Arch Daily |
- House and Office / QUATRE
- The Unbuilt Nazi Pantheon: Unpacking Albert Speer's "Volkshalle"
- Leierhof / Maximilian Eisenköck Architecture
- Kapelle Salgenreute / Bernardo Bader Architekten
- The Sports Pavilion / Horomystudio
- Hotel Proverbs Taipei / Ray Chen + Partners Architects
- The Top 200 Universities in the World for Architecture 2017
- Gresley Monk Residence / Gresley Abas Architects + Justine Monk Design
- Aesop Georgetown / Tacklebox Architecture
- Chicago Architecture Biennial to Exhibit 16 Tribune Tower Redesigns
- Elytra Filament Pavilion / ICD-ITKE University of Stuttgart
- 20 Photos Selected as Winners of EyeEm's Minimalist Architecture Photography Mission
- Kiss Kiss Bank Bank's HQ / Agence Vincent & Gloria Architectes
- Step Into Mies van der Rohe's Barcelona Pavilion in this Virtual Walkthrough
- Educational Park For Reconciliation / Jaime Cabal Mejía + Jorge Buitrago Gutiérrez
- Paul Andreu: "I Would Only Take On a Project if the Ideas Were Mine. Otherwise, I Am Not Interested."
- Los Molles House / Thomas Löwenstein
- 10 Types of Architecture Students
- Winning Projects Reimagine the Tourist Experience of Machu Picchu
| Posted: 07 Mar 2017 09:00 PM PST  © Samuel Defourny
 © Samuel Defourny The project, comprised of a house and offices, is situated on the last vacant plot in the street. The central location, close to the various municipal services (railway station, bus station, schools, shops), and the home office will optimize daily runs and facilitate the use of soft modes of transport.  © Samuel Defourny The position in the street has limited surface wastage on three facades. Furthermore, this implantation has completed the urban fabric. The volumetry of the building corresponds to that of other houses in the street: the main volume is street facing and the "annex" volume is established only on the ground floor. The project is aligned with the street facing facades, as well with the adjacent volumes on the level of the bedrooms.  © Samuel Defourny The platform roof corresponds to other volumetries present in the street. The raising of the living area above the street level creates flow with the garden (located one and a half meter above street level), allows viewing of the activity in the architectural office located in the semi basement and provides constant natural light.  © Samuel Defourny The materials are modelled on materials that cover the facades and gables in the street. The street facade is clad with aluminium scales placed as diamonds, while the rear gables and facades are covered with cement-fibre siding of the same size. These materials are light and they correspond to the technique of the supporting wooden-frame structure.  Section Given its high degree of insulation (wood frame, passive triple glazed windows, orientation, double flow ventilation system), the project does not require a central heating system but is only equipped with a complementary pellet heater.  © Samuel Defourny This project, in general, was designed with the view in mind to integrate the current ecological context, as much in terms of its location, its materials and its technical implementation.  © Samuel Defourny The interior is dressed with natural materials, contrasting with the rigor of the exterior architecture. The basement is made entirely of precast concrete. The ground floor is covered from floor to ceiling with boards of light ash wood. This cover also provides decoration and warmth to the space. Integrated lighting has been preferred for ecological and economic concerns. Light colors have been applied to the walls and floor in order to optimize lighting and increase the brightness.  © Samuel Defourny This posting includes an audio/video/photo media file: Download Now |
| The Unbuilt Nazi Pantheon: Unpacking Albert Speer's "Volkshalle" Posted: 07 Mar 2017 08:00 PM PST  Ullstein Bild/Getty Images. Image Courtesy of Laurence King Publishing According to Albert Speer, Hitler's ambitious architect and all-too-capable Minister of Armaments and War Production, the final performance by the Berlin Philharmonic before this distinguished orchestra abandoned Berlin in May 1945 opened with Brünnhilde's last aria—the vengeful valkyrie sings of setting fire to Valhalla—and the finale from Wagner's Götterdämmerung. As the Russians neared Berlin that spring, Adolf Hitler continued to toy with plans, and a vast model, of Germania, the new German capital that was to be built over Berlin after the ultimate victory of the Third Reich. At the heart of this bombastic new city stood the colossal domed Volkshalle, a gigantic play on the ancient Roman Pantheon. Speer had based his design on a sketch of the Roman temple made by Hitler himself in 1925, while in 1938 Hitler had made a point of visiting the Pantheon on an official trip to Rome. The Pantheon had been created for an empire that survived four centuries. The Volkshalle would go one better: it was to symbolize an empire planned to endure a thousand years. In the event, the Third Reich missed its target by 998 years, and neither the Volkshalle nor Germania were built. With clever use of steel and lightweight concrete behind stone cladding, the Volkshalle would have been 290 metres (950 feet) high. The oculus, or roof light, in the centre of the dome would, at 46 metres (150 feet) in diameter, have been so big that Michelangelo's dome of St Peter's could have been lowered through it. In fact, 80 years on from the Fall of Berlin, it is still quite hard to understand just how enormous the Volkshalle would have been. So big inside, that when it was packed with triumphant, chanting Nazis, their breath would have caused condensation to form on the underside of the dome. This would have created clouds, and rain might well have fallen on the fervid crowds below – a suitably Wagnerian spectacle. Curiously, when you stand back and study Speer's model of Germania, what it resembles least of all is a city of the future. It is not surprising that a leader who wished to be a new, if decidedly unholy, Roman Emperor should have been obsessed with Neoclassical design, nor is it odd that Hitler should have wanted to outdo his predecessors in terms of height, scale and ceremony. And yet, what the imperious Volkshalle resembles most is an enormous funerary monument. Above its mighty portico, Speer should have had this esoteric legend inscribed: Et in Arcadia Ego (I [Death] am in Arcadia, too). Arcadia means utopia, and utopia means nowhere. The Third Reich was headed nowhere. As Hitler and his pet architect played with the design of the Volkshalle, Berlin and the Third Reich were about to be engulfed in flames, just as Valhalla—home of all the Nordic gods—was in Wagner's Götterdämmmerung. The Volkshalle proved to be less than a pantheon to a master race of black-clad German demigods, and more a tomb in the cemetery of Hitler and Speer's over-excited imaginations. 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 This posting includes an audio/video/photo media file: Download Now |
| Leierhof / Maximilian Eisenköck Architecture Posted: 07 Mar 2017 07:00 PM PST  Courtesy of Maximilian Eisenköck
 Courtesy of Maximilian Eisenköck While driving up the long way to „Postalm", an idyllic plateau in Tennen Mountains near Salzburg, you can spot numberless unique viewpoints of the surrounding mountain chain Tennen Mountains and the massif „Dachstein-Tauern". Located on one of those viewpoints an old homestead, abandoned for a long time, was decayed. The Alps offering the perfect requirements for great architecture what makes it remarkable that the balance and the thin line between new architecture and the surrounding scenery rarely succeeds in alpine areas.  Courtesy of Maximilian Eisenköck After purchasing the building by a private client, the specific challenge was to find an appropriate solution which is necessary to revitalize buildings that used to be farms. The shape and the materiality of the buildings were nurtured by century old traditional alpine architecture.  Courtesy of Maximilian Eisenköck But due to the disrepair of the existence structure one came to a decision to build a new building not far from the old one. The newly built house is used as a private holiday house and its design is characterized by a solid stone plinth with a pending timber work structure which used to be floating over the plinth, and a sharply sliced roof. A tight three-story structure offers the user a generous ground plot, spread over two stories, with four bed- and bathrooms and a wide living-, dining room with a kitchen area in the first floor. Besides the general payload spaces the cellar houses a wellness area and a wine cellar. Huge window openings allowing the user spectacular views of the local alpine scenery of Salzburg. The continuous and bright interior trim paneling of solid cross-laminated timber boards subsidized a comfortable and cozy atmosphere.  Courtesy of Maximilian Eisenköck Product Description. According to the centuries-old and traditional alpine architecture with its charming residential and farm houses the architect emphasized the design of the façade and its appropriate appearance. Using wood as a naturally occurring material in the alpine areas was obvious. With a special treatment of the timber panels, which got charred on the top layer and fixed on the façade and the roof afterwards, the new building conforms itself harmonious into the surrounding scenery and also pays tribute to the common facades of the old farmhouses.  Courtesy of Maximilian Eisenköck This posting includes an audio/video/photo media file: Download Now |
| Kapelle Salgenreute / Bernardo Bader Architekten Posted: 07 Mar 2017 06:00 PM PST  Courtesy of Bernardo Bader Architekten
 Courtesy of Bernardo Bader Architekten From the architect. Topographically attractively situated at the Nagelfluhrücken, next to the Krumbacher moor, the existing Lourdes –Chapel was rebuilt. A renovation of the old chapel was no longer possible and to regenerate the existing was not the desired aim of the community of Krumbach. Rather, to use the existing knowledge and the courage to create the new. Several years of designing and constructing made an exempla- ry project visible. More than a hundred of volunteers made it possible to realize the project.  Model  Model The chapel Salgenreute unites the historical and traditional aspect that characterizes many places in the Bregenzerwald. The chapel is built out of wood and stone. The sun is going to change the wooden façade it will turn darker, black in the south, silver-grey in the north, just like the old farmhouses from the area. The basic shape is based on the existing 200 year old chapel and includes a main ship as well as an apse.  Courtesy of Bernardo Bader Architekten  Courtesy of Bernardo Bader Architekten The shape of the room is new - an outstanding steep rising spatial folding made out of wood. The inside of the chapel is dominated by the homogeneous material of the wall and the roof. The light that shines through the frontal window is providing a special atmosphere. The statue of mother of God, originated from the existing building, is arranged in an other way than in the classical concepts at the side of the apse. The view straight ahead through the white apse leads directly into the nature. Whoever enters the chapel leaves the solid ground and proceeds a reflective journey.  Courtesy of Bernardo Bader Architekten This posting includes an audio/video/photo media file: Download Now |
| The Sports Pavilion / Horomystudio Posted: 07 Mar 2017 02:00 PM PST  © Timur Turgunov
 © Timur Turgunov From the architect. The sports pavilion with an area of 113 m2 was built in the suburbs of Saint Petersburg in 2015. The project is notable not only for its elegant architectural forms but also for unique building technologies used during its construction process.  © Timur Turgunov The architects were faced with a task to design a complete sports facility within an existing suburban landscape and limited space. As a result, the pavilion became part of the landscape and the landscape became part of the pavilion: only 30 m2 of the forest grounds were allowed for construction with all of the trees preserved and integrated into the interior of the building.  Section A-A The desire to preserve the trees on the building site meant that no construction equipment could be installed during the construction stage, all excavation works were done by hand and the assembly works were done by special manipulators. The basement was constructed using a top-down technique: the ground was removed level by level and the building was erected downwards. .jpg?1488728599 "© Sergey Moiseev") © Sergey Moiseev .jpg?1488728463 "© Sergey Moiseev") © Sergey Moiseev The basement containing locker rooms and weight benches, the ground floor with cardio-vascular machines and the first floor accommodating a yoga gym - constitute the necessary building area requirements. .jpg?1488728563 "© Sergey Moiseev") © Sergey Moiseev The angle of the roof's ridge brings a certain dynamic to the building's architectural form, while the pavilion itself consists of two parts - the northern glazed part and the southern wooden part. Multi-level terraces frame the pavilion with canopies for comfortable outdoor activities in any weather. In the northern part, the terrace connects the sports pavilion with the existing bathing facility.  © Timur Turgunov The pavilion is carefully integrated into the existing landscape. The first-floor balcony is made from glass to create less shade for the site, while the gym on the ground floor is equipped with glass sliding doors that erase the borders between the interior and exterior. The building's supporting structures situated between trees are clad with lightboxes. The steps of the terrace have built-in decorative boxes for plants. .jpg?1488728584 "© Sergey Moiseev") © Sergey Moiseev The three floors are connected by a spiral staircase with an intricate handrailing from copper plates. The rubber-coated polymer steps enable one to safely move between the floors.  © Timur Turgunov The interior design of the pavilion meets the highest design standards for sports facilities: the project includes professional flooring (SPORTEC style and MIRAGE hardwood sports flooring), and pays special attention to the natural ventilation system - special air gaps are left between the ground floor and the second floor for better air circulation. Special design tricks, like bespoke mirror figures of famous boxers, can also be found in the interior.  © Timur Turgunov Product Description. In this project we used German sliding doors system "Schueco" with high thermal insulation made of aluminum, series: ASS 70.HI.. This system made it possible to combine a sport hall with forest outside and increase the living space of the building. Due to extremely high strength of aluminum, we used the construction with narrow sash and large glazed surfaces that provide the maximum degree of transparency premises and penetration of daylight. This posting includes an audio/video/photo media file: Download Now |
| Hotel Proverbs Taipei / Ray Chen + Partners Architects Posted: 07 Mar 2017 12:00 PM PST  © Takahiro Nedachi / Shawn Liu Studio
 © Takahiro Nedachi / Shawn Liu Studio From the architect. The site of Hotel Proverbs is located at the heart of Taipei City central where the MRT, night market, department stores, public park and densely occupied apartments create a vibrant and busy area 24-7. To take full advantage of – and to mediate – this lively and yet extremely intricate urban condition, the building splits diagonally into two parts: the upper 42 hotel rooms and the lower hotel amenities. The lower part is pushed back from the park side to make space for the trees indigenous to the site. The upper part, on the other hand, is shifted forward to lean into the park while maintaining an accommodating distance from the apartments closely situated behind the hotel.  © Takahiro Nedachi / Shawn Liu Studio Between these two volumes, there is a stepping void linking a bakery, a restaurant, the hotel reception, the lounge bar and an outdoor cigar terrace at different levels, creating one flowing and continuous space. This void, by day, brings in light, air and the vibrant street life to its guests, luring them out to the cityscape or sit by the balcony to take them in. At night, the chandeliers hanging high above the grand dining hall add a subtle touch of glamour as well as an interesting contrast to the busy night market layered in the background.  © Takahiro Nedachi / Shawn Liu Studio  © Takahiro Nedachi / Shawn Liu Studio  © Takahiro Nedachi / Shawn Liu Studio Taking on two challenges with one solution was the best part of the project: designing a small 42-room hotel with a mixed and overwhelming environment; and creating a luxurious entity to quietly contrast the crowded, busy night market.  Section - Elevation The black, metal screen façade veils the main volume and communicates between its two seemingly contradicting spaces. It serves as a strong signature to the architecture, allowing the building to shad itself, while guarding its guests' privacy. The openings of the screen are oriented in such a way that allows people from afar to see through but gradually blinds the view in when one approaches. The design aims to encourage its guests to truly experience the local life, while enjoying the exclusive quality stay the hotel has to offer.  © Takahiro Nedachi / Shawn Liu Studio  © Takahiro Nedachi / Shawn Liu Studio This posting includes an audio/video/photo media file: Download Now |
| The Top 200 Universities in the World for Architecture 2017 Posted: 07 Mar 2017 11:01 AM PST  Massachusetts Institute of Technology's Simmons Hall, designed by Steven Holl Architects. Image © Flickr user infanticida. Licensed under CC BY-SA 2.0 Global higher education analysis firm Quacquarelli Symonds (QS) has released in 2017 rankings of the world's top universities for the study of Architecture & Built Environment. This year, for the seventh edition of the survey, QS has expanded the ranking to list the world's top 200 schools, including institutions across all six inhabited continents. For the third year in a row, MIT has topped the list, finishing ahead of the Bartlett School of Architecture and the Delft University of Technology (TU Delft). Read on for the full rankings. 1. Massachusetts Institute of Technology (MIT) / United States 11. Tsinghua University / China 51-100. Aalborg University / Denmark 101-150. Asian Institute of Technology, Thailand / Thailand 151-200. Aarhus University / Denmark QS has produced an annual survey of universities since 2011, now comparing over 1800 institutions worldwide across 46 subjects, and rating the top universities based on academic reputation, employer reputation and research impact. Visit QS's site for the full rankings list which is sortable by subject, country or continent. The Top 100 Universities in the World for Architecture 2016 This posting includes an audio/video/photo media file: Download Now |
| Gresley Monk Residence / Gresley Abas Architects + Justine Monk Design Posted: 07 Mar 2017 11:00 AM PST  © Dion Robeson
 © Ben Price From the architect. In the 1950s Bedford was a new subdivision of small, repeated plan houses on the outskirts of a small Perth City. By the 2010's, urban growth, infill and improved public transport had drawn this area closer to the inner suburban belt and improved the amenity and appeal of the area. Attracted by the opportunities to design an affordable adaptation of an outdated suburban housing model, 15 minutes from the city centre, the architect owners embarked on a subdivision and design process. .jpg?1488847431 "© Jodie D'Arcy") © Jodie D'Arcy The original lot was firstly subdivided to locate the original cottage on 470sqm. With a consciousness of the loss of mature trees and green space, the architectural response became focused on the connection between newly formed external spaces and new additions. The architects were interested to design so as to borrow light and space from outside, supplementing internal spaces, whilst offering privacy from neighbours who were now closer than in previous years. Originally built for economy and efficiency, the original house demanded a similar approach for the additions. The concept explored simplicity and robustness in keeping with this context whilst creating generosity and connections of space not offered by the original design.  Plan New materials and forms create a conversation about new versus old. Rather than interrupt the existing uncomplicated hipped roof, the new structure adopted a flat roof so as to simply slide under the eaves. The lightweight box-like form was designed to appear to float over solid brick foundations. Whilst retaining its general platonic form the box was then manipulated to introduce windows and doors. Sections were subtracted and walls cranked to admit staged views and light or make the opening of the main space seamlessly from inside to out.  © Dion Robeson Internally, the junction between old and new was an opportunity to transition into the new scale and materiality. Plywood tiered stairs, seating, cabinets and a sliver of light from a window at the western end mark the transition.  © Dion Robeson With a full height wall of glazing, managing the north-eastern aspect was critical to the comfort of the addition. A dark, burnished concrete floor is used in winter to store and radiate warmth. In summer full width blinds provide early morning protection from the sun. To provide a soft contrast to the floor, hoop pine plywood is used in a panelised ceiling which continues through a soffit to externally clad the 'box'. All timbers from a demolished rear lean-to structure were salvaged and used to build fences, the deck and external storage.  © Dion Robeson Ventilation was also a primary concern. Louvres and a large sliding door are used to maximise positive air pressure effects from smaller openings at the front of the house. Ultimately, all design choices needed to contribute to the architects desire to create a sense of 'home'. Space that was generous, comfortable and adaptable to a growing family was the essential brief, supported by care for the heritage and environment of a modest house in a changing suburban landscape. .jpg?1488847326 "© Jodie D'Arcy") © Jodie D'Arcy This posting includes an audio/video/photo media file: Download Now |
| Aesop Georgetown / Tacklebox Architecture Posted: 07 Mar 2017 09:00 AM PST  Courtesy of Aesop
 Courtesy of Aesop For Aesop's second Washington, D.C. presence, it is a pleasure to settle in historic Georgetown – a port city that thrived due to the lively commerce and tobacco trade born of its position astride the Potomac River. Created in collaboration with Tacklebox Architecture under the leadership of Jeremy Barbour, the design is defined by local heritage, pairing a distinctive visual language with evocative materiality to weave the store into the fabric of the neighborhood.  Courtesy of Aesop  Floor Plan  Courtesy of Aesop In a nod to the tobacco barns once common to the area, the 900-square foot space is distinguished by its use of 100-year-old Southern Pine sticks – a humble material traditionally used to hang and cure tobacco leaves. Cut and stacked en masse, 30,000 individual sticks serve to clad the eastern side of the corner tenancy, fashioning a dynamic rippled surface.  Courtesy of Aesop This textural gesture is punctuated by a grid of product display cases in powder-coated steel. Working in concert with a sink of reclaimed Southern Pine, these vessels symbolize the site's unique history with bodies of water, including an adjacent natural spring which influenced the local industry.  Courtesy of Aesop This posting includes an audio/video/photo media file: Download Now |
| Chicago Architecture Biennial to Exhibit 16 Tribune Tower Redesigns Posted: 07 Mar 2017 08:30 AM PST  Designs for the Chicago Tribune Tower by (left to right) Walter Gropius and Adolf Meyer; Max Taut; Adolf Loos; and Bruno Taut, Walter Gunther, and Kurz Schutz. Image via skyscraper.org The Chicago Architecture Biennial has announced the first exhibit that will on display during the event's second edition from September 16 to January 7, 2018 – a contemporary reboot of one of architecture's most well-known competitions, the Chicago Tribune tower design contest. Sixteen young architects from around the world will contribute new versions of the iconic skyscraper that will be displayed as a series of 16-foot-tall architectural models in the Chicago Cultural Center, the Biennial's main venue. The exhibit is aimed at exploring the latest technologies and trends in skyscraper design, as the Chicago Tribune itself prepares to leave its historic headquarters in search of a new home. "We're looking for new ideas. We're looking to see how these ideas build upon the intelligence of the past," said Biennial Artistic Co-Director Mark Lee. In addition to the 16 fresh takes, two other 16-foot-models will be constructed of designs from from the original competition: Adolf Loos' famous column-shaped building, and German architect Ludwig Hilberseimer's unofficial design of a gridded modernist structure. Under the theme of "Make New History," the 2017 Biennial will also exhibit 24 scale versions of well-regarded architectural interiors. Architects will create 2 foot by 3 foot "rooms," complete with miniature furniture, that will be exhibited on a series of pedestals in a setting inspired by Mies van der Rohe's 1940 Illinois Institute of Technology masterplan. Learn more about this news from the Chicago Tribune, here, and more on the 2017 Chicago Architecture Biennial, here. News via Chicago Tribune. Chicago Architecture Biennial Announces List of 2017 Participants This posting includes an audio/video/photo media file: Download Now |
| Elytra Filament Pavilion / ICD-ITKE University of Stuttgart Posted: 07 Mar 2017 07:00 AM PST  © Julien Lanoo
 © Julien Lanoo From the architect. With the exhibition "Hello, Robot. Design between Human and Machine", the Vitra Design Museum presents a major exhibition that examines the current boom in robotics. Outside the museum, the »Elytra Filament Pavilion« complements this exhibition. The bionic baldachin is an impressive example of the growing influence of robotics on architecture. Its individual modules were defined by an algorithm and then produced with the help of a robot, realised by a team from the University of Stuttgart. After its premiere at the Victoria & Albert Museum in London, it is now on view on the Vitra Campus.  Process   © Julien Lanoo The pavilion is the outcome of four years of ground-breaking research on the integration of architecture, engineering and biomimicry principles. The "Elytra Filament Pavilion's" components have been fabricated by a robot at the University of Stuttgart. The 200m2 structure is inspired by lightweight construction principles found in nature – the fibrous structures of the forewing shells of flying beetles known as elytra. Experimental architect Achim Menges together with Moritz Dörstelmann, structural engineer Jan Knippers and climate engineer Thomas Auer have pioneered a unique robotic fabrication technique developed by the University of Stuttgart's Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE). This technique, developed by the team over several years of research, involves a novel way of winding composite materials. The innovative winding method has been designed to harness carbon fibres and give them strength as woven structural components. A series of these individual cell-like modules has been used to create the pavilion's distinctive shape, integrating the processes of design and engineering. The project explores the impact of emerging computational and robotic technologies on these disciplines.  Diagram  Diagram  Diagram "Elytra's" canopy is made up of 40 hexagonal component cells. On average they weigh 45kg each and take about three hours to make. These cells and the seven supporting columns were created by a computer-programmed Kuka robot in a four-month construction process at the ICD's Computational Construction Laboratory in Stuttgart. To make each component, the robot wound resin-soaked glass and carbon fibres onto a hexagonal scaffold before hardening. Each cell and column is individual. Its final form of densely-wound fibres is a direct result of the changing stress conditions determined through structural simulation and testing carried out in advance by the ITKE. This enables an exceptionally lightweight structure that weighs less than 9kg per m2, which equals 2.5 tonnes for the entire pavilion.  © Julien Lanoo Achim Menges said: "With Elytra Filament Pavilion we aim to celebrate a truly contemporary and integrative approach to design, engineering and production, resulting in a distinctive spatial and aesthetic experience. The canopy grows in response to real-time sensing data, showcasing the profound impact of emerging technologies and related new alliances between the fields of design, engineering and natural science. Through this we seek to provide visitors with a unique experience that offers a glimpse of novel architectural and engineering possibilities, which may transform our built environment in the future."  Diagram This posting includes an audio/video/photo media file: Download Now |
| 20 Photos Selected as Winners of EyeEm's Minimalist Architecture Photography Mission Posted: 07 Mar 2017 06:15 AM PST  Courtesy of EyeEm Global photography community and marketplace EyeEm has announced the winners of their Minimalist Architecture Photography Mission to find photos that best highlight "the beauty of minimalism in architecture." Organized alongside art and design blog We and the Color, the competition saw photographers from across the globe submit over 45,000 images focusing on the color, lines, shapes, and compositions of contemporary, minimalist architecture. From the entries, 20 images were selected as winners with a top 3 was chosen by German minimalist photographer Matthias Heiderich. Read on to see the full list of winners. First Place: Георгий Дорофеев (Georgij Dorofeev) Photo by EyeEm user Георгий Дорофеев (Georgij Dorofeev). Image Courtesy of EyeEm Matthias: "Great, clean composition, a refreshing color scheme, and an interesting minimalist building facade – What I love about this kind of photography is that sometimes it's hard to tell whether I'm looking at a photograph or a computer generated image. But the subtleties make the difference. Photographs are never 100% clean. In this case it's the shadow that allows the viewer to guess it's indeed a photograph and not a cgi. It could have easily been cropped out by the photographer, but I'm happy they didn't do it, because to me those little "mistakes" breathe life into minimalist photography and give it a human touch. This image is my personal winner – everything done right in this one, in my opinion." Second Place: Trynidada Photo by EyeEm user Trynidada. Image Courtesy of EyeEm Matthias: "That's the Maxxi in Rome designed by Zaha Hadid, isn't it? I love that building. What a great capture. Clearly the reflection and the colors make this a great architectural photograph. The reflection of the older buildings in this very modern building's window was well spotted and perfectly captured. Chapeau!" Third Place: urban poetry Photo by EyeEm user urbanpoetry. Image Courtesy of EyeEm Matthias: "Another superb composition. The curved corten bridge is a great find and the composition is on point. I love that little white cloud in the first third of the photo. Also the color contrasts are great. I can almost feel the warmth of the corten steel. Very good work!" Additional WinnersHover over the image for photographer credits.  Photo by EyeEm user Jeremy Walter. Image Courtesy of EyeEm  Photo by EyeEm user Giovi G. Image Courtesy of EyeEm  Photo by EyeEm user Arthur Ruiz. Image Courtesy of EyeEm  Photo by EyeEm user Arno. Image Courtesy of EyeEm  Photo by EyeEm user André Dogbey. Image Courtesy of EyeEm  Photo by EyeEm user André Dogbey. Image Courtesy of EyeEm  Photo by EyeEm user raset. Image Courtesy of EyeEm  Photo by EyeEm user Barbara Spaggiari. Image Courtesy of EyeEm  Photo by EyeEm user Ralf. Image Courtesy of EyeEm  Photo by EyeEm user Ralf. Image Courtesy of EyeEm  Photo by EyeEm user Marco Di Stefano. Image Courtesy of EyeEm  Photo by EyeEm user Reinhard Krull. Image Courtesy of EyeEm  Photo by EyeEm user earthin. Image Courtesy of EyeEm  Photo by EyeEm user André Dogbey. Image Courtesy of EyeEm  Photo by EyeEm user Ralf. Image Courtesy of EyeEm  Photo by EyeEm user Mette Bruus. Image Courtesy of EyeEm  Photo by EyeEm user Richard Song. Image Courtesy of EyeEm To learn more about the competition and to see even more great photography, head over to EyeEm and We and the Color. News via EyeEm. 2016 Architecture iPhone Photography Awards Announced This posting includes an audio/video/photo media file: Download Now |
| Kiss Kiss Bank Bank's HQ / Agence Vincent & Gloria Architectes Posted: 07 Mar 2017 05:00 AM PST  © Arnaud Schelstraete
 © Arnaud Schelstraete That's in the heart of Paris' hipster and start up neighborhood that KissKissBankBank has settled its new offices and the first 'House of Crowdfunding".  © Arnaud Schelstraete The project is covering 3 floors, the architectural approach adapting itself to the specific usages of each floor.  Floor Plan  Floor Plan  Floor Plan On basement floor, replacing what was previously a simple cellar, one can find the common spaces for employees: a yoga room, a big meeting room, and a space to chill around a kitchen, a 'petanque' ground, a space for nap… Walls, floor and lightings have been designed to emphasize a raw and softened atmosphere and to create contrast with upper floors.  © Arnaud Schelstraete On ground floor, open to public on Rue de Paradis, the old and outdated real estate agency has been replaced by the brand new 'House of Crowdfunding'. In a bright and large space with high ceilings, a wooden structure is defining the space around. This multi-purpose structure includes a meeting room, a bar corner and a modular front side that can be adapted to host the different products born thanks to KissKissBankBank.  © Arnaud Schelstraete All around, on the walls, KissKissBankBank's main data and recent projects are displayed in a fun and visual way. Open on the street, this space is welcoming various usages: conferences, workshops, new project creation…  © Arnaud Schelstraete At the back of the ground floor courtyard and on 2nd floor sit the offices and 'living rooms' for KissKissBankBank's employees. The link between the different spaces is created by a wooden wall roaming along the corridors and creating different spaces such as meeting rooms or phone booths in its convolutions. On another part of his wall, known as the 'Hedgehog', wooden sticks are welcoming individual boxes of employees when time comes to leave the office with clean desks.  © Arnaud Schelstraete To reflect the innovative, dynamic and creative culture of KissKissBankBank, most of the furniture has been designed on purpose. While adapting itself to the different usages of each floor thanks to tailor-made seatings, tables, storage boxes or recreation areas, the design remains consistent thanks to the use of 3 main materials: Batipin, tainted Medium and felt pieces.  © Arnaud Schelstraete The building has been inaugurated on November 17th with the attendance of many guests including Fleur Pellerin, former minister of digital innovation and is hosting the leading edge of crowdfunding innovation since then..  © Arnaud Schelstraete This posting includes an audio/video/photo media file: Download Now |
| Step Into Mies van der Rohe's Barcelona Pavilion in this Virtual Walkthrough Posted: 07 Mar 2017 04:00 AM PST
Mies van der Rohe's seminal Barcelona Pavilion is one of the most well-loved structures in the history of architecture, a de facto pilgrimage site for architects and architecture lovers around the world. Now, even those unable to make the trip have the opportunity to get a tour of the beautiful structure, thanks to a new virtual walkthrough produced by The Mies van der Rohe Foundation. Developed by 3D visualization startup CL3VR, the virtual tour leads you on a walkthrough of the pavilion, providing historical information about the building at key steps along the way. At the end of the tour, plans and data are overlaid onto the model, giving you a better sense of how the structure went from paper to reality. The walkthrough is the first product of a new agreement between the Mies van der Rohe Foundation and CL3VR that will deliver educational projects and virtual visits to foundation sites. The foundation believes the partnership will allow for a greater contextualization and evaluation of the historic sites by providing a complementary experience to a personal visit. "Being able to have the most advanced technology allows us to provide better interpretive resources to show the cultural value of the Mies van der Rohe Pavilion", comments Anna A. Ramos Sanz, Director of the Mies van der Rohe Foundation. Check out the walkthrough above, or visit the Foundation's website for more information, here. News via Mies van der Rohe Foundation. AD Classics: Barcelona Pavilion / Mies van der Rohe A Virtual Look Into Mies van der Rohe's Barcelona Pavilion This posting includes an audio/video/photo media file: Download Now |
| Educational Park For Reconciliation / Jaime Cabal Mejía + Jorge Buitrago Gutiérrez Posted: 07 Mar 2017 03:00 AM PST  © Sergio Gómez
 © Sergio Gómez From the architect. This project is located in San Pedro de Urabá, a small town that belongs to a region in the northwest side of Antioquia and is 425 km from the city of Medellín, the capital. This town has been scarred due to violets conflicts, at first, related to the illegal extraction of their natural resources, and then related to the creation of illegal armed groups unleashed a wave of violence, leaving thousands of victims.  © Sergio Gómez The project it is part of an Ambitious plan of the Antioquia Government, which seeks to design and build a group of eighty Educational Parks in different municipalities of Antioquia, which would provide a proper educational infrastructure to such a vulnerable community.  © Sergio Gómez  Plan  © Sergio Gómez The name was chosen by the people and it represents the social needs that mark the history of their community. The building seeks VOID and SHADOW to be converted into spaces of encounter and discussion, spaces that don´t need a specific architectural program to promote different activities and allow the people to take advantage of the space as their own way.  © Sergio Gómez At first, the spatial structure of the project is organized with two elements, the PATIO as an empty space, which works as a central area that connect the entire edification and makes reference to the nature, and the THRESHOLD, as a space with shadows and entrance. Both elements related to the traditional architecture of the region.  Section  Section The project is located in a fragmented and discontinuous urban morphology, a typical characteristic of the periphery, where the nature and the constructions are blended, showing the landscape that is constituted by cultural conditions.  © Sergio Gómez The public character of the building makes its relationship with the street an important topic. The Educational Park seeks to integrate itself with the surrounding public space; making itself an extension of the same, a place that contributes, not only to the academic issues, but also social and cultural.  © Sergio Gómez This posting includes an audio/video/photo media file: Download Now |
| Posted: 07 Mar 2017 01:30 AM PST  Charles-de-Gaulle airport, Terminal 1, Paris, 1967-1974. Image © Paul Maurer For 40 years, Paul Andreu was among the world's foremost airport design experts. Reflecting on this before the turn of the millennium, he stated that architectural historians of the future might consider the 1990s as "the age of the air terminal." But shortly after this, he left the arena of airport design to focus on other large projects, many of them in China. In this interview, the latest of Vladimir Belogolovsky's "City of Ideas" series, Andreu explains why he made the switch and shares his thoughts on how good architecture is made—saying it often depends more on what you don't tell your client than what you do. Paul Andreu: Before we start, I must explain something. I am an architect and engineer. For a long time I was not an independent architect but worked at and then was the head of airport works at Aéroports de Paris Ingénierie or ADPi, a subsidiary of Aéroports de Paris (ADP). This public establishment is not only in charge of the planning, design, and operation of three Paris-region airports, but is also involved in airport works all around the world, as well as other large-scale architectural projects. First, we did airports in France, then in the Middle East and Africa, then in China and all over Asia, and then we developed projects in other parts of the world. Most of the time we developed our projects from concept all the way through construction; although once we did just the concept for Kansai airport on a specially built island in the Bay of Osaka. As you know, it was designed by Renzo Piano and I consulted for him on function and circulation aspects.  National Centre for the Performing Arts (Opéra de Pékin), Beijing, China, 1999-2007. Image © Paul Maurer Vladimir Belogolovsky: How big is ADPi, and when and why did you leave it to form your current practice? PA: I was there from 1964, the year when the design for Charles de Gaulle Airport started, until we did the National Centre for the Performing Arts in Beijing in 2000. By that time, I had 400 people under me. Up until the 1980s it was a very exciting time because we constantly had to react to the new scale, bigger traffic, new demands, and so on. There were new ideas in the US and in Europe. Then I was getting a bit bored and felt that it was the right time to face new challenges professionally, so at the age of 63 I left to start my own practice. VB: Here in Paris, it is impossible to miss your work for those who come by air. As you mentioned, you designed all three major Parisian airports. How many airports have you designed over your career and what is the percentage of your airport work to other projects? PA: I would say that for the first 20 years I did airports only. Then it was about 80 percent airports and 20 percent other large public projects. Over the years, I designed at least 60 airport terminals and about 25 were built all over the world. But since 2000, I have not worked on airports at all. The reason I started my practice was also due to the fact that since we went to China so many opportunities opened up. Most of our work shifted there and we did all kinds of large public projects. It was a good opportunity to become an independent architect. I established my new office here in Paris with 20-25 people and we always had associate architects in China. Now I have a different business model; once I have a large project I bring in collaborators.  Charles-de-Gaulle airport, Terminal II, modules A & B, Paris, 1972-1982. Image © Labo ADP VB: Do you think it is important for architects to specialize in a particular type of architecture? PA: Yes and no... The best architecture happens when you can reinvent a concept and not just work on packaging things. When I started, it was a great time for airports. Back then you could do that, we constantly experimented with new ideas, as airports were constantly growing and changing. So for me, being a specialist opened possibilities to imagine new concepts. And being a specialist gave me the opportunity to do projects from the beginning to end, all the way to the last interior detail. I believe a building is a unity and I like to do everything. VB: There was so much to learn about airports when you started in the mid-60s. PA: Because everything was so new. There was no past. The very first commercial airports started to appear in the 1920s. So by 2000, working on airports for almost 40 years, I was involved in designing this building type for half of its existence, and it really started to grow and change dramatically right at the time when I started. Airports no longer change; they just grow in size; there is no new concept. And, unfortunately, now many seemingly different building types converge around shopping experience. So many projects have become very commercial. There are airport versions of commercial malls, railway station versions, museum versions... Everything is a commercial center.  Charles-de-Gaulle airport, Terminal 1, Paris, 1967-1974. Image © Paul Maurer VB: In addition to many airports, you have also designed theaters, operas, hotels, and other grand complexes. Have you designed houses or other small projects or objects? PA: I think the smallest projects I've done are small airports in Africa. But I did do other small projects such as two houses—one for my father when I just finished my studies. He had more confidence in my contractor than in me. [Laughs.] And the second house I did in the South of France for a friend. Recently, I did an apartment building, but there are so many rules and little freedom... Solving a problem is not the way to do architecture. I also did some shops. I did stage designs for ballet at the Opera Garnier, and very simple theater designs for Beckett plays. I also designed light fixtures and I do some abstract painting and writing, which are reflections on my work, and occasional novels. VB: Amazing. When do you have time for painting, theater design, and writing novels, when you are building half of China...? PA: Now I have plenty of time... Well, all the people you see here are not mine. All these architects are from an independent office and only when I have work we collaborate... There was a major accident in May 2004 when a portion of the roof collapsed at the Terminal 2E at Charles de Gaulle Airport, killing four people. It was such a huge shock. I was not charged with any wrongdoing, as it was a structural failure, but my major project at the time, a large casino and hotel complex in Macao was put on hold and I had to let go of my entire staff, about 25 people. At that moment, I thought I would quit architecture completely, but finally, I decided to stay and reduced the scale of my operation. Anyway, there is less work now in China; I am 78... I am not leaving architecture, but architecture is taking a leave. [Laughs.] That's why I am acting more now in the other sectors.  Charles-de-Gaulle airport, Terminal 1, Paris, 1967-1974. Image © Paul Maurer VB: What kind of project would you like to work on now? PA: I am less compromising now. I would only take on a project if the ideas were mine. Otherwise, I am not interested. And I am only wise about my own projects. If you ask for my opinion about other architects' projects, it would be hard for me to give advice. To know for sure I have to be involved from the very beginning and I have to go through the whole process myself because projects evolve slowly. I am of the opinion that you must act and then think, not think and then act. It is the opposite of what we are taught. How can you have an opinion on someone else's project? First, you have to have a problem, confront it, and then work on it from one idea to the next. If you don't do that, how do you know that your idea is better than mine? You have to be inside the problem, you have to be active about it. And to achieve something interesting you have to ask questions and not just solve a problem. Solutions have to be invented, not solved.  New airport of Jakarta, Sukarno-Hatta, Indonesia, 1977-1985. Image © Labo ADP VB: What's a good airport from the standpoint of a passenger? PA: In a good airport, you get to your plane without being lost and exhausted. Also the airport should not be a disturbing experience. An airport is a place where you follow signs. But at the same time my goal is to give you freedom. I hate buildings that deliver a particular message. The only thing that should be conveyed is the possibility to grow. But this approach does not mean being neutral. A good airport is beyond a building; it is a landscape. .jpg?1488828624 "New airport of Jakarta, Sukarno-Hatta, Indonesia, 1977-1985. Image © Labo ADP") New airport of Jakarta, Sukarno-Hatta, Indonesia, 1977-1985. Image © Labo ADP VB: Is it unusual for an architect to also be a planner and engineer for airport projects? I understand that this gave you a lot of freedom to bring certain poetic ideas and explain them as necessary functionally and structurally. You said in one of your interviews that architecture was like a secret to you because you would avoid talking about it to your clients, is that right? PA: Right. People are afraid when you talk about poetic ideas to them. I am talking about clients and decision makers. They also don't like doubts. But you have to have doubts. If you don't have any, you are stupid. Once I did Terminal 1 here and other projects I wanted to continue my experiments, so I remember talking to one client in the Middle East and I was expressing my doubts, saying "We could do it this way or that way. But I am not completely sure..." So next thing I knew my contract was canceled. You may have your doubts but perhaps it is wise to keep them to yourself. [Laughs.] Your doubts should be your own secret. You should only talk when you come to a solution. In a way, when you explain your project you always lie...  Jinan Cultural Center, 2013. Image © Agence Paul Andreu VB: In what way? PA: Because you have to sound logical. VB: And the design process is not logical. PA: Not always. Sometimes you are asked—why did you do this or that? Well, I did it this way and I don't know why or I don't have a rational reason for it. But I have to find a good convincing reason so that I can respond to the question. That's why I don't believe in producing a good design with a computer because computers don't make errors. But sometimes you do something that appears to be wrong and that happens to be the right thing. You can be honest and you may be applauded for making the decision 20 years later. But in the moment—no, no, no. You have to be careful. [Laughs]. But there is nothing wrong with a process in which every line is a doubt. You search for your conviction. Once you have it, it is all about following through and convincing everyone else.  Oriental Art Center in Shanghai, China, 2000-2004. Image © Agence Paul Andreu VB: Solutions often come by chance. PA: Yes, of course. You must leave space for chance. You have to push yourself in the corner. If you don't do that you just repeat yourself. You want to go far. VB: When you talk about architecture, you underline that it is more than mere construction; it is poetry, dreams, symbolism, etc. Do you ever rely on specific symbols when you work on your projects? Where do you derive your inspirations? For example, you mentioned your paintings. But there is no direct link between your paintings and architecture, right? PA: I read books, read poetry, listen to music, paint... I am fed by all of this; I look in every direction. That's part of the process. But there is no direct link just like there is no direct link between what we eat and what we think. There is this chemistry and mystery. But you get your energy and you can do anything. I should also say that every time there is a direct link between my inspiration and project, the result is wrong. There has to be a transformation inside of you. I can't tell you where the ideas come from. But what is essential is drawing. If I don't draw, I have no idea. The answer is in doing. There is a kind of loop between your brain, eye, thinking, drawing, hand; and it is very complex, never direct.  National Centre for the Performing Arts (Opéra de Pékin), Beijing, China, 1999-2007. Image © Paul Maurer VB: How do you imagine airports in the future? PA: I don't. VB: Because they change all the time. PA: Or they don't change enough. [Laughs.]  Oriental Art Center in Shanghai, China, 2000-2004. Image © Agence Paul Andreu VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985 (TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries. Belogolovsky's column, City of Ideas, introduces ArchDaily's readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator's upcoming exhibition with the same title which premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design. This posting includes an audio/video/photo media file: Download Now |
| Los Molles House / Thomas Löwenstein Posted: 07 Mar 2017 01:00 AM PST  © Alejandro Gálvez
 © Alejandro Gálvez The house is located near Los Molles beach town, in the fifth region of Chile, in a half acre field in a pronounced slope from where you have a main domain of the mountain range view, while the sea appears distant and tangent.  © Alejandro Gálvez The flattest area of the land was chosen to locate the house. An anterior border was defined against the ground, which delimits an outer space and gives thickness to the access area; and a posterior limit, encounters the perimeter of the house and the steep slope.
The Project arises from the combination between levels and sights, which on the one hand, proposes relations of spacial interior continuity and on the other, it relates this interior with the horizons.  © Alejandro Gálvez In the first floor, the main topographic levels were redefined as well as the natural paths that existed in the natural terrain to preserve the sensation of moving in the slope. This condition in addition with the size and orientation of the spans constantly frame new horizons of the beach and valley.  © Alejandro Gálvez Two main volumes, of 1 and 2 floors respectively, were defined. The lower one, which does not interfere the view of the mountain when descending to the house, corresponds in the first level to the guest’s area and in the second, to a panoramic terrace where the hot tub is located.  Section BB  Section CC The volume of two floors, indoor and outdoor common spaces on the first floor, and bedrooms in the second, is rotated in relation to the volume of one floor, directing its views towards the bay of Los Molles and the perpendicular view to the sea from the master bedroom.  © Alejandro Gálvez The west side, which faces the slope, appears as a continuous and closed surface, which allows only the necessary spans to illuminate the hallway spaces, distancing itself on the first floor from the living and dining room, and on the second floor, the bedrooms, from direct solar radiation.  © Alejandro Gálvez The south-eastern side, which has a sinuous perimeter, accommodates the intermediate spaces and larger spans that collect the main views.  1º and 2º floor Plans The Project material is mainly wood, both structure and cladding. The black color and the measured and dim lighting, work together to dissolve the volume at dusk and thus get lost in the landscape.  © Alejandro Gálvez This posting includes an audio/video/photo media file: Download Now |
| 10 Types of Architecture Students Posted: 07 Mar 2017 12:00 AM PST  Courtesy of The Leewardists Architecture students have a lot in common. We share a long-term committed relationship with coffee. We share an instinctive urge to collect random cardboard boxes for model-making. We share a university studio which, over time, becomes our 'home away from home'. As we get to know our fellow students, however, we learn that the architecture studio hosts a micro-society of ten different, but lovable, characters.  Courtesy of The Leewardists  Courtesy of The Leewardists The 'all-rounder' is perhaps the student we strive to be – prompt, efficient, and organized. With a loaded arsenal of models, drawings, and books, no assignment is safe. The 'all-rounder' is ready for any situation.  Courtesy of The Leewardists The 'running for marks' student is a strident believer that the more they present their work to a professor, the more likely they are to break down the walls of skepticism. It can be frustrating at times, but one cannot help but watch is admiration as Mark showcases the same process model for six weeks.  Courtesy of The Leewardists The 'full attendance' student will take a front-row seat at every lecture, whatever the weather. Even with looming portfolio deadlines, this dedicated student acts as a solo representative for their stressed colleagues, and hence a valuable point of contact.  Courtesy of The Leewardists The 'always questioning' student typically sits beside the 'full attendance' student. In a two-hour lecture, they can't help but wait until the last minute before creating an in-depth, reflective dialogue with the professor. Curiosity didn't kill the cat, but it did kill everybody's hopes of beating the lunchtime coffee queue.  Courtesy of The Leewardists The 'always absent' student is a pioneer of a new architecture degree, typically three days per week, part-time. There isn't much to say about this student, due to their consistent absence. In extreme cases, rumors spread throughout the studio that this student only exists in the imagination, 'Fight Club' style.  Courtesy of The Leewardists The 'geek' student is a rising star. We can only stand in awe at their commitment, knowledge, and endless drive to explore as much of the architectural world as possible. With a laptop not out of place on the Starship Enterprise, this student is piloting the profession towards technological, innovative excellence.  Courtesy of The Leewardists For most architecture students, a day consists of twenty-four fully-booked hours. Therefore, the 'extra-curricular' student urgently needs to explain where they find time to attend pottery workshops, origami classes, and photography society meetings. There is method in the madness however, as this student always finds a way to express these interests through architecture.  Courtesy of The Leewardists The 'all time high' student is the Tony Stark of the studio, with a wild imagination, chaotic schedule, and of course, alternative medical supplies. Young entrepreneurs could sell box-office tickets to the 'all time high' student's crit, such is the intrigue around how professors will react to the idea of a flying aircraft carrier.  Courtesy of The Leewardists The 'always has help' student has mastered the art of delegation, much to the frustration of their colleagues. Having made the calculation that all group members are given the same grade, this student elects to be the 'observer-in-chief'.  Courtesy of The Leewardists The 'idea borrower' is a distant relative of the 'always has help' student. The 'idea borrower' doesn't just delegate their tasks to others, they outsource the entire design process. The end result resembles a 'greatest hits' of everybody else's ideas, which is not only frustrating but often unconvincing. We can only assume it is their way of complimenting your ingenuity. Centuries of civilizations built on structures designed by architects and yet, their voice is lost among the countless stories of rulers and armies and sometimes wondrous monsters. The Leewardists are rewriting the contemporary history of our civilization through the voice of this elusive being, The Architect. For more of The Architect Comic Series follow them on Facebook, Instagram or visit their website. This posting includes an audio/video/photo media file: Download Now |
| Winning Projects Reimagine the Tourist Experience of Machu Picchu Posted: 06 Mar 2017 10:00 PM PST  Courtesy of VISTA PREVIA & LLONAZAMORA Historical preservation and integration with nature, two crucial themes in the development of the Peruvian structure whose territory is a synthesis of historical landscapes. The winning project of the “Ideas de Arquitectura” contest in Machu Picchu National Archaeological Park (Cusco) not only achieves both themes but also weaves and customizes them. The project mimics the architectural tradition of the place while bringing its own contemporary language. It creates bridges of new relations while respecting the preexisting ones, in continuation with the nature of the place, harmony between nature and history. And of course, it invites visitors to be part of this experience. Learn more details about this project and its approach to what has been the development of landscape of its masterplan that was made for the Archaeological Park. From the architects: The Inca citadel of Machu Picchu, located in Cusco, is the most iconic site in Peru, one of the wonders of the modern world, as well as a UNESCO world heritage site. It receives 2,500 visitors a day and for that reason, Peru considers it necessary to prioritize its conservation in view of the imminent wear and tear caused by the high number of tourist visits. With this scenario in mind, in 2014 the Ministry of Culture of Peru (MINCUL) and the Decentralized Department of Cusco (DDC-Cusco) convened the "Architecture Ideas Contest for developments in Machu Picchu National Archaeological Park", resulting in a preliminary design by architect Michelle Llona R. who heads LLONAZAMORA Studio. Following the pattern set by the competition, in 2016 MINCUL and DDC-Cusco prepared a report, "Strategic New Vision for the Management of Machu Picchu", that addresses the problem and proposes a new model of integrated and sustainable management. The new approach seeks to migrate from a touristic experience based only on the physical journey through the Inca citadel to an experience of the interpretation of a major territory, which gives more meaning and links Machu Picchu to its surrounding landscape, an archaeological and cultural system that extends and involves everything in its surroundings.  Courtesy of LLONAZAMORA Personal archive Within this new management model of Machu Picchu, there are three key architectural pieces for the development of its main objectives: a visitor center, a bridge, and a boardwalk. In other words, an integrated system, an urban architectural and landscape plan, highlighting the territory and the legacy of the Incas that accentuates the tourist experience from the Machu Picchu Pueblo (formerly Aguas Calientes) to the entrance of the citadel. These first installations are expected to ensure the conservation and sustainability of natural and archaeological resources, improve the quality of the visit and promote greater ownership of the local population. The three projects and their different scales propose specific and careful solutions, from overall traits, material and construction details, to prioritizing the aspects of sustainability and durability. Visitor Center The new visitor center will be the entrance to the Machu Picchu Archaeological National Park (PANM). The project is located across the Vilcanota river, at the base of the mountain, connected to a series of roads leading to the citadel of Machu Picchu, for automobiles as well as pedestrian and bicycle paths.  Courtesy of VISTA PREVIA & LLONAZAMORA The proposal is divided into three main buildings connected by different squares or terraces. This set of three structures maintains the proportion observed in the gables of the Inca citadel, ceilings are inserted into the landscape, encompassed by the geography and the vegetation.  Courtesy of LLONAZAMORA Personal archive  Courtesy of LLONAZAMORA Personal archive  Courtesy of LLONAZAMORA Personal archive  Courtesy of LLONAZAMORA Personal archive Beneath the wooden ceilings, a large space houses the open plan of the visitor center, reinforcing an indoor experience that contrasts the grandeur of the exterior landscape, and prior to the spectacle of the summit.  Courtesy of VISTA PREVIA & LLONAZAMORA  Courtesy of VISTA PREVIA & LLONAZAMORA The plazas extend over the topography and frame the existing Inca walls to enhance them and make them part of the tour. These plazas connect the buildings to one another, articulating and integrating the visitor center with the landscape and the series of external routes that ascend to llaqta.  Courtesy of VISTA PREVIA & LLONAZAMORA Boardwalk The Boardwalk is a 2-kilometer route along the Vilcanota river that connects Machu Picchu Pueblo (formerly Aguas Calientes) with the entrance to PANM. This route is the largest public space in the area, located on a complex system of ramparts along the river that seek to protect this essential infrastructure.  Courtesy of LLONAZAMORA Personal archive The project defines seven squares, which are places for residents and tourists to rest and come together. Each section is made up of three routes: the route for vehicular traffic, a bike path (which promotes new forms of tourism as well as recreation for residents), and the pedestrian path that connects the last two and introduces visitors to the natural landscape.  Courtesy of LLONAZAMORA Personal archive  Courtesy of LLONAZAMORA Personal archive  Courtesy of LLONAZAMORA Personal archive This lush, green walkway is designed from a series of prefabricated elements of concrete and Corten steel, with the addition granite paving stones and stone elements. The walkway seeks to extend the atmosphere of the river bed up to the road, complementing the great stones and finding integration with the coastal landscape and the vegetation of the area.  Courtesy of LLONAZAMORA Personal archive Bridge The bridge is a project that creates a set of small public spaces, which make up one final rest area for visitors after visiting llaqta. In addition, it gives an opportunity to enjoy the landscape, showcasing the renovations and overlooking the starting path.  Courtesy of VISTA PREVIA & LLONAZAMORA  Courtesy of LLONAZAMORA Personal archive  Courtesy of LLONAZAMORA Personal archive This structure doesn’t imitate the Inca constructions and tries to keep its foundations as far as possible from the archaeological center. The current suggestion is a 74-meter Corten steel beam, with only three points of support, to allow the vegetation to continue growing and to diminish the bridge’s impact on the mountainside.  Courtesy of LLONAZAMORA Personal archive The combined effort of these suggested projects doesn’t put the buildings at the center. Instead, it seeks to provide an architectural platform that enhances the landscape and the legacy of the Incas, placing special attention on the experience of tourists as well as inhabitants.  Courtesy of VISTA PREVIA & LLONAZAMORA Visitors Center: Architecture Architects: Arch. Michelle Llona Exteriors and Landscaping Architects: Arch. Rafael Zamora, Architect María Alejandra Linares Boardwalk: Architects: Arch. Michelle Llona Bridge: Architects: Arch. Michelle Llona Image credit (drawings, diagrams, and sketches): LLONAZAMORA Personal archive Image Credit (renders): VISTA PREVIA and LLONAZAMORA This posting includes an audio/video/photo media file: Download Now |
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