fences takes place for the most part in the Maxons' backyard. Nominated for 4 Oscars, including Best Motion Picture, the film's most emotionally taxing, heartfelt and vulnerable scenes take place in the muddy yard, the only set backdrop in the original theatre performance. It is, as Ilieva describes, "a whole complete world — sacred intimate space where most private conversions and events take place." 3. Elle © Boryana Ilieva Michèle's home, a house in the Parisian suburbs, hosts the opening scene of Elle, an Oscar nominee for Best Performance by an Actress in a Leading Role having already won a Golden Globe in the same category. The kitchen where Michèle is raped by a masked intruder, setting up the plot for the rest of the movie, is seen in the corner of the plan with the dark glass door through which he enters. 4. 20th Century Women © Boryana Ilieva Set in a building that is constantly under renovation, Dorothea's house is not only home to herself and her son Jamie, but also to two boarders, one of which almost becomes part of the family. Occasionally, their 17 year old neighbour sleeps over, adding to the dynamic lifestyle within the walls of the shabby late-'70s house. The film is nominated for Best Original Screenplay. 5. Toni Erdmann © Boryana Ilieva Nominated for Best Foreign Language Film of the Year is this film about a father who brings some absurdity back into his daughter's otherwise ordinary life. At the end of the orderly and tidy apartment stands a woolly costume worn by Ines' father during one of his many attempts at amusing his daughter. To see more from Boryana Ilieva, check out her Instagram Account. This posting includes an audio/video/photo media file: Download Now |
| Bibliothèque Nationale de France Refurbishment / Atelier Bruno Gaudin + Virginie Bréga Posted: 26 Feb 2017 01:00 AM PST _%C2%A9_Takuji_Shimmura.jpg?1487165393 "© Takuji Shimmura") © Takuji Shimmura
_%C2%A9_Takuji_Shimmura.jpg?1487165203 "© Takuji Shimmura") © Takuji Shimmura From the architect. In order to undertake this intervention and to elaborate the project, Bruno Gaudin's offie first had to understand, interpret, and classify the issues specific to this ensemble. They had to literally "break it down into its constituent parts" to be able to better rebuild it and to highlight its intrinsic qualities _%C2%A9_Takuji_Shimmura.jpg?1487165454 "© Takuji Shimmura") © Takuji Shimmura The historical and structural studies, obviously indissociable, brought to light an extraordinary juxtaposition of spaces of every kind, from reserve areas and galleries to staircases and rotundas and much more. Thus, the fact that some of the spaces were listed, such as the Salle Labrouste for example, or that others parts were inventoried, was insufficient data to be able to describe the rich nature and complexity of this site. The assessment revealed the necessity of taking into account a multitude of places, which this project had to restore to their original life and splendor. Thus, the architect's insistence on relying on these sometimes modest yet magnificent witnesses to the stratified history of the Quadrangle. To launch the project for the rehabilitation of the Richelieu Quadrangle was, therefore, to accept the challenges of a polymorphic building whose architectural strata required the elaboration of not one but several different projects: one aimed at the great scale of the site, the one concerning distribution and reception; and other projects targeting the renovation of individual rooms, each having its specific issues and requirements. _%C2%A9_Takuji_Shimmura.jpg?1487165272 "© Takuji Shimmura") © Takuji Shimmura The architectural project for the Quadrangle relies on both the very powerful historical nature of the site and on the campaign to upgrade it in compliance with codes – technical, safety, accessibility, and functionality.  Sections To implement this project, Bruno Gaudin's of ce developed different typologies of "weaves", which set up, depending on the type of space, a variety of dialogs between Architecture, History and Techniques. It was this "three-way conversation" that guided and accompanied the necessary and profound changes the Bibliothèque was to undergo. _%C2%A9_Takuji_Shimmura.jpg?1487165465 "© Takuji Shimmura") © Takuji Shimmura Although the inherent constraints of the technical project sometimes occasioned immense difficulty because the building was so complex, the architect strove to take advantage of these same constraints and to use them as project tools. In fact, technical elements are not necessarily hidden: they are also revealed, and even staged. Underpinning the project, they determine the envelopes, justify the spatial and structural decisions taken, and even become integral architectural objects. Depending on the type of spaces to be treated, a whole range of solutions was developed, from the Lobby / Vestibule, all the way to the reading rooms, by way of the stacks and other storage areas of every kind. _%C2%A9_Takuji_Shimmura.jpg?1487165361 "© Takuji Shimmura") © Takuji Shimmura _%C2%A9_Takuji_Shimmura.jpg?1487165405 "© Takuji Shimmura") © Takuji Shimmura _%C2%A9_Takuji_Shimmura.jpg?1487165250 "© Takuji Shimmura") © Takuji Shimmura The extreme diversity of the spaces to be treated, the variations in typologies of interventions, even within these different rooms, typologies themselves characterized by multiple interfaces, all required an adapted working methodology as well as specific graphic tools of representation. These necessary resources had to be made available to the various actors involved in the operation so they could describe, calculate and finally implement the project.  © Takuji Shimmura This posting includes an audio/video/photo media file: Download Now |
| This Rope Reinforcement System is an Innovation in the Structure of Adobe Buildings Posted: 26 Feb 2017 12:00 AM PST  © Camilo Giribas In the city of Belén, Chile, as a part of the second phase of a Training Program for the Restoration of Facades in Belén, two historically important structures were recently completely restored. The project was financed by the Regional Government of Arica and Parinacota and SUBDERE (Undersecretariat of Regional and Administrative Development), in partnership with the Altiplano Foundation. In both houses, the foundations and, where necessary, the walls were reinforced, and the traditional Andean roof and existing carpentry was restored. Notably, the structural reinforcement of the adobe walls used a rope mesh system, which was first seen in Chile in 2014 as part of the restoration of a church in San Pedro de Atacama. The rope reinforcement emerged in 2013 thanks to research carried out by a team of engineers from the Catholic University of Peru, led by Engineer Julio Vargas Neumann. Despite evidence of pre-Colombian examples in which ropes were used to reinforce earth structures, the technique wasn’t used until the year 1970, after the tragic earthquake of Huaraz in Peru. A team of professionals began to research a method to reinforce adobe structures and, above all, guarantee the lives of the inhabitants of adobe homes—a construction technique which is very common in that part of Peru, as well as in several areas of Central and South America.  © Camilo Giribas The system comprises a system of ropes that envelop the walls vertically and horizontally, at distances that are related to the size of the adobe bricks, forming a mesh that prevents the walls of the building from collapsing in the event of a large earthquake. Both the vertical and horizontal ropes are lashed and tightened, improving the wall’s ability to resist an earthquake. While there are already several examples of reinforced adobe constructions in Chile—for example with welded steel mesh—the use of rope has certain advantages over that type of reinforcement, including its cheap and readily-available material and the fact that they not only prevent collapse, but also improve the behavior of the structure during an earthquake.  Courtesy of Tabs for the repair of adobe dwellings ", Ministry of Housing, Construction and Sanitation of Peru, 2014  Courtesy of Tabs for the repair of adobe dwellings ", Ministry of Housing, Construction and Sanitation of Peru, 2014 One of the houses in the village of Belén being restored is a 125-square-meter adobe dwelling with walls 50 centimeters thick, with a stone foundation and a collar beam roof. The building is estimated to have been built 300 years ago and it functioned as the office of the village's judge.  © Camilo Giribas This innovation in the structural reinforcement of adobe buildings was made possible thanks to the experience gained by the Altiplano Foundation in the restoration of the church of San Pedro de Atacama, and to the advice offered by Engineer Julio Vargas Neumann.  © Camilo Giribas In Chile, there are adobe constructions throughout the country, including in Patagonia. The cities and towns in the center of the country were mainly built with this system of construction. In the north of Chile, especially the towns that are located in the pre-mountain range and high plateau, this technique was also common. Today, many families live in adobe houses. That, combined with Chile's seismic activity, makes reinforcement using rope an innovative and feasible alternative not only to protect the lives of those living in such structures but also to preserve the heritage of different construction cultures present in the country, as well as cultivating traditional crafts that are often said to be forgotten. Text by Camilo Giribas, Architect at the Altiplano Foundation. This posting includes an audio/video/photo media file: Download Now |
| You are subscribed to email updates from ArchDaily. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google Inc., 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
Nema komentara:
Objavi komentar