Arch Daily |
- Hochschule für Technik / Berger Röcker
- Bosjes Chapel / Steyn Studio
- Javornik Distillery / ADR s.r.o.
- Gijang Waveon / Heesoo Kwak and IDMM Architects
- BIVAK's Competition-Winning Proposal for Hungary's Rowing Championships
- This Brazilian House Uses Different Materials as an Extension of the Surrounding Arid Landscape
- Portales Dwelling / Fernanda Canales
- Unique Brutalism - Celebrating 35 Years of the Barbican
- Utopia Arkitekter Proposes Public Park in Stockholm Shrouded in Glass
- Lagartixa House / Paula Ribas + Gémeo Luís + Nuno Valentim
- How Aggressive Architecture Designs the Homeless Out of the Public Realm
- V12K03 / pasel.kuenzel architects
| Hochschule für Technik / Berger Röcker Posted: 19 Mar 2017 10:00 PM PDT  © Klaus Mellenthin
 © Oliver Rieger Photography From the architect. On the inner-city plot south of Breitscheidstrasse between Kiene- and Buechsenstrasse was built the expansion for the Architecture faculty Hochschule für Technik on behalf of the State of Baden-Wuerttemberg. He should be a business card for the university as a distinctive inner-city mark.  © Niels Schubert Fotograf The existing structure was taken up and extended out by varying their dimensions and distances succession of short bars to the south. The first phase consists of three by two glass joints combined bolt. The construction site could be completed with a second phase of construction by another two bars. It is also about a all parts of building defined and maintained accurately contouring base. Through the natural downward slope along the Breitscheidstrasse the base is emerging in full length and forms a solid basis. The eaves were taken over from the existing buildings in the Kienestrasse. This resulted in a possible up to four storeys building, that naturally adapt itself in the road space.  © Oliver Rieger Photography  Plan  © Oliver Rieger Photography The new building is divided into three parallel bars with two connected glass or opening up clips. In the outwardly clear to be understood as both body stripes are all the rooms. Connected, the components on the ground floor by a wide foyer area that functions like an internal road. Downstairs there are more lecture halls, seminar rooms, the eventkitchen and the light laboratory. In the basement are the workshops and storage rooms. These have direct access to the maintenance depot. On the upper floors are located in the two western bars more seminars, lectures and computerized premises and in the eastern and the institute office of the dean.  Sections All materials (preferably concrete, glass, aluminum) are used and shown in their natural property. This is part of the architectural concept. The stylistic elements, the reduction to less ornamental elements and the judicious use of the materials lead to a peaceful atmosphere, which constitutes the appropriate framework for a flexible use of the building. The glas facade lying deep in the core insulated outer wall of exposed concrete are character elements of the facade. Blackout elements from aluminum fins protect the interior spaces from overheating. Same room depths in the brace of the building increase flexibility.  © Berger Röcker Architekten The new building was built as a reinforced concrete skeleton construction. Complete inside and outside in-situ concrete. Supporting elements are concrete columns, stiffening elements of solid reinforced concrete ceilings. The interior of the building is partially separated from the supporting structure.  © Berger Röcker Architekten Accessibility is given in all areas and building levels and in the outdoor. The entrance is at ground level from the sidewalk of reach.  © Oliver Rieger Photography This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Mar 2017 08:00 PM PDT  © Adam Letch
 © Adam Letch The new chapel, set within a vineyard in South Africa, is designed by South-African born Coetzee Steyn of London based Steyn Studio. Its serene sculptural form emulates the silhouette of surrounding mountain ranges, paying tribute to the historic Cape Dutch gables dotting the rural landscapes of the Western Cape. Constructed from a slim concrete cast shell, the roof supports itself as each undulation dramatically falls to meet the ground. Where each wave of the roof structure rises to a peak, expanses of glazing adjoined centrally by a crucifix adorn the façade.  © Adam Letch Drawing poetic inspiration from Psalm 36:7, the crisp white form is conceived as a lightweight, and dynamic structure which appears to float within the valley. A reflective pond emphasises the apparent weightlessness of the structure. Elevated upon a plinth, the chapel rises from the flat land its sits upon, providing a hierarchical focal point within its surroundings. New planting including a vineyard and pomegranate orchard create a lush green oasis on the otherwise exposed site.  Sections Inside, a large and open assembly space is created within a simple rectangular plan. Highly polished terazzo floors reflect light internally. The undulating whitewashed ceiling casts an array of shadows which dance within the volume as light levels change throughout the day. This modest palette of materials creates a neutral background to the impressive framed views of the vineyard and mountains beyond.  © Adam Letch In order to keep the structural form of the roof and assembly space pure, other elements of the buildings functional programme are either hidden within the plinth, or discretely within the outer corners of the surrounding garden.  Courtesy of Steyn Studio Inspired by the simplicity of the Moravian Mission Stations established on Cape Dutch farms in the 19th Century, the chapel lacks a spire – relinquishing a sense of significance in relation to its impressive natural surroundings.  © Adam Letch An open embrace which invites in, the chapel is also a space that extends outwards into the valley and mountains beyond, raising the awareness of God's creation in the immediate environment.  © Adam Letch This posting includes an audio/video/photo media file: Download Now |
| Javornik Distillery / ADR s.r.o. Posted: 19 Mar 2017 07:00 PM PDT  © BoysPlayNice
 © BoysPlayNice From the architect. At the site of the original farmhouse from the late 19th century, in the village of Javornice in southern Bohemia, there is a new, partially reconstructed area Javorník distillery. Its owners, thanks to the neighboring farm, which has long been their property, could create a farm with all the necessary facilities. It is not only a newly built small fruit distillery, but also other reconstructed building like former pub with a dance hall, stables and a barn. New to the buildings there is a shop, fruit store, refrigerated fermentation plant, a customs warehouse basement, wood house, garage and there is accommodation for family members and guests. There is also an extensive orchard and garden as part of Javorník distillery. Homestead stands under the ruins of Helfenburk in the picturesque hills between the towns Bavorov and Vlachovo Brezi at an altitude of 480 m. The surroundings are mostly forests, grasslands and farm fields.  © BoysPlayNice Reconstruction proposal came mainly from the original plan and the location of buildings, which were in very poor condition though. This resulted in the demolition of all modern outbuildings, including roofs and trusses. Only the basic materials and some main supporting walls were preserved. Then new fermentation building and accommodation in the attic was built as well as the wood house with a garage in the place of the fallen barn. The distillery is a completely new and detached building, which creates together with the original buildings a partially enclosed and protected courtyard.  © BoysPlayNice  Plans  © BoysPlayNice Architects' effort was to preserve most of the original architectural features of buildings and where it was no longer possible to replace them with similar characteristic details transferred from other buildings in South Bohemia. For new buildings, we chose new materials, contemporary but with respect for the original buildings. So, for example, it resulted in a solution where all the original roofs have red roof tiles, so-called "Beaver", while all the new buildings have the same roofing material but black. Proposal of the buildings, the facades and shape of the roof, were significantly influenced by the immediate environment, and thus traditional solutions to both shape and material have been used. Most of the facades has a classical lime plaster, parts of buildings with wooden supporting structure are lined with wooden planks, only the distillery itself has surface of solid bricks painted white as an accent of significance of the building.  © BoysPlayNice  Elevation  © BoysPlayNice Courtyard areas, porch and other spaces around the building are paved with natural stone, mainly granite.  © BoysPlayNice From afar, on arrival to Javornice, it is not apparent at first glance, that it is a new building, on a closer and more detailed examination, however, it is quite obvious. So the Distillery has become a natural part of the village.  © BoysPlayNice This posting includes an audio/video/photo media file: Download Now |
| Gijang Waveon / Heesoo Kwak and IDMM Architects Posted: 19 Mar 2017 01:00 PM PDT .jpg?1489704282 "© Kim Jaeyoun") © Kim Jaeyoun
.jpg?1489703694 "© Kim Jaeyoun") © Kim Jaeyoun From the architect. Gijang near to Busan, port city, the second largest city in Korea, is famous for beautiful scenery of seashore rendered by inspiringly eroded rock, wave of clean seawater and groups of pine trees at a height of about 30 feet. WAVEON, the unique cafe in the beach, is located in a hill overlooking the shore in Gijang. Our client wanted to get a 500m2-sized building just for cafe where we can look down the sandy and rocky shore wherever we are. In fact, depending on where and how we see the beach, the sea shows diverse views for us. Accordingly, the significant matter of this project is how we can grasp and deal with the relationship between natural scene and architecture. .jpg?1489704224 "© Kim Jaeyoun") © Kim Jaeyoun Place stacking .jpg?1489703817 "© Kim Jaeyoun") © Kim Jaeyoun  Section .jpg?1489704237 "© Kim Jaeyoun") © Kim Jaeyoun Seating place .jpg?1489704019 "© Kim Jaeyoun") © Kim Jaeyoun This posting includes an audio/video/photo media file: Download Now |
| BIVAK's Competition-Winning Proposal for Hungary's Rowing Championships Posted: 19 Mar 2017 09:00 AM PDT  The design concept evokes the image of a rowing boat cutting through water. Image Courtesy of BIVAK BIVAK Architecture and Design has won a competition to design a rowing arena in Hungary for a host of championships taking place in the country in the coming years. The competition, hosted by the Hungarian Rowing Association (MKKSZ) and Hungarian Academy of Arts, was open to architects under 40 years of age. BIVAK's winning proposal, announced in February 2017, centers on a 90-meter-long tower 'gliding' above the water.  The design concept evokes the image of a rowing boat cutting through water. Image Courtesy of BIVAK BIVAK's proposal divided the site into three separate areas: visitor, competition, and athlete zones. At the heart of the arena, a landmark 90-meter-long tower contains a viewing area, admin suites, and VIP terrace. The tower's raised floor level, coupled with supporting pillars, evokes the imagery of a ship in dry-dock. An aerodynamically-considered slender profile cuts through the air, acting in harmony with professional rowing boats scything through the water beneath.  Physical model. Image Courtesy of BIVAK
 Cross section. Image Courtesy of BIVAK  A slender 90-meter-long tower is supported on columns. Image Courtesy of BIVAK News via: BIVAK Architecture and Design.
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| This Brazilian House Uses Different Materials as an Extension of the Surrounding Arid Landscape Posted: 19 Mar 2017 07:00 AM PDT .jpg?1489775474 "© Haruo Mikami") © Haruo Mikami This article is part of our new series "Material in Focus", where we ask architects to share with us their creative process through the choice of materials that define important parts of the construction of their buildings. The architecture of Casa 28 shows itself as an extension of the arid and exuberant landscape of the Cerrado. A variety of perspectives unfolds as you walk through the house. A family looking for tranquility and connection with nature commissioned this urban refuge located 10 minutes from the National Congress in Brasilia. The elements have different heights that confirm a spatial hierarchy. Extensive walls, coated with polymeric mortar, define fluid spaces and openings placed in all directions integrate cohabitating areas. We talked with architect Samuel Lamas from Equipe Lamas to learn more about the choices of materials used in the project and the influence these choices had on the design concept. Read the interview below: What were the main materials you used for this project? SL: Brick, steel, wood, glass and hydraulic tile.  © Haruo Mikami What were your main sources of inspiration and influence when you were choosing the materials used in the project? SL: The colors of the landscape.  © Haruo Mikami Describe how decisions on materials influenced the design of the project. SL: We wanted to connect the in-door life of the house to the landscape. Windows made of ipê wood allow us to look out to the forest via a material that is part of it - the wood. The hydraulic tile floor resembles clay, a continuity of the reddish earth of the cerrado. The ipê lining in the living room and balcony reinforces the connection with the outside. The walls used a polymer mortar, a coating composed of natural materials with a golden sand color. We looked for a tone that would make it pleasant to look at the light reflected on the outer walls. The earthy color fulget on some walls give the impression of the garden continuing on into the house.  © Haruo Mikami What were the advantages that this material offered for the construction of the project? SL: The feeling of belonging to its environment.  © Haruo Mikami Did the choice of materials impose any kind of challenges to the project? SL: We sought the proper use of each material. In order to do that, we worked in partnership with all the teams that dedicated themselves to the project. The ideas we came up with for Casa 28 were born of real needs and all its parts contribute to its functioning. It has no aesthetic devices. Aesthetics is a consequence.  © Haruo Mikami Did you ever consider the possibility of other materials for the project? If so, how would that have changed the project? SL: The materials were revealed while projecting, in a mental exercise of imagining the experience of the house. The whole feeling was shared with my father, the engineer Ruy Lamas, who also offered his practical vision. We decided when there was a consensus.  © Haruo Mikami How did you research suppliers and builders suitable for materials used in the project? SL: On the internet and with recommendations from people I trust.  © Haruo Mikami
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| Portales Dwelling / Fernanda Canales Posted: 19 Mar 2017 06:00 AM PDT  © Rafael Gamo
 © Rafael Gamo How to create a new house for twelve families that share the same site but different services? This project aims at redefining the concept of private domestic space within a collective structure. In a 400 square meter rectangular site, the building has three levels, plus one subterranean parking level with service areas and storage rooms. Each level has four apartments, with variations in each apartment, depending on different interior heights and views from the balconies in each room. The rooftop offers four terraces, each belonging to one of the duplex apartments in the last floor.   Section  © Rafael Gamo This building is located in a centric district at the south area of Mexico City that is undergoing a transformation process. This made it really important to prevent the changing condition from the immediate environment, resulting in protected views through the terraces and balconies. The project approaches a dual condition: how to simultaneously create privacy and a sense of open space? Each apartment opens towards the site (the front apartments face the street and the rest of the apartments open un to a backyard), each one is also connected to intermediate patios that provide the dwellings with cross ventilation and natural lighting. The stairs are a central piece within the complex, and open up to the central voids, conformed by a concrete lattice that blurs the limits between interior and exterior. This concrete element also generates the building banisters among the interior corridors that open to the exterior.  © Rafael Gamo The apartments measure 70 square meters approximately, and the duplex measure 90 square meters and are distributed in two levels. These units have a double height at the living and dining areas, while the apartments on the first level have a 3 meter height. This generous spatial condition is complemented by large windows that always open to a patio, balcony or terrace. In spite of its low cost materials, the project provides quality in every detail. The use of the common spaces as terraces and living areas creates spatial and visual amplitude that allows for a domestic scale within a collective structure.  © Rafael Gamo This posting includes an audio/video/photo media file: Download Now |
| Unique Brutalism - Celebrating 35 Years of the Barbican Posted: 19 Mar 2017 05:00 AM PDT  Barbican Complex, London. Image Courtesy of GoCompare The Barbican Centre in London is celebrating its 35th anniversary. Widely regarded as the pinnacle of the Brutalist movement, the mixed-use development is home to 4,000 residents, the Guildhall School of Music & Drama, and the London Symphony Orchestra. Located in the heart of London, the Barbican is just one example of how Brutalist architecture forms a central part of our cities. To celebrate this progressive, modernizing, sometimes controversial style, GoCompare has created an online gallery illustrating Brutalist icons from across the world.  The Balfron Tower, London. Image Courtesy of GoCompare Designed by Erno Goldfinger in 1963, London's Balfron Tower represents another defining Brutalist landmark in the capital. For two months in 1968, Goldfinger took up residence in the newly-completed 26-storey tower, using his neighbors' feedback in the design of his Trellik Tower in West London. Once under threat of demolition, the building was rescued by a Grade II listing in 1996.  Unite D'Habitation, Marseille, France. Image Courtesy of GoCompare The Unité D'Habitation in Marseilles, France was designed by Le Corbusier, and built in 1952. The béton brut (raw concrete) used in the building's construction ultimately gave rise to the term Brutalism, cementing Unité D'Habitation as an iconic example of the movement.  Torres Blancas, Madrid, Spain. Image Courtesy of GoCompare The Torres Blancas (White Towers) are located in Madrid, Spain, designed by architect Francisco Javier Saenz de Oiza in 1964. Consisting of a single 71-metre tower with surrounding cylindrical components, the architect's vision was for a tower which appeared to grow organically like a tree. Although dubbed the White Towers during the design stage, white concrete proved too expensive during construction, resulting in the tower's pure grey tone.  Torre Velasca, Milan, Italy. Image Courtesy of GoCompare Milan's Torre Velasca skyscraper was designed by BBPR and built in 1958. The mixed-use scheme contains shops and offices on the lower 18 floors, with the upper seven comprising of residential apartments. The widened residential component gives the scheme a 'mushroom' shape, with slanted supporting beams resulting in the descriptive nickname "skyscraper with suspenders".  Habitat 67, Montreal, Canada. Image Courtesy of GoCompare Habitat 67, located in Montreal, Canada, was originally built as a pavilion for Expo 67. The brutalist building contains 364 identical concrete units reaching up to 12 storeys. At Expo 67, the scheme enjoyed an audience of 50 million people, and is now a major tourist attraction and icon of Canadian architecture.  Kurpaty Health Resort, Yalta, Ukraine. Image Courtesy of GoCompare The Kurpaty Health Resort in Yalta, Ukraine was built in 1984. The six-storey building offers panoramic views across the Crimean Peninsula from its ground floor swimming pool and upper floor retreat rooms. Despite waning popularity, the resort is still in operation today, complete with original Soviet interiors.  De Rotterdam, Netherlands. Image Courtesy of GoCompare Designed by Rem Koolhaas in 1998, and officially completed in 2013, De Rotterdam is the largest building in the Netherlands. The mixed-use scheme consists of three interconnecting 150-metre-high towers, designed to separate and merge depending on one's viewpoint. Despite its recent construction, the unique design and mixed-use characteristics of this 'vertical city' undoubtedly pay homage to the Brutalist movement.  Le Grand Hotel du Lac, Tunis, Tunisia. Image Courtesy of GoCompare Designed by Italian architect Raffaele Contigiani in 1973, the Hotel du Lac became a symbol of Tunisia's modern, progressive outlook. Earmarked for demolition in 2013, the inverted pyramid form of the Hotel du Lac remains standing as an abandoned monument to Brutalism. You can view the full gallery of international Brutalist icons here. News via: GoCompare. AD Classics: The Barbican Estate / Chamberlin, Powell and Bon Architects André Chiote Reimagines Libraries From Around the World as Minimalist Illustrations This posting includes an audio/video/photo media file: Download Now |
| Utopia Arkitekter Proposes Public Park in Stockholm Shrouded in Glass Posted: 19 Mar 2017 02:30 AM PDT  Courtesy of Utopia Arkitekter Utopia Arkitekter wants to start a discussion in Stockholm: how do we manage and develop our public spaces? The definition of the word public, according to the Oxford Dictionary, is something "open to or shared by all the people of an area or country." However, as commercialism continues to rise, Utopia Arkitekter has a problem with our new applications of indoor "public" spaces. As architecture critic Rowan Moore writes in Why We Build, "Identity, desire and stimulation become things you have to buy, as clothes, restaurant meals of calculated diversity, and rides on the ski slope or up the Burj Khalifa." The problem is that as our inner cities adopt more commercial indoor The problem is that as our inner cities adopt more commercial indoor public spaces such as shopping malls, cafés or restaurants, the "public" is no longer represented by "all the people of an area," simply due to economic restrictions. In a city like Stockholm, where darkness and temperatures below 10 degrees celsius prevail for 6 months of the year, the economic boundaries set up around indoor public spaces mean reduced opportunities for people to socialize outside of the home. Utopia Arkitekter's proposal in response to this conundrum? An indoor park.  Courtesy of Utopia Arkitekter Stockholm already has a plan in place for evolving as a "grön promenadstad"—roughly translated, a green pedestrian city. A capital city for everyone. Utopia Arkitekter sees this as an indicator that the city is searching for more ways to engage the public in a non-commercial manner. Their proposed indoor park would be a 23-meter-tall construction, reaching the height of the eaves on surrounding buildings, spanned over an area of 1,500 square meters. It would be supported by a slender timber construction, and clad in glass vaults to achieve maximum transparency and maintain a rapport with the external context. This, along with the building's large passages and entrances linked to existing pathways, would be the primary methods of integration, given that the building's form itself—6 organic morphing vaults—has little correspondence with the existing architecture in the area.  Courtesy of Utopia Arkitekter Their chosen site, Sankt Eriksplan, is a small place that, despite being covered in grass, is not a very active public space, possibly due to a high curb surrounding the lawn. However it has a large degree of potential, being in a densely populated area and just across the street from an underground metro station, as well as a bus stop. On its east side is an existing outdoor park, Vasaparken, that is currently attracting locals, especially families. With a theater, galleries, museums and restaurants within a 5-minute walk from Sankt Eriksplan, there is also a range of cultural activity converging in the area. Utopia Arkitekter are hoping that the transparency of their proposed building will make it a more inviting space for passers by, than existing urban activities that may be tucked away in restored warehouses or hidden cafés.  Courtesy of Utopia Arkitekter The vaulted glass construction will also be "climate smart," with highly energy efficient heating and cooling systems. How exactly the materials are sustainable is unspecified, although there is mention of resistance and recyclability. Utopia Arkitekter present the possibility of reusing excess heat emitted from the underground station and garage beneath Sankt Eriksplan to warm the park in colder months, again with little in the way of detailed explanation. This use of buzz words without providing detail might be concerning, however the fact that the firm is working in partnership with The Swedish Federation of Glazing Contractors and the Swedish Wood Building Council, experts in their respective fields, might go some way to address that concern.  Courtesy of Utopia Arkitekter Indoor gardens have also proven to be very successful public places, such as Gardens by the Bay in Singapore, although rarely are these achieved in a manner that is free from commerce. Sankt Eriksplan's proposed indoor park is built upon the idea of being non-commercial and open to all, but Utopia Arkitekter also have plans in mind for "social enterprises" that could cover running management costs, such as renting out performance spaces for theater, art, outdoor cinema, musical performances or whatever else people come up with. Their goal to kick-start the conversation surrounding all-inclusive public areas, with their proposed solution being an elegant yet welcoming space, small yet bold, contemporary yet undoubtedly Nordic, is an engaging introduction to this important discussion.  Courtesy of Utopia Arkitekter As a proposal, Utopia Arkitekter's building is exciting and, if realized, could certainly have the potential to become an icon of the area and the social values they stand for. However, much of the concept's success will hinge on its further development into a concrete plan, hopefully addressing what constitutes "climate smart," and defining ways in which materials can be recycled and clear examples of how the building uses waste heat. If this idealized vision can become a reality and Utopia Arkitekter succeed in creating their indoor public park, there is no doubt in its potential to drive discussion and strengthen our shared-by-all public spaces. 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| Lagartixa House / Paula Ribas + Gémeo Luís + Nuno Valentim Posted: 19 Mar 2017 02:00 AM PDT  © João Ferrand
 © João Ferrand Situated in a village in the North of Portugal, it lies between arable land and a pine forest. For a household of five, the house consists of four sleeping rooms, kitchen, dining room, living room, laundry room, a small music studio and a porch.  © João Ferrand Its footprint was adjusted to the existing terrain and integrated in the landscape, its form revealing the principle of not tearing down existing trees. The construction system held a principle of economy where traditional building solutions were adopted, and crucial values were recovered in order to create harmonious architectural, landscape and social relationships. In this context and to boost indigenous economy, construction work was carried out by a local contractor.  Floor Plan, Sections and Elevations Structural/infrastructural measures were implemented together with the respect for the environment, aiming to promote a balanced, self-powered life-cycle of the house. The use of natural cork as a material of great abundance in Portugal accumulates multiple advantages. In addition to being biodegradable, it has great thermal efficiency - in this case efficiency is optimized, combining insulation and cladding in a singular material, therefore avoiding an entire layer of material and inherent costs.  © João Ferrand The house´s form and orientation permit the best solar exposure for each room. Shading is adjustable by doors / flaps designed for the purpose. The house lies on a raised slab in order to allow natural drainage of rainwater. Terrain modeling made use of the remains of its construction. An existing watercourse passing through the site was revitalized to implement an irrigation system, enabling the plantation and maintenance of new fruit trees, a resource of strong regional expression.  © João Ferrand A Casa assenta numa laje sobrelevada do terreno que permite a drenagem natural das águas pluviais. Foi implementado um sistema de rega com água reutilizável, revitalizando a linha de água que atravessa o terreno. Estas condições garantiram a plantação e a manutenção de novas espécies arbóreas de fruto. Adoptaram-se ainda energias renováveis: os painéis solares solucionam o aquecimento das águas sanitárias; e o uso de caldeira alimentada a pellets biodegradáveis resolve o aquecimento geral.  Detail Aos valores materiais da Casa Lagartixa agregam-se valores simbólicos. O nome serve de metáfora para a sensibilização da biodiversidade enquanto valor fundamental para a sustentabilidade; recorda como em muros e construções a Lagartixa encontra abrigo; valoriza a narrativa como recurso humano na tradição oral comunitária da região.  © João Ferrand This posting includes an audio/video/photo media file: Download Now |
| How Aggressive Architecture Designs the Homeless Out of the Public Realm Posted: 19 Mar 2017 01:00 AM PDT  Bench outside St. Paul's Cathedral, London. Image Courtesy of James Furzer In recent years, the architectural community has become heavily involved, in both positive and negative ways, with the chronic global issue of homelessness. In response, James Furzer of UK-based Spatial Design Architects has undertaken a photographic analysis exploring defensive forms of urban design. Using the typology of public benches in London, Furzer documents public fixtures which act as deterrents to rough sleepers, essentially denying a right to the city for those who ultimately have no choice but to be there.  Reveal bench, London. Image Courtesy of James Furzer  Camden bench, London. Image Courtesy of James Furzer Using the public benches of London as a photographic subject, Furzer reveals an underlying deterrent quality which may remain unnoticed by the everyday user. In particular, he documents the "Camden bench," an award-winning public piece of street furniture commissioned by the London Borough of Camden, whose design ethos was to influence the public and restrict undesirable behavior. Formed of exposed concrete and a steel frame, the bench's angular shape creates an uncomfortable base to deter rough sleepers. As Furzer explains:  Canary Wharf Station bench, London. Image Courtesy of James Furzer  Bench outside the Royal Courts of Justice, London. Image Courtesy of James Furzer
 Tower Hill bench, London. Image Courtesy of James Furzer  Tower Hill bench, London. Image Courtesy of James Furzer Furzer's photographic analysis sits within a broader context of urban fixtures designed to deter rough sleeping. As argued by Guardian writer Alex Andreou, an "out of sight, out of mind" mentality within both British and other western policy-making has resulted in fixtures such as the now-infamous "anti-homeless spikes" outside buildings, and pavement sprinklers which deter prolonged occupation.  East India bench, London. Image Courtesy of James Furzer  Tower Hill bench, London. Image Courtesy of James Furzer Evidently, we must now contend with a reality that, in societies claiming to be democratic, free, and accountable, items as accessible as a public bench are used as a tool to unseat our cities' most vulnerable inhabitants.  Thames bench, London. Image Courtesy of James Furzer News via: Spatial Design Architects. Defensive Architecture Creates Unlivable Cities This posting includes an audio/video/photo media file: Download Now |
| V12K03 / pasel.kuenzel architects Posted: 18 Mar 2017 10:00 PM PDT  © Marcel van der Burg
 © Marcel van der Burg In an inner-city context the spatial qualities of private dwellings depend on the degree of privacy. On the street-side outside the house, you wish to store your bike when coming home from work and to protect yourself from the rain while searching for your keys. You may also long for a place where to lean on when talking to your neighbours.  © Marcel van der Burg Inside the building you decide how much communication with the neighbourhood you allow for, how much you want to expose yourself while letting natural daylight into your private rooms or if you want to sit in- or outside while having dinner.  Floor Plans  Model  Section V12K03 projects these qualities on an inner-city urban plot of 7 by 15 meters. The ground floor connects with the hidden patio at the rear of the residence and merges with street-life at the front door under a covered open air space. Above, the wooden box hides the private rooms behind a filter of enormous timber panels that can individually be adjusted in order to allow for daylight and privacy. The rooftop studio space provides a spectacular view over the historic centre of the city of Leiden.  © Marcel van der Burg This posting includes an audio/video/photo media file: Download Now |
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