Arch Daily

Delhaize Quai de Rome / MDW Architecture + H+G Architects
See How Herzog & de Meuron's Elbphilharmonie Hamburg Sits in Its Context
Loco Restaurant / João Tiago Aguiar Arquitectos
Baked by the Heat / Drozdov & Partners
Apartment in Binh Thanh / Sanuki Daisuke architects
Winners of the 2017 ArchDaily China Building of the Year Awards
Jade Museum / Archi-Union Architects
KASIKORN Business-Technology Group Building / pbm
Ruby Bay House / Parsonson Architects
New Headquarter Extension for Gebr / gmp Architekten
MVRDV's 'H-O-M-E' Converts Former Army Barracks into Mixed-Use District in Mannheim
Moreelse Bridge / cepezed
San Carlo alle Quattro Fontane: Madness or Masterpiece?
Residence MG2 / Alain Carle Architecte
Chicago Architecture Biennial Announces List of 2017 Participants
9 Everyday Activities to Increase Your Spatial Intelligence
Tennis Club in Strasbourg / Paul Le Quernec
See Frank Lloyd Wright’s Missing Works Recreated in Photorealistic Renders
Pattern Brutalist - An Illustrative Magazine

Delhaize Quai de Rome / MDW Architecture + H+G Architects

Posted: 06 Mar 2017 09:00 PM PST

Architects: MDW ARCHITECTURE + H+G Architects
Location: Liège, Belgium
Architect In Charge: Xavier De Wil, Charles Herfurth
Area: 3500.0 m2
Project Year: 2015
Photographs: Séverin Malaud , Courtesy of MDW Architecture + H+G Architects

Mechanical Engineer: DTS
Structural Engineer: SETESCO

Programmes of this type are notorious for producing mundane buildings – devoid of interest at best, and often outright urbicide. Our vision goes beyond the mere cosmetic upgrade of the decorated shed, asking: How can the designers of a supermarket quietly succeed in weaving part of the urban fabric?

Urbanism
Situated in the middle of an elongated 180m long and largely paved city block, the project aims to improve the quality and permeability of the site, both for users of the building and for residents of the area.

In order to create a new public pedestrian crossing which splits the block, the existing building – which was due for demolition – is relocated to the edge of the plot. The new building helps to upscale a difficult zone, enclosed between high party walls.

The clarification of the flow of vehicles on the whole site and placement of a substantial part of the car park underground reduce the visual impact of the cars, and allow large areas to be covered with greenery. This also improves the routes across the block for soft mobility.

The rooftop of the building, visible from many nearby multi-storey apartment buildings, is broken up by emergences which reduce the volumetric impact of the supermarket. The green roofs covering the various parts of the project, combined with a long interior patio planted with trees reinforce the presence of greenery in the block.

Architecture
The work on perception started with the roof is continued with the treatment of façades. They are marked by a series of pleats which enliven pedestrian routes along the alleyway.

Wood is used throughout the project, from structure to façade. Beside its reduced impact in terms of grey energy, the choice of this eco-responsible material is also motivated by its ability to create a building that is visually lighter, easily adaptable and/or recyclable.

Cedar cladding, with variable rhythmic scansions and its warm materiality, offers an additional antidote to the mineral surfaces of the block.

The interior of the shop breaks away from the usual practice in that special attention is paid to visual contacts with the exterior and the penetration of daylight, coming from the alleyway side and along the large patio at the rear of the building.

The singular ambition of this project is to show that a development programme as basic as a supermarket can, if handled with ambition and craftiness, become a subtle operation of urban acupuncture that heals the place where it is built.

This posting includes an audio/video/photo media file: Download Now

See How Herzog & de Meuron's Elbphilharmonie Hamburg Sits in Its Context

Posted: 06 Mar 2017 08:00 PM PST

Photographer Laurian Ghinitoiu has visited Herzog & de Meuron's Elbphilharmonie Hamburg, Germany – a 2017 winner of the ArchDaily Building of the Year award. The striking silhouette of this cultural centre and concert hall, which is identical in ground plan to the brick block of the older building upon which it sits, is often photographed as an isolated object. In this photo-essay, the context of the port around the project is often foregrounded – and unusual views offer new perspectives onto its iconic design.

This posting includes an audio/video/photo media file: Download Now

Loco Restaurant / João Tiago Aguiar Arquitectos

Posted: 06 Mar 2017 07:00 PM PST

Architects: João Tiago Aguiar Arquitectos
Location: R. Navegantes, 1200 Lisboa, Portugal
Architects In Charge: João Tiago Aguiar, Renata Vieira
Project Team: Ruben Mateus, André Silva, João Nery Morais
Area: 150.0 m2
Project Year: 2016
Photographs: Fernando Guerra | FG+SG

Engineering : OMF

From the architect. Transformation of a ground-floor space located in a building composed in its base by various stone arcs, four of which make up the restaurant's facade, and act as main features of the space, both in the exterior and on the interior.

These arcs were highlighted, by lighting up its boundaries and by designing back-lighted flowerbeds for their bases.

It is precisely through one of these arcs that the entrance to the restaurant is made, through a large glass pivoting door. Once the glass arc is passed by, we have the customers' reception area dominated by the presence of a suspended olive tree and by the enlightened wine cellar which covers the entire entrance's sidewall.

The dining room, wide but also intimate is, on one of its sides, defined by the façade's white arcs, closed with single glazing panes and on the other, by the black kitchen volume open to the room.

The program demanded a high complexity kitchen totally personalized by the Chef in order to optimize the workflows proper to this type of structure's performance. As such, and given that the kitchen should be visible from the room, it was necessary to conciliate these demands with the creation of a cared atmosphere but not visually evasive for those in the dining room. This way, the dominance of the black colour is chosen. Behind the kitchen scenes, at the back, the technical area, the changing rooms and the back-office were placed in addition.

On the top wall of the dining room, the crafted tile panel that fully covers it stands out, developed in partnership with the Ceramist Artist Maria Ana Vasco Costa.

This tridimensional tile panel is like a sculptural piece and intentionally makes a counterpoint to the wine cellar by the entrance. It is also white, with the same diamond basis design and also enlightened, capitalizing on its three-dimensionality, reflecting the light that shines on it in different ways, depending on the observer's perspective and on the time of the day.

The horizontal planes of the dining room (floor and ceiling) are in wood, contributing to the comfortable environment, of the living room that was meant for this space. In the ceiling, in lath, which apart from hiding the infrastructures such as the ventilation ducts and the spotlights, blurs the boundaries of this plane, giving a sense of continuity and lightness.

This sense of space continuity is also achieved thanks to the similar treatment that the toilets received, with respect to the dining room. These are characterized by the same wood pavement and the black coloured walls, by a careful and distinct lighting and also by small ornamental suspended plants. The aim is to maintain a careful environment and almost domestic, even in these spaces, usually second to others.

This posting includes an audio/video/photo media file: Download Now

Baked by the Heat / Drozdov & Partners

Posted: 06 Mar 2017 06:00 PM PST

Architects: Drozdov & Partners
Location: Kharkiv, Kharkiv Oblast, Ukraine
Architects In Charge: Yana Bryukhovetskaya, Oleg Drozdov, Katerina Yolkina, Sergey Kostyanoy, Vitaliy Pravik
Area: 448.0 m2
Project Year: 2016
Photographs: Andrey Avdeenko

From the architect. The house is located within a rather chaotic and mixed-scale development made up of houses, with an average height of 2-3 stories. This context defined its withdrawn and introverted character. The house integrates with the natural topography, with its three terraces descending the landscape, being united by the horizontal line of the roof.

The sloping terrain causes the gradual increase of the volume, unfolding the entire narrative of the house. Starting from the entrance and low minor premises on the street level, the scale grows bigger in bedrooms and reaches its apex in the spacious living room. The central hall is the core axis that unites all the indoor premises. The overhead opening invites daylight into the house. Open "summer rooms" are extensions to indoor living premises, creating seamless united spaces, visually impenetrable for the neighbors. The summer extension of the living room includes a swimming pool, a lounge, a barbecue place and a sunbathing zone. The levitating wall ensures privacy, focuses the view over certain landscape details and expands the borders of the living space.

The border area between the living room and the terrace is the main attractor for all the dwellers of the house. In warm seasons this borderline is blurred out. In order to make this space as comfortable as possible, permanent blinds are installed, which control unfavorable western sunrays and maintain visual connection with the garden. As the house itself, the landscape follows the principle of terraces descending the terrain. Artificial hills along the boundaries protect the house from prying eyes and enhance the natural landscape. It is quite symbolic that the project was completed when it was boiling +40C outside, which makes the house fully adapted to climatic surprises.

This posting includes an audio/video/photo media file: Download Now

Apartment in Binh Thanh / Sanuki Daisuke architects

Posted: 06 Mar 2017 02:30 PM PST

Architects: Sanuki Daisuke architects
Location: Bình Thạnh, Ho Chi Minh, Vietnam
Architect In Charge: Sanuki Daisuke, Nguyen Thi Gia Khuong
Area: 431.0 m2
Project Year: 2016
Photographs: Hiroyuki Oki

Structure Engineer: Tam Sau Mechanical and Contruction Co., Ltd.
Me Engineer: Technical Hung Viet Company Ltd.
Site Area: 204.7sqm
Building Area: 161.8sqm

The project is about a small apartment with seven rooms in Binh Thanh District, a nearly central area in Ho Chi Minh City. The site has unique slightly curved shape by merging several plots of different sizes with the total length of around 40 meters. It is located in a high density area surrounded by two or three-storey buildings. On initial inspection of the site, we felt that there is much potential due to: "remaining urban open space / void created haphazardly in the crowded city". Therefore, on careful consideration, we concluded that this open 'urban' space can be utilized to design both an attractive and well-designed open spaced building harnessing the natural daylight and wind.

The volume of the building is formed by optimization of the licensed construction boundary according to building regulation. Based on the study on the 'cross-sectional' perspective, a large open courtyard is placed in the middle of the building and a U-shaped solid mass is created by two 'towers' with the connection at the ground floor. Furthermore, we create a void for connecting the garden-space on ground floor to the open-area courtyard. In addition, we prepared the "Lanai (=semi-outdoor space)" for each room, exposed to the courtyard. These outside spaces (open-area courtyard, garden space, and Lanai) are organically connected each other making use of the "fresh" air-circulation and deep day lighting penetration for whole of the building. A lot of outside space enhances occupants' living style with a deep connection to the outdoor found in tropical areas.

According to the client's request, we tried to utilize the local materials in Vietnam for low cost construction. The terracotta screen block is very popular in Vietnam. We combine different patterns of blocks, creating a characteristic Façade and outside space in the courtyard, which makes use of natural ventilation, passive cooling by shading, while simultaneously enhancing occupant security.

In the outside space, we planted a lot of greenery making use of the natural abundance of natural daylight and natural ventilation, creating an enjoyable outdoor space.

This posting includes an audio/video/photo media file: Download Now

Winners of the 2017 ArchDaily China Building of the Year Awards

Posted: 06 Mar 2017 02:00 PM PST

The first edition of ArchDaily China's Building of the Year Awards has now come to a close. Like our global Building of the Year Awards, the awards given by ArchDaily China rely on the collective intelligence of an audience of informed and engaged readers to select the winners.

Once again, ArchDaily readers demonstrated their collective influence, with over 7,000 votes cast over 3 weeks to filter over 300 projects published on ArchDaily China in 2016 to find the 3 best works that mainland China and Hong Kong have to offer. Read on to see the winners.

1st Place
Chetian Cultural Center / West-line studio

2nd Place
Central Canteen of Tsinghua University / School of Architecture Tsinghua University

3rd Place
Da Chang Muslim Cultural Center / Architectural Design & Research Institute of SCUT

This posting includes an audio/video/photo media file: Download Now

Jade Museum / Archi-Union Architects

Posted: 06 Mar 2017 12:00 PM PST

Architects: Archi-Union Architects
Location: 383 Huang Pi Nan Lu, XinTianDi, Huangpu Qu, Shanghai Shi, China, 200000
Architect In Charge: Philip F. Yuan
Design Team: Han Li, Yan Chao, Zhu Tianrui, Kong Xiangping, Chen Xiaoming, Sheng Junchao
Digital Fabrication Development And Build: Fab-Union
Area: 695.0 m2
Project Year: 2016
Photographs: Chen Hao

Jade Museum Xintiandi inspiration comes from Chinese jade and contemporary interpretation of calligraphy. The space is mainly for traditional jade exhibition, but the challenge is how to express a special space with East Zen and integrate into the commercial atmosphere of Xintiandi in a contemporary way. Although the overall volume is small, we try to see much in little and deal with the possibilities of a small-scale space abstractly. The experience inside the space is like in a shadowy painting scene with the power of nature like waves and thunders of a waterfall. We take the simplest sphere as the geometric object of operation, hide the structure and highlight the intention of space. Of course, during a very short-time construction period, digital fabrication method provides the quality assurance.

When shaping the entire space, we redefined a sphere as one of the basic natural geometries in the architecture language. Sphere has a unique metaphorical meaning that is transcendental in the cultural language. In the context of preserving the original structure space, we re-planned the space layout based on the exhibition circulation: the entire display space was divided by spheres cutting, then remodeled and normalized as a whole space. Spheres with different scales and proportions, various cutting and integrating solutions and diverse combination methods of the space make the entire space rich and varied. While as the main theme of the space, jade is metaphorically re-expressed, and the whole visiting journey is like walking inside the exquisite and varied jade carving.

Through a reasonable integration, the original blunt geometry is getting a lyrical poetry-like feeling. Traditional single commercial display space was divided into different internal spaces like hall, court, alley, garden and corridor. Meanwhile, the view of the spaces is connected by cavity, valley, hill and lake. The sound focus effect created by the spherical space enhanced the amusement of sound field, not only the traditional visual perception. Traditional activities like tea tasting, jade appreciation, aromatic smelling and bamboo listening are available in such a diverse artistic exhibition space.

Of the ink in the nothingness; of the river in time

Abundant light created an ink-painting-like feeling to the space; meanwhile the gradation of the space gives visitor a nothingness and far-reaching prospect, getting perception and understanding from another dimension. The boundaries of different medias like light, shadow, and shape are blurred gradually, forming a seamless integration of perception. Different images are collided and overlapped in the multi-dimensional space. Although the boundary of light and shadow is supple, the impression is very strong to people. This contrast let the various spaces etch in visitors' mind deeply. A sense of time elapse seems like touchable and reachable with varying sceneries and changing viewpoints.

This posting includes an audio/video/photo media file: Download Now

KASIKORN Business-Technology Group Building / pbm

Posted: 06 Mar 2017 11:00 AM PST

Architects: pbm
Location: Chang Wat Nonthaburi 11120, Thailand
Architects In Charge: Kampanart Tejavanija, Kiatrabin Tejavanija, Krisanee Tejavanija , Kungwansiri Tejavanija , Matetaporn Visitpongpan, Narote Kittivanichanon
Area: 60000.0 m2
Project Year: 2016
Photographs: W Workspace

From the architect. KASIKORN Business-Technology Group is undergoing a major transformation to support the arrival of the new "FinTech" digital banking era. With this industry-wide revolution, KASIKORN Business-Technology Group recognizes the urgency to change its way of working to suit the more modern and seamless culture that is native to its growing tech savvy community. The traditional big, bulky workstations were deemed inhibitive to communications and mobility across teams and disciplines.

The new workstation design however, aims to reduce boundaries and promote communal exchanges. The addition of creative boxes, recreational area, designated meeting rooms and meeting spaces around office columns combine to create a unique environment which encourages greater creativity and engagement.

The construction was a feat itself. The building had limited height, measuring 3.00 meters from floor to slab, worse yet, 2.50 meters under the expansive row of beams. The goal is to make the working area as spacious as possible, all the while flexible enough to anticipate future changes in workstations to accommodate team rotations and restructuring. To address this challenge, the "Flexible Tree" was introduced to eliminate the traditional raised floor. As part of the design, mechanical elements were used to create volume and enhance aesthetics.

The Kasikorn Innovation Campus on the 11th floor is the most dynamic space of the entire building. The additional 19 meters of height space allowed for more room to experiment different design ideas. The main theme was "industrial city" with interplay of day and night lighting which aimed to help the body adjust to 24 hour working environment. Moreover, K-Stadium is the landmark of KBTG building and its legacy. Among the thousands of projects that pass through K-Stadium, only the selected ones are chosen to be displayed on this dynamic stage.

Product Description. As this project was intended to apply for LEED Platinum certificate, material selection was not only based on its beauty and quality, but also on indoor environmental quality and recycle contents. For example, carpet from Interface and vinyl floor from Shaw, at the project time, had the highest recycle contents among other brands. Both of them have antibacterial components which brought good health to our environment.

This posting includes an audio/video/photo media file: Download Now

Ruby Bay House / Parsonson Architects

Posted: 06 Mar 2017 09:00 AM PST

Architects: Parsonson Architects
Location: 271 Pomona Rd, Richmond and Motueka 7010, New Zealand
Architect In Charge: Gerald Parsonson, Paul Hansen
Area: 165.0 m2
Project Year: 2016
Photographs: Paul McCredie

Structural Engineer: Spencer Holmes Ltd and Smart Alliance Ltd
Builder: Lawson homes

This is a small-medium 3-bedroom house sitting along a southward sloping hill, looking east across Tasman Bay.

A 'T' shaped plan is wrapped around a northwest-facing courtyard allowing views through the house to the sea. The property is a generous size and there is opportunity for the owners to flesh out the gardens, and to further add pergolas and verandas to the east and west sides to soften and shade outdoor spaces.

There are 4 distinct elevations to the house defined by the roofing material wrapping down both the north and south elevations. These are without windows to provide privacy from the road, the neighbour to the north and give the house a simple sculptural quality. The location of windows focuses the view to the sea to the east and the mountains and hills to the west.

This posting includes an audio/video/photo media file: Download Now

New Headquarter Extension for Gebr / gmp Architekten

Posted: 06 Mar 2017 07:00 AM PST

Architects: gmp Architekten
Location: Koreastraße 5, 20457 Hamburg, Germany
Design Team: Volkwin Marg, Jürgen Hillmer, Stephanie Joebsch.
Area: 9700.0 m2
Project Year: 2016
Photographs: Marcus Bredt

Project Management, Competition And Execution: Andreas Weihnacht
Competition: Tanja Hütter, André Wegmann, Katja Mezger, Achim Wangler.
Implementation: André Wegmann, Angela Schmidtutz, Radmilla Blagovcanin, Hendrik Winter, Monika Sallowski, Renata Dipper, Gabi Kottsieper, Tom Schülke, Christoph Pyka, Kenneth Wong.
Construction Management: Raimund Kinski, Julia Weinert, Som Phone Sysavanh, Annette Walczynski, Andreas Schulz, Katja Poschmann, Natascha Stadtmüller.

From the architect. The extension to the head office of the Gebr. Heinemann trading firm in Hamburg's HafenCity has been completed to a design by von Gerkan, Marg and Partners (gmp). gmp had won the competition in 2013 and, one year later, started with the construction of the office complex in Hamburg's Elbquartier; the development blends well with its surroundings in terms of aesthetics and shape.

This third building tract is part of an ensemble dating from the 19^th, 20^th, and 21^st centuries, and is a distinctive element of the city – in front of the HafenCity backdrop, on a site area of 1,286 square meters, the extension building adds to the headquarters of Gebr. Heinemann with its two existing buildings between Magdeburger Hafen and Shanghaiallee. The new building with its first floor and gallery stories, as well as eight further office stories and two underground parking garage levels, has been designed to meet the requirements of the Gold standard of "Sustainable construction in HafenCity".

The building at Koreastrasse 5 is notable for its location at the water's edge. The external wall of the building to the north also forms the wall of the Fleet canal, and towers 42 meters above it. The connection with this maritime part of Hamburg is based on the company's history; Gebr. Heinemann is a traditional company that was founded at this location as a ship's chandler in 1879. The extension building makes reference to the cosmopolitan attitude of the internationally active Hanseatic trading house; located directly next to the Heinemann-Speicher, the building blends well with its surroundings, given its brick and glass facade that is typical of the location, the vertically structured facade relief, and the vertical fenestration arrangement across stories. The new building also references the Maritime Museum that borders the company site to the west in terms of aesthetics and shape, thus mirroring the traditional stability of the quarter.

Elements such as the historic loading openings of the storage buildings are reinterpreted with large glazed areas. With its timeless design and its exciting building volume, the structure with its generous terraced flat roofs creates balance between the different eaves levels of the neighboring buildings. The new and yet independently usable tract is connected with the flanking company headquarters via a glazed connection. Distribution in the building is via a central circulation core. The offices have been arranged around an inner central zone which accommodates shared rooms, such as sanitary facilities. The transparently designed first floor serves as the staff entrance and houses the Gebr. Heinemann Museum, as well as retail premises. In accordance with the client's wishes, the layout design on the upper floors has been devised to allow maximum flexibility. This makes it possible to divide the space into both open-plan and cellular offices.

This posting includes an audio/video/photo media file: Download Now

MVRDV's 'H-O-M-E' Converts Former Army Barracks into Mixed-Use District in Mannheim

Posted: 06 Mar 2017 05:15 AM PST

MVRDV has released plans for a major revitalization of a former US army barracks in the Franklin Mitte neighborhood of Mannheim, Germany. The 144-hectare site will feature a slate of mixed-typology developments organized around a central green hill made from demolished barrack buildings and offering panoramic views of the new developments. Of those new buildings, four residential towers spelling out the word H-O-M-E will create a vibrant community of professionals and young local families.

Built as a trading city in 1606, Mannheim has evolved to become an industrial center of Germany and later the home of a massive US army base. The closure of the 500-hectare base in 2011 caused an initial shock to the local economy, but has also provided a fresh opportunity for urban renewal. MVRDV has drawn from this history to create a new district that introduces density and diversity to the site, creating a community aimed at attracting young people who otherwise have been leaving the city due to lack of attractive options.

"With a series of investors a variety of typologies and interpretations of the past is celebrated. A primary axis (the Europa Achse) cuts through the centre of the scheme, piercing through some of the old structures, whilst connecting the two surrounding nature areas and at the same time, creates transitions from old to new. 'The Green Hill' is the central icon of this revitalised neighbourhood, a park heart of the community for people to walk on, relax, a great panoramic look out onto the neighbourhood and its HOME towers," says Winy Maas, founding partner of MVRDV.

Centered on a central axis linking the various buildings of the district, the hill serves as a focal point connecting residential and commercial areas. The primary axis is articulated in the building, piercing through old barrack structures and creating transitions between the old and new.

"How does one form a family of residential towers? says Maas, 'In Franklin Mitte', we will create a fine-grained extremely homely and cosy neighbourhood with a central hill that is both a park and shopping centre. The HOME towers signal a welcoming suggestion. Especially needed in these days of doubt. Mannheim is an ambitious city with a strong social agenda, the site is currently occupied by 10,000 refugees, I find that impressive and to be honest, quite touching.''

The scheme's four main residential towers take the form of the letters H-O-M-E, shapes that could provide the required amount of housing needed, and serve as a literal and symbolic billboard for the neighborhood.

"Around each building is a plaza created in the shape of the projected shadow of the letter, its size determined by local regulations that call for a certain distance between neighbouring buildings," MVRDV explains. "This imprint of the letter cuts through both old and new buildings, juxtaposing the site's rigid history with these contemporary structures."

MVRDV has been tasked with detailing the 'M' and the 'O' buildings, while haascookzemmrich STUDIO2050 will design the 'H' and AS&P (Albert Speer & Partner) the 'E'. The 'O' will contain 12,380 square meters shared among 120 flexible apartments and a public stage for community engagement. Nearby, the 'M' will contain 17,890 square meters in 185 apartments, and an activated roof terrace featuring tennis courts and public space.

The brightly-colored 'HOME' buildings will stand out against the neutral tones of the neighborhood, allowing each structure to take on its own identity while contributing to the overall community spirit. The towers are orientated around the hill with a rotation towards the 'Vogelstang' district and the highway which allows readability from a distance.

The transformation of Franklin Mitte is the latest project in Germany by MVRDV, following the the Expo 2000 Netherlands Pavilion, the private residence Barcode House and the mixed-use UPV offices in Munich. MVRDV is currently designing further projects in Mannheim, Munich, Hamburg and Mainz.

News via MVRDV.

Architects: MVRDV
Location: Mannheim, Germany
Design Team: Winy Maas, Jacob van Rijs, Nathalie de Vries, Jeroen Zuidgeest, Markus Nagler, Johannes Pilz, Mikel Vazquez, Philipp Kramer, Elena Ambacher, Christine Sohar, Remy Koning, Xiaoting Chen, Rebecca Pröbster, Máté Mészáros, Elien Deceuninck, Marco Gazzola and Susanna Horn Jardemark
Visualization: Antonio Luca Coco, Paolo Mossa Idra and Tomaso Maschietti, Matteo Artico, Carlo Cattò
Client: RVI and PD Capital Holding GmbH
O Tower: 19,000 m2 (approx. 120 apartments) incl. parking
M Tower: 27,000m2 (approx. 185 apartments) incl. parking
Mixed Use Green Hill: 17,000m2 incl. parking and supermarket
Area: 63000.0 m2
Photographs: Courtesy of MVRDV

This posting includes an audio/video/photo media file: Download Now

Moreelse Bridge / cepezed

Posted: 06 Mar 2017 05:00 AM PST

Architects: cepezed
Location: Utrecht, The Netherlands
Architects In Charge: Ronald Schleurholts, Jochem Paauwe
Area: 3200.0 m2
Project Year: 2016
Photographs: Leon van Woerkom , Jannes Linders

Client: Gemeente Utrecht, ProRail
Architectural Design: Cepezed architects, Delft (NL)
Consultant Stability: ABT, Velp (NL)
Consultant Mechanical & Electrical Installations, Elevators And Lighting Design: Arup, Amsterdam (NL)
Main Contractor: Colijn Beton- en Waterbouw B.V., Breda (NL)
Steel Contractor: BSB Staalbouw, Sumar (NL)
Contractor Balustrades: Octatube, Delft (NL)
Supplier Trees: BSI Bomenservice, Schijndel

The Station district in Utrecht has undergone a real metamorphosis since a couple of years. Between all the new buildings, conversions and renovations, the Moreelsebrug has also been realized recently. Across the railway tracks, the bridge for cyclists and pedestrians now connects the Croeselaan and the Moreelsepark with each other.

The design is by cepezed and entirely focused on presence, efficiency and functionality. The bridge is characterized by a lay-out in a single clear, open gesture with a high degree of recognisability and a natural presence. The concept consists of an elongated, raised esplanade with a high level of user appeal and ambiance, achieved through aspects such as the form, materialization and detailing and the integration of an avenue of trees into the design. As a result, the structure functions more as a high-quality continuation of the urban space than specifically as an infrastructural object. The bridge is simple, slender and transparent and consists of two super-sized trough girders with a middle section in between. Part of its straightforwardness is that the bridge does not span all more than 300 meters in one go, but is supported at every train platform by a pylon and as a result has an unaffected stability structure.

The various sight lines and orientations arise from and fit in with the given urban design situation, and as a result, the bridge is embedded into the fabric of the city in a natural way. The trees on the bridge form a raised continuation of the avenue of trees already present at ground level on the connecting routes to and from the city centre. In this way, the bridge establishes an experience of uniformity and continuity that contributes to the naturalness of its use. At night, the bridge is modestly lit, which also contributes to the recognisability, aesthetics and functional logic; a stylish, elongated light contour with a row of trees lit from below indicates from afar the presence and objective of the bridge vaulting the railway. There is an all-round view.

This posting includes an audio/video/photo media file: Download Now

San Carlo alle Quattro Fontane: Madness or Masterpiece?

Posted: 06 Mar 2017 04:00 AM PST

Adam Eastland/Alamy. Image Courtesy of Laurence King Publishing

A wayward force of the High Renaissance, Baroque was broken in by Michelangelo in Rome in the sixteenth century before being given full rein by Bernini and Borromini in the seventeenth. Characterized by curves, domes, broken pediments and a gloriously inventive play on classical detailing, at its theatrical zenith it was thrilling architectural opera – far from the chaste and graceful classicism that both preceded it and ousted it in the eighteenth century. Deeply romantic, it also had something of the subversive about it.

As did Francesco Borromini (1599–1667), architect of San Carlo alle Quattro Fontane, a Roman church that retains the power to provoke and thrill three-and-a-half centuries after its consecration. This was Borromini's first independent commission, received in 1634. He created a geometrically complex and serpentine building, writhing around an exquisite oval dome inside. From the street San Carlo presents an undulating facade, both concave and convex, as if stone was a plastic material to be moulded and sculpted at will.

Here is one of those buildings that is hard to sketch and difficult to understand. There are those who declare San Carlo nothing more than perverse kitsch, and Borromini mad. A passionate and troubled man, Borromini was to commit suicide, and yet, working with a single assistant and with nothing more than pen and paper, this seventeenth-century architect produced buildings that would challenge the most imaginative twenty-first-century architect armed with the latest computers, parametric theories and high-tech materials.

Born Francesco Castelli in Switzerland, the young stonemason worked on Milan Cathedral and St Peter's in Rome, newly crowned with Michelangelo's magnificent dome. He set up in practice in 1633 as one of the world's first professional architects under the pseudonym Borromini. For Borromini, architecture was truly a matter of life and death. While working in Rome on the rebuilding of the early Christian basilica, San Giovanni in Laterano, he discovered a man spitting on and disfiguring sacred stonework, and had the man beaten up. He died, and Borromini was granted a papal pardon. Studious, solitary, garbed in austere Spanish fashion, he lived in spartan rooms furnished with a library of more than 1,000 books, and a bust of Michelangelo.

Borromini was well aware of the challenging nature of his work. 'In inventing new things', he wrote, 'one cannot receive the fruit of one's labour except later.' Bernini said, after his rival's death, 'only Borromini understood this profession, but he was never content and wanted to hollow out one thing inside another, and another inside that without ever getting to the end.' Although his brilliance was recognized by German art historians from the 1920s, and later championed by English academics, even today there are lazily written guidebooks informing tourists that Borromini was insane. No. Borromini was inspired, a brilliant architect who played with complex forms and geometries to shape churches with passion and spirit. Few buildings are as restlessly alive and yet as serene as San Carlo alle Quattro Fontane.

This extract is from Jonathan Glancey's new book, What's so great about the Eiffel Tower?, published by Laurence King Publishing. ArchDaily readers can receive 35% off the book by using the code "ARCHDAILY" at laurenceking.com.

What's So Great About the Eiffel Tower? 70 Questions That Will Change the Way You Think about Architecture

Buy now

Buy from

amazon.com

This posting includes an audio/video/photo media file: Download Now

Residence MG2 / Alain Carle Architecte

Posted: 06 Mar 2017 03:00 AM PST

Architects: Alain Carle Architecte
Location: 1666 Chemin de la Héronnière O, Wentworth-Nord, QC J0T 1Y0, Canada
Architect In Charge: Alain Carle
Area: 830.0 m2
Project Year: 2015
Photographs: James Brittain

Conception Team : Lola Domenech, Christian Aubin
Assistants: Jean-François Marceau, Isaniel Levesque, Alexandre Lemoyne,

From the architect. This residence's occupancy program has been fragmented into four pavilions, according to an organic plan, freeing a central space that looks completely outward. A little like the "heart of a village", this space links the other building bodies, geometrically distinct from each other.

This architectural composition arises more from the special topography of the site than from a formal preconception. The site's gentle slope therefore favoured "tiered" development, offering a constant influx of light to all spaces.

The most southerly pavilion contains the living room, the more social spaces of the residence, and opens generously to the outdoors so as to offer a greater energy gain during the winter. The volume is open, with very little programmatic hierarchy. It essentially combines the functions related to meal preparation in all the aspects that bring people together: not a kitchen/living room/dining room but rather a versatile space for convivially receiving guests

The other wings, more dedicated to sleeping areas, leave room for generous water spaces for bodily relaxation. One of these wings includes the owners' private areas, while the guest rooms are laid out in the other. Dry and wet saunas and big showers punctuate the spaces of these volumes and give the premises a "lived-in" look and feel. Outside, the traditional swimming pool has been replaced with a small coldwater pond that complements the sequence of saunas and steam baths of these pavilions.

One last volume, accommodating work places on two levels, is located away from the home's living areas, separated by a protective outdoor space. This volume stands out for its somewhat symmetrical form, with a peaked roof, and is positioned upstream from the rest of the building to play the role of "guest wing" for visitors who sometimes come for business. Finally, the lower floor accommodates a work zone, a maintenance and do-it-yourself workshop.

The workmanship of each pavilion creates a heterogeneous whole, in light of the design approach that left room for "found material" (both for cladding and carpentry) instead of a rigid esthetic diktat. Ultimately, this is an earth-rooted architecture, produced with a completely different "design time". The form emerges from the soil, but also from history, from a patient search for material that is "already there". Its organic nature refers to our rural traditions rather than modernist canons calling for novelty at any price.

Product Description. This project's materials were largely recycled: the interior and exterior wall claddings come from an abandoned sawmill, and the paving stones were recovered from an old quarry. The house faces south to allow a passive energy gain which, combined with a geothermal system, ensures overall energy efficiency.

This posting includes an audio/video/photo media file: Download Now

Chicago Architecture Biennial Announces List of 2017 Participants

Posted: 06 Mar 2017 02:00 AM PST

James Welling, 8183, 2016 from the series Chicago, 2016-2017, Courtesy the Artist and David Zwirner, New York and London. Image Courtesy of Chicago Architecture Biennial

The Chicago Architecture Biennial has announced the list of participants invited to contribute to the event's second edition, which will be held from September 16 to January 7, 2018 in Chicago. More than 100 architecture firms and artists have been selected by 2017 artistic directors Sharon Johnston and Mark Lee, founders of Los Angeles–based Johnston Marklee, to design exhibitions that will be displayed at the Chicago Cultural Center and throughout the city.

"Our goal for the 2017 Chicago Architecture Biennial is to continue to build on the themes and ideas presented in the first edition," explained Johnston and Lee. "We hope to examine, through the work of the chosen participants, the continuous engagement with questions of history and architecture as an evolutionary practice."

"The City of Chicago is proud to host new projects by architects, artists and designers from around the world with the 2017 Chicago Architecture Biennial," commented Mayor Rahm Emanuel on the announcement. "We are pleased to announce another outstanding lineup of work and perspectives to build on the success of the inaugural 2015 edition. Not only will the breadth of work represented by designers from around the world showcase the future of architecture, but it will also further reinforce Chicago's stature as a global city."

The inaugural 2015 event was the largest architecture event in North America, attracting more than 530,000 visitors in its 3 month run. This year's list of participants is as follows:

51N4E (Brussels, Belgium; Tirana, Albania)
6A Architects (London, UK)
Ábalos+Sentkiewicz (Madrid, Spain; Cambridge, USA; Shanghai, China)
Adamo-Faiden (Buenos Aires, Argentina)
AGENdA agencia de arquitectura (Medellin, Colombia)
Aires Mateus (Lisbon, Portugal)
Ana Prvački and SO-IL (Los Angeles, USA; New York, USA)
Andrew Kovacs (Los Angeles, USA)
Angela Deuber Architect (Chur, Switzerland)
Ania Jaworska (Chicago, USA)
ArandaLasch and Terrol Dew Johnson (New York, USA; Tucson, USA)
Archi-Union (Shanghai, China)
Architecten de Vylder Vinck Taillieu (Ghent, Belgium)
Arno Brandlhuber and Christopher Roth (Berlin, Germany)
Atelier Manferdini (Venice, USA)
AWP office for territorial reconfiguration (Paris, France; London, UK)
Bak Gordon Arquitectos (Lisbon, Portugal)
Barbas Lopes (Lisbon, Portugal)
Barkow Leibinger (Berlin, Germany)
baukuh (Milan, Italy)
Besler & Sons LLC (Los Angeles, USA)
BLESS (Berlin, Germany)
BUREAU SPECTACULAR (Los Angeles, USA)
Caruso St John (London, UK)
Charlap Hyman & Herrero (Los Angeles, USA; New York, USA)
Charles Waldheim (Cambridge, USA)
Christ & Gantenbein (Basel, Switzerland)
Daniel Everett (Chicago, USA; Salt Lake City, USA)
David Schalliol (Chicago, USA)
Dellekamp Arquitectos (Mexico City, Mexico)
Design With Company (Chicago, USA)
Diego Arraigada Arquitectos (Rosario, Argentina)
DOGMA (Brussels, Belgium)
DRDH (London, UK)
ENSAMBLE STUDIO (Madrid, Spain; Boston, USA)
Éric Lapierre Architecture (Paris, France)
Estudio Barozzi Veiga (Barcelona, Spain)
fala atelier (Porto, Portugal)
Filip Dujardin (Ghent, Belgium)
Fiona Connor and Erin Besler (Los Angeles, USA; Auckland, New Zealand)
First Office (Los Angeles, USA)
formlessfinder (New York, USA)
Frida Escobedo (Mexico City, Mexico)
Gerard and Kelly (Los Angeles, USA; New York, USA)
Go Hasegawa (Tokyo, Japan)
HHF Architects (Basel, Switzerland)
Iñigo Manglano-Ovalle (Chicago, USA)
MAYER H. und Partner, Architekten and Philip Ursprung (Berlin, Germany)
James Welling (New York, USA)
Jesús Vassallo (Houston, USA)
Jorge Otero-Pailos (New York, USA)
June14 Meyer-Grohbrügge & Chermayeff (New York, USA; Berlin, Germany)
Karamuk * Kuo Architects (New York, USA; Zurich, Switzerland)
Keith Krumwiede (New York, USA)
Kéré Architecture (Berlin, Germany)
Kuehn Malvezzi (Berlin, Germany)
Luisa Lambri (Milan, Italy)
Lütjens Padmanabhan Architekten (Zurich, Switzerland)
Made In (Geneva, Switzerland; Zurich, Switzerland)
MAIO (Barcelona, Spain)
Marianne Mueller (Zurich, Switzerland)
Marshall Brown (Chicago, USA)
MG&Co. (Houston, USA)
MONADNOCK (Rotterdam, The Netherlands)
MOS (New York, USA)
Norman Kelley (Chicago, USA; New York, USA)
Nuno brandåo costa arquitectos Ida (Porto, Portugal)
OFFICE Kersten Geers David Van Severen (Brussels, Belgium)
PASCAL FLAMMER (Zurich, Switzerland)
Patrick Braouezec (Paris, France)
Paul Andersen and Paul Preissner (Chicago, USA; Denver, USA)
Pezo Von Ellrichshausen (Concepción, Chile)
Philipp Schaerer (Zurich, Switzerland)
PRODUCTORA (Mexico City, Mexico)
REAL Foundation (London, UK)
Robert Somol (Chicago, USA)
SADAR+VUGA (Ljubljana, Slovenia)
Sam Jacob Studio (London, UK)
SAMI-arquitectos (Setubal, Portugal)
SANAA (Tokyo, Japan)
Sauter von Moos (Basel, Switzerland)
Sergison Bates (London, UK; Zurich, Switzerland)
Serie Architects (London, UK; Zurich, Switzerland)
SHINGO MASUDA+KATSUHISA OTSUBO Architects (Tokyo, Japan)
Stan Allen Architect (New York, USA)
Studio Anne Holtrop (Muharraq, Bahrain; Amsterdam, The Netherlands)
Studiomumbai (Mumbai, India)
Sylvia Lavin (Los Angeles, USA)
T+E+A+M (Ann Arbor, USA)
Tatiana Bilbao Estudio (Mexico City, Mexico)
Tham & Videgård Arkitekter (Stockholm, Sweden)
The Empire (Verona, Italy)
The Living (New York, USA)
The Los Angeles Design Group (Los Angeles, USA)
Thomas Baecker Bettina Kraus (Berlin, Germany)
Tigerman McCurry Architects (Chicago, USA)
Toshiko Mori Architect (New York, USA)
UrbanLab (Chicago, USA; Los Angeles, USA)
Urbanus (Shenzhen, China; Beijing, China)
Veronika Kellndorfer (Berlin, Germany)
WELCOMEPROJECTS (Los Angeles, USA)
Work Architecture Company (New York, USA)
Zago Architecture (Los Angeles, USA)
ZAO/standardarchitecture (Shanghai, China)

For the 2017 edition, Johnson and Lee have selected the theme of "Make New History," which will explore "the axis between history and modernity and the axis between architecture and art."

You can learn more about the event on its official website, here.

Johnston Marklee Named Artistic Directors of the 2017 Chicago Architecture Biennial

This posting includes an audio/video/photo media file: Download Now

9 Everyday Activities to Increase Your Spatial Intelligence

Posted: 06 Mar 2017 01:30 AM PST

Architects design and organize spaces; without space, there is no architecture. So it goes without saying, therefore, that spatial intelligence is of high importance to architects. Luckily for us, spatial intelligence is not something you're inherently gifted at or just "born with," it's something that can be trained and improved through practice. More practice means more advancement, so why not make it enjoyable and easy—easy enough even to do in your everyday life? From drawing to speaking to engaging in play, here are 9 everyday activities to improve your spatial intelligence.

1. Using Spatial Vocabulary

Some studies indicate that exposing children to a wide variety of spatial vocabulary increases their spatial intelligence.[1] Instead of using "here" or "there" in your everyday language, try being more specific in your spatial descriptions, such as "on the top shelf of the cupboard to the right," or "the third to the left behind the box". It will make you visualize the spaces yourself in order to describe it to others, an essential component to increasing your spatial intelligence.

2. Playing Chess

Thinking a few steps ahead is always a good strategy when playing chess. However, in order to do this, you must visualize the changing composition of the board, step by step, without moving a single chess piece. Generating and retaining multiple spatial combinations in your mind at once takes a lot of practice, but is a great skill when needing to compare several options.

3. Playing with LEGO

Think "spatial exploration" and you'll probably also think "LEGO." No fun activity is more spatially educational than actually holding modular elements in your hands and coming up with creative ways of putting them together. These days, if you come up with a spatial combination that is interesting enough, it could even be put into production for others to spatially challenge themselves.

4. Use Memory Palaces

Many people argue that space and memory are essentially connected, and memory palaces certainly support that argument. By mentally walking through a series of spaces, such as the rooms in your apartment, you link objects, numbers, names or any list of things you need to remember to the individual spaces. It's a fun way to remember anything from phone numbers to today's grocery list, and it trains you to retrieve and recount spatial knowledge.

5. Play Video Games

Navigating through a video or computer game is often used as one of the primary examples of how to train one's spatial intelligence. One recently released game was even designed specifically to test spatial perception; or, seeing as we are specifically interested in the discipline of architecture, why not try a virtual parallel to LEGO, such Minecraft? Active members already have a long list of Minecraft spatial wonders, but the unrestricted world allows you to experiment beyond our rules of physics to define and transform your own spatial creations.

6. Fly a Drone

If you're tired of sitting in front of a computer, flying a drone is a perfect alternative to playing a video game. Steering a flying object through space with just the use of a few joysticks is harder than it sounds. The direction in which the drone is flying is constantly changing, forcing one to simultaneously steer and track the drone's rotation in order to correctly orient it. It's a mental rotation test in real time.

7. Create a Mental Map of Your City

Google Maps and other GPS systems that are so easily accessibly on-the-go have limited our abilities to create our own mental maps. Try resisting the urge to plan your route through an app the next time you have an outing, and use your own knowledge of your city or local area to construct your own routes.

8. Solve Puzzles

Alternatively, if you can't stay away from your phone, try downloading brain testing apps that are designed to improve your spatial reasoning, such as Lumosity. If you can get your hands away from your phone and replaced with something else for a while, try solving a Rubik's Cube. Puzzles, both physical and virtual, can be excellent training for your spatial intelligence.

9. Sketching

Finally, as architects, we cannot leave out sketching. We all love doodling, so why not get some learning out of it? Try drawing three-dimensional geometry from a variety of angles, perspective exercises, funky mazes for your friends to solve, a memorized plan of your own apartment, or imaginary spaces. The more you practice, the better you become, but consistency is key. That's why is so important that you have fun doing it.

References:

Dewar, Gwen. "Spatial Intelligence in Children: Why Training Matters," 2011-2016.
Lohman, David F. "Spatial Ability and G," July 8, 1993.

This posting includes an audio/video/photo media file: Download Now

Tennis Club in Strasbourg / Paul Le Quernec

Posted: 06 Mar 2017 01:00 AM PST

Architects: Paul Le Quernec
Location: Strasbourg, France
Area: 2500.0 m2
Project Year: 2016
Photographs: 11h45

Structural Consultant: Batiserf
Consultant Specialized In Fluides: Solares Bauen
Construction Economist : E3 Economie
Building Costs : E3 economie
Client : City of Strasbourg
Cost: 2500000 euros

From the architect. The project consists in a new tennis hall building with three new covered tennis courts and and new club house including changing rooms, fitness room, office, restaurant and bar with wide covered terrace.

This tennis club design is directly inspired by people flow in and through the building, considered as tennis ball dynamic trajectories, flowing from point to point, from function to function

The new building is generously day-lighted with sky domes and a special colour treatment of the floor increases day light effect. Areas where natural light falls are treated with a beige resin, the room borders and corners are treated with deep orange resin. Both are linked with a rough handmade colour gradient. The result is a kind of augmented reality, providing a feeling of sunny weather whatever is the meteo.

All the furnitures were designed for this project, each of them is a unique piece. Master piece is the 777cm long bar, made of solid wood slices. One edge sits on the floor and the opposite edge is suspended from the roof and all under space length stays free.

This posting includes an audio/video/photo media file: Download Now

See Frank Lloyd Wright’s Missing Works Recreated in Photorealistic Renders

Posted: 06 Mar 2017 12:00 AM PST

Larkin Building (1903-1950), digitally reconstructed by David Romero. Image © David Romero

With the help of a vast array of software, Spanish architect David Romero has digitally recreated a series of iconic works by Frank Lloyd Wright, two of which have been demolished and a third that was never built. The three projects were based in the United States: the Larkin Administration Building (1903-1950), the Rose Pauson House (1939-1943) and the Trinity Chapel (1958).

"The 3D visualization tools that we have are rarely used to investigate the past architecture and the truth is that there is a huge field to explore,” said Romero in an interview with ArchDaily about his project Hooked on the Past. Romero worked with AutoCAD, 3ds Max, Vray, and Photoshop while restoring black and white photographs, sketches and drawings of these works.

Larkin Building (1903-1950). Image © David Romero

What inspired you to create Hooked on the Past?

David Romero (DR):

I am a person very interested in 3D visualization techniques and their applications, especially those related to the representation of architecture. We are currently living a golden age in the use of these techniques that has practically ended with other types of representation that were once common as the physical models.

As you know there is an industry based on this type of work, either as independent companies or as workers within architectural firms, called 3D Architectural Visualization or Rendering craft that looks at the future of architecture, but what about the past? The incredible tools we have today are rarely dedicated to investigating the past of architecture and there is a huge field to explore: My project Hooked on the past tries to fill this gap.

Why did you choose these works?

DR: From the Larkin building there are no color photographs and the Pauson house there are some but of very poor quality. The case of the Trinity chapel is different because it was not constructed so my work here has been much more speculative, although I try to get into Wright's head and think as he would have done based on other of his works which were built.

The buildings that I choose pass through two filters: First I try to choose relevant works within the history of architecture, although only this filter still leaves us hundreds of thousands of works to explore, so I then choose some that interests me especially which is something much more subjective: I am a great admirer of Wright's work and his work is full of very interesting designs.

Rose Pauson House (1939-1943). Image © David Romero

What kind of research and development is required in order to make images like this?

DR: I have many Wright books and every project is an excuse to buy some more. Internet is an infinite provider of resources, not just about architecture but of techniques and tutorials 3d and the forum at Savewright.com is full of fans related to the work of Wright who generously helped me in my projects which are a key help for which I am enormously grateful. Lately, have also begun to contact me some academics experts in some specific work who also offer their support. All this help is fundamental so I can develop my work with some rigor because I am no an expert myself in the work of Wright, only an amateur.

Trinity Chapel (1958), an unbuilt project by Frank Lloyd Wright. Image © David Romero

Do you have any more projects in mind? What are they?

DR: I would love to model all of Wright's projects that no longer exist and also all that he never built, besides the works of other modern architects like Mies, Aalto or Soane. I am also very interested in all pre-Columbian architecture and in the classical architecture too: Greece and Rome. I have a list in my head of about twenty works that I want to do next. I wish I had more time!

Take a look at the works recreated by Romero below:

Larkin Administration Building (1903-1950)

This building was designed in 1903 and built between 1904 and 1906, for the Larkin Soap Company in Buffalo, New York. Due to the company’s decline, the building was seized by the city of Buffalo in 1945. Four years later, it was sold to the Western Trading Corporation, that announced it would demolish the building to make way for a truck stop. However, the project was never completed.

Rose Pauson House (1939-1943)

This project, commissioned by Rose Pauson, was designed in 1939 and built in 1940 in the US state of Arizona. Two years later, when an ember from the fireplace caught the curtain of a nearby window the resulting fire left the house in ruins. It became a must-see point of pilgrimage for fans of Wright's architecture.

Trinity Chapel (1958)

Designed in 1958 for the University of Oklahoma (United States). Due to a misunderstanding between Lloyd Wright and his client, Fred Jones, the chapel was never built. Jones wanted the chapel to be an extension of the university, but the architect designed a new, independent structure. Jones turned down the proposal.

This posting includes an audio/video/photo media file: Download Now

Pattern Brutalist - An Illustrative Magazine

Posted: 05 Mar 2017 10:00 PM PST

Russian designer Sergey Lisovsky has created an online illustrative magazine inspired by Brutalist Architecture. Pattern Brutalist's first issue was published in January 2017, illustrating four Brutalist buildings across Russia, Germany, and Serbia. The buildings, dating between 1968 and 1980, are represented by Lisovsky using a collection of GIFs, photographs, and illustrations.

Pattern Brutalist also hosts a T-shirt printing service, allowing users to publically express their appreciation for an often-criticized architectural style.

Check out the site for yourself here.

Via: Pattern Brutalist.

This posting includes an audio/video/photo media file: Download Now

Tech News

utorak, 7. ožujka 2017.

Arch Daily

Arch Daily

1st Place
Chetian Cultural Center / West-line studio

2nd Place
Central Canteen of Tsinghua University / School of Architecture Tsinghua University