Arch Daily |
- The Séqué / Gardera-D Architecture + Atelier Philippe Pastre
- The Courtyard House / De Rosee Sa
- MINI LIVING - Breathe / SO-IL
- Ivanhoe Grammar School / McBride Charles Ryan
- CEBRA’s Mixed Use Smart School Proposes a Rethink of Russia’s Education System
- Experience Renzo Piano's Valletta City Gate Through This Captivating Photo Series
- House EL / Reinach Mendonça Arquitetos Associados
- This Mysterious 3D Printed Grotto Challenges Boundaries of Computational Geometry and Human Perception
- Santiago Calatrava's City of Arts and Sciences Through the Lens of Photographer Sebastian Weiss
- Garden Studio Gym in North London / EASTWEST ARCHITECTURE
- Spotlight: Jørn Utzon
| The Séqué / Gardera-D Architecture + Atelier Philippe Pastre Posted: 09 Apr 2017 10:00 PM PDT  © Mathieu Choiselat
 © Mathieu Choiselat From the architect. Living in the countryside. A small courtyard, a back entrance on the kitchen side, a hut, a dead tree, garden boots, smells, be in touch with nature, birdsong, animals, a vegetable garden, a shed for tools, a pergola, ivy along the walls, piles of wood, a tree under which to shelter, a forest, an undergrowth, a river, an attic, a chicken coop, a bench, a pond, a well, a fountain, a path ... Living outside, space, air, light. How to live the countryside? How do you live in a forest? What are the ambiances? What are the specific characteristics of a habitat in the countryside?  © Mathieu Choiselat  Site Plan  © Mathieu Choiselat A highly contextual architecture, generous balconies, traversing housings...Those are qualities that appears generally at the end of the studies. Here they are the starting point. Delivered in December 2014, the simple and compact volumetric ensures both technical and economical efficiency on the construction. We developed a very rational system of construction and distribution of housing so that we could integrate in the budget of the operation external surfaces largely dimensioned  © Stephane Chalmeau  Section  © Mathieu Choiselat Our wish is to be able to offer each inhabitant large spaces of external life associated with their housing, in direct contact with the landscape.  © Mathieu Choiselat This posting includes an audio/video/photo media file: Download Now |
| The Courtyard House / De Rosee Sa Posted: 09 Apr 2017 08:00 PM PDT  © Alexander James Photography
 © Alexander James Photography From the architect. The client's brief was to demolish an existing single-storey storage garage and construct a new two bedroom house in an awkward space between rear terraced gardens and a row of 16 garages in West London.  © Alexander James Photography To respect the tight planning constraints of the site the concept was to create three external courtyard spaces around the original form of the garage that would help bring light deep into the proposed plan. It was not possible to place windows in the boundary walls, so skylights were positioned above each family space.  © Alexander James Photography  Ground Floor Plan  © Alexander James Photography The first courtyard was sunk down to create a new basement level, which would house the second bedroom, ensuite and plant room. Above, on the ground floor, the courtyard separates the private bedrooms from the family spaces in the new house.  © Alexander James Photography As we moved forward through the design, the second courtyard separates the kitchen and the living room, bringing light and air into the middle of the house. During the Summer months, the client has the ability to open up the series of crittall doors to create one large family space.  © Alexander James Photography The third courtyard separates the house from the front driveway, creating a storage unit for bikes, bins and housing for the ASHP. The boundary acts as a point of departure from West London, as you step through the cedar-clad threshold into the private residence.  © Alexander James Photography  Sections  © Alexander James Photography The material palette was kept simple to allow the different spaces to flow into each other, using off white walls, cedar battens and oak parquet flooring. The spaces were then framed by the black crittall style windows and doors.  © Alexander James Photography This posting includes an audio/video/photo media file: Download Now |
| Posted: 09 Apr 2017 07:00 PM PDT  Courtesy of SO-IL
 Courtesy of SO-IL From the architect. Attractive places to live are in increasingly short supply in today's cities. And when it comes to those living spaces, the responsible use of resources is an issue of gathering urgency. MINI has teamed up with New York architects SO – IL to present a visionary solution to this two-pronged challenge. The installation MINI LIVING – Breathe is a forward-thinking interpretation of resource-conscious, shared city living within a compact footprint. "MINI LIVING – Breathe calls into question conventional living concepts and introduces a creative problem-solving approach for future challenges in urban areas," explains Esther Bahne, Head of Brand Strategy and Business Innovation MINI. "The installation shows what happens when we view houses not only as a space in which to live, but as an active part of our environment – one which plays a positive role for the environment and the people living there."  Courtesy of SO-IL  Floor Plan  Courtesy of SO-IL MINI LIVING – Breathe: living, reinvented.  Courtesy of SO-IL On the ground floor, a kitchen area acts as a spatial and social interface with the area around the installation – i.e. the outside of the world. It welcomes guests, brings people together and encourages them to engage with one another. Above it are various living areas, spread over three levels in all, which offer an inviting place to both relax and work. Sleeping areas, a potential wet area and the roof garden flesh out the installation's upper reaches. The individual living areas are separated by light-permeable textile walls. This translucency allows people in other rooms to make out silhouettes and movements, and creates a feeling of connectedness and togetherness. But it also grants residents a sense of privacy, if preferable.  Courtesy of SO-IL  Diagram  Courtesy of SO-IL MINI LIVING – Breathe: the house as an active ecosystem.  Courtesy of SO-IL The MINI LIVING – Breathe installation enhances the microclimate in urban areas.  Diagram "MINI LIVING – Breathe brings its residents into direct contact with their environment. By making living an active experience, the installation encourages visitors to confront our tendency to take resources for granted," adds Ilias Papageorgiou, Principal at SO – IL.  Courtesy of SO-IL This posting includes an audio/video/photo media file: Download Now |
| Ivanhoe Grammar School / McBride Charles Ryan Posted: 09 Apr 2017 01:00 PM PDT  © John Gollings
 © John Gollings From the architect. Ivanhoe Grammar School is a co-educational school established in Ivanhoe in 1920. The Plenty Campus of Ivanhoe Grammar School was, until quite recently, surrounded by a rural setting punctuated by magnificent red river gums. Despite the encroaching suburbs, the school has retained a character where the native landscape flavour dominates the campus. At the heart of the campus, the original buildings are set out in a formal arrangement based on the metaphor of the Town Square. Subsequent additions to the campus, executed in a variety of architectural styles, have a looser relationship with this formal centre.  © John Gollings Our brief was for a new Science and Senior Years Centre. The brief included a variety of general learning areas, provision for the senior year teachers and a science centre which was to be also used by the younger students in the school.  Ground Floor Plan The circular shaped plan form was adopted for the building; this shape had an appropriate civic quality which seemed to build upon the schools original masterplan. The circular plan is an alluring one for architects, clearly it is a definitive human mark upon the landscape, and yet its many precedents, from Grounds to Stonehenge to indigenous gathering, show that it can, perhaps paradoxically, coexist with and not disrupt a native landscape.  © John Gollings However, rather than adopting a circular or radial pattern dictated by the shape of the plan, we chose to overlay an angular geometry. This geometry was used to define the central courtyards, the light wells and a mosaic of learning spaces. This geometry contrasts and disrupts the building's circular motif, highlighting key entry points and providing a distinction between the outer world (singular, civic, circular, executed in a muted landscape palate) and the inner world (complex, dynamic, expressive & colourful).  Upper Floor Plan Great consideration was given to the configuration of these learning spaces. Some of the key characteristics were transparency into and between spaces, a variety of spatial type, interconnectivity, multiple-use, flexibility and adaptability of the learning spaces. Staff work stations are peppered throughout the facility; the lower levels are generally multiple-use teaching spaces, the upper levels predominately science focussed. Provision for outdoor informal gathering of students is provided throughout the complex.  © John Gollings The building floors are reinforced concrete with band beams supported by concrete and steel columns. The roof is steel framed. The outer cladding is Colorbond Longline, the inner cladding Vitrapanel. The exterior shading fins are glue laminated Queensland spotted gum. Windows are aluminium, double glazed & thermally broken. High quality acoustic glazed doors are used between learning spaces.  © John Gollings The contrast so evident in this building's language encapsulates the contemporary pedagogical approaches for a well-rounded education. The circular form is a classical representation of order, rigour, and the certainty of knowledge – the buildings inner world, with its complex mosaic of spaces, amplified by pattern, colour and multiple reflections, represents the uncertainty and complexity of modern life and scientific understanding, and the necessity of the qualities of wonder and imagination to advance and see us through. This posting includes an audio/video/photo media file: Download Now |
| CEBRA’s Mixed Use Smart School Proposes a Rethink of Russia’s Education System Posted: 09 Apr 2017 09:00 AM PDT  Courtesy of CEBRA With high hopes of contributing to the reformation of Russia's secondary schooling system, construction has begun on Smart School, a planned 31,000 meters square educational complex in Irkutsk, Siberia, which combines multi-use educational facilities, outdoor learning spaces, and housing developments for adoptive families. Designed by Danish firm CEBRA, the project was the winning proposal for the school's international competition back in 2015, beating 48 other firms, including MVRDV and Sou Fujimoto Architects. "Based on the program and principles of Smart School, an architectural concept has been developed which integrates buildings, a plot of land and the surrounding urban community into a complete, diverse and activating learning environment, a 'school park', explain the architects. "There is school life not only in specialized premises but also in open areas inside and around buildings."  Courtesy of CEBRA Mixed programs and a variety of buildings are at the core of the school's design. A kindergarten, middle and high school are all part of the complex, in addition to adoptive family housing, a cultural center, sports facilities, training workrooms, laboratories, and a library. The conglomeration of these various types creates a unique and centralized learning hub.  Courtesy of CEBRA Fluidity between interior spaces and the outdoors is another component that CEBRA focuses on, given the school's location 60km from Lake Baikal and its surrounding existing landscape. Public spaces have been incorporated into the arrangement of programs, and learning spaces cater to individual needs and styles with differing parameters. These include room sizes, furniture arrangements, lighting types and degrees of noise prevention.  Courtesy of CEBRA Irkutsk's innovative Smart School is set to be completed by September 1st of 2019, just in time for the beginning of the new academic year. It will function as "an incubator for ideas, technologies, projects and practices", helping in the transformation of Russia's education system and enabling a new generation of learners. For more on the Smart School's vision, see here. News via: CEBRA.
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| Experience Renzo Piano's Valletta City Gate Through This Captivating Photo Series Posted: 09 Apr 2017 07:00 AM PDT
Within the framework of the recent election of Malta to the Presidency of the Council of the European Union—a position that will be held through June 2017—architectural photographer Danica O. Kus has created a photo series detailing Renzo Piano Building Workshop's Valletta City Gate in Malta. Completed in 2014, the project is composed of four parts: the Valletta City Gate and site, an open-air theater "machine," a Parliament building, and landscaped space. Experience the project in beautiful detail though the photo series, after the break.  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography  © Danica O. Kus Photography News via: Danica O. Kus Photography.
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| House EL / Reinach Mendonça Arquitetos Associados Posted: 09 Apr 2017 06:00 AM PDT  © Nelson Kon
 © Nelson Kon From the architect. The extensive and complex program of this holiday house led us to embrace an architectural concept that subdivided all functions in different constructive blocks. The result is a group of volumes with different functions interconnected through circulations axis, that could successfully solve the program in a way that is gentle and articulated, both with the irregular corner format and terrain site. The volumes were positioned along with the sunnier facades and the correlation between indoors and outdoors of the countryside landscape.  © Nelson Kon  Corte AA  © Nelson Kon The facilities block faces south and is made of traditional masonry, cladded and painted in white. It outlines the main volume, that has two floors in concrete above steel columns and faces the northeast and the most pleasurable view. The third volume has an inferior level which hosts the guest’s bedrooms, spa and sauna. Although this volume is away from the house, it is interconnected through a glass pergola roof.  © Nelson Kon All volumes together result in an “L” site plan around the pool courtyard, on mid level of the terrain respecting the natural topography of the site. This arrangement prioritizes the external areas to the corners, propitiating a discreet and respectful relationship between the house and the neighborhood.  Planta - Térreo This posting includes an audio/video/photo media file: Download Now |
| Posted: 09 Apr 2017 05:00 AM PDT  © Michael Lyrenmann Following the success of their highly intricate Arabesque Wall, Benjamin Dillenburger and Michael Hansmeyer have once again achieved new levels of ornamental eye candy – this time, with a full-scale 3D printed grotto created from seven tons of sandstone. Commissioned by the Centre Pompidou in Paris, the grotto is an example of how the spatial expression of computational technologies can make for remarkable architectural experiences. "Digital Grotesque II is a testament to and celebration of a new kind of architecture that leaves behind traditional paradigms of rationalization and standardization and instead emphasizes the viewer's perception, evoking marvel, curiosity and bewilderment," state Dillenburger and Hansmeyer.  © Fabrice Dall'Anese Generated algorithmically from 156 gigabytes of data and after 2 years of design development, the resultant structure is composed of 1.35 million surfaces, which form the printed sandstone. A secondary algorithm helps create the grotto's porous and layered quality, with seemingly endless arms stemming from a single volume to create a sense of cavernous mystery. The grotto was printed in a month and required two days for assembly. Achieving a height of 3.5 meters, the structure packs hundreds of square meters of surface into its organic forms and ornamental details.  © Demetris Shammas  © Jann Erhard These details are central to the grotto's character and intentions; it elevates human perception and discovery over rational functionality, as desired by Dillenburger and Hansmeyer.
 © Michael Lyrenmann  © Michael Hansmeyer Digital Grotesque II is one of two printed grottos, the first of which was commissioned by FRAC Centre in Orléans, for its permanent collection. Grotto II is currently being premiered at Imprimer le monde in Paris. Learn more about the project's process and design here. Architects: Michael Hansmeyer and Benjamin Dillenburger. News via: Digital Grotesque.
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| Santiago Calatrava's City of Arts and Sciences Through the Lens of Photographer Sebastian Weiss Posted: 09 Apr 2017 02:30 AM PDT  © Sebastian Weiss Photography As a young boy, Santiago Calatrava's fascination with light in his native Valencia fueled his determination to draw, design, and eventually build. His Ciudad de Artes y Ciencias (City of Arts and Sciences) is a perfect example of the influence of the Valencian sun on the architect's work. The seven cultural buildings define a formal vocabulary all their own, with a dynamism between blanched curves and rhythmic visual patterns. So bright it almost glows on clear days, the materiality of the structures emphasizes the ability of light to outline the spatial relationships between Calatrava's shapes, and shift them as the sun moves through the sky. In his most recent photo series, Sebastian Weiss has captured the tendency of the shapes of the City of Arts and Sciences to "complement each other and even merge to a harmonic unity," as the photographer himself puts it. The photos were originally featured on his Instagram, @le_blanc, and develop a new way of looking at the oft-photographed tourist spot. His images imagine the complex as a pulsating "light-space installation" of equally systematic and creature-like forms in constant conversation with one another. The series gives the sense of looking at different sections of a particularly beautiful beast—its ribs, underbelly, horns, etc.—captured within the complex's shallow pools.  © Sebastian Weiss Photography  © Sebastian Weiss Photography  © Sebastian Weiss Photography  © Sebastian Weiss Photography  © Sebastian Weiss Photography  © Sebastian Weiss Photography  © Sebastian Weiss Photography  © Sebastian Weiss Photography  © Sebastian Weiss Photography This posting includes an audio/video/photo media file: Download Now |
| Garden Studio Gym in North London / EASTWEST ARCHITECTURE Posted: 09 Apr 2017 02:00 AM PDT  © Naaro photographers
 © Naaro photographers From the architect. The brief was to create a workout studio in the rear garden of our client's house as there was no gym in the local área of Walthamstow Village. Our response was to design a contemporary interpretation of a garden 'shed' that we now call the Garden Studio Gym.  © Naaro photographers Our restrictions were quite demanding, as we had to work on the permitted development regulations and a small footprint with in the garden. The permitted development only allows a certain roof height. To get around this we lowered the ground floor as there is no local or national policy on digging down –now we have plenty of height for skipping and jumping.  Floor Plan The form of the gym was to be abstract ed so it would represent a modern twist of the traditional garden shed. For the construction the limited budget meant using a concrete base and timber frame with modular materials.  © Naaro photographers We kept a simple palette of 4 materials externally and internally. The Garden Studio Gym is covered by burnt cedar timber cladding and has an opening on the right side to let the natural day light in. The window also connects the interior space to the garden steps up from inside the Garden Studio Gym. The glass return lifts the corner of the garden studio gym making the form less imposing in appearance. A frameless full height mirror cover the main Wall as it extends the scene for workout sessions.  Section The studio walls are covered by staggered panels of birch ply and complemented by a black rubber floor. The birch ply creates a warm atmosphere which is enhanced with yellow lights to achieve a warm interior glow against the dark exterior to get you motivated to cross the garden not only on an early winter's morning. We also focus on final details of the project such as the discreet door lintel and the hidden connection for the punch bag.  © Naaro photographers The studio is multifunctional as the punch bag can be removed and turned in to a calming yoga space or desk workspace. Transforming from a Garden Studio Gym to Garden Studio Office.  © Naaro photographers This posting includes an audio/video/photo media file: Download Now |
| Posted: 09 Apr 2017 01:00 AM PDT  Sydney Opera House. Image © <a href='https://www.flickr.com/photos/lutherankorean/2652730156'>Flickr user lutherankorean<a/> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> Pritzker Prize winning architect Jørn Utzon (9 April 1918 – 29 November 2008) was the relatively unknown Dane who, on the 29th January 1957, was announced as the winner of the "International competition for a national opera house at Bennelong Point, Sydney'." When speaking about this iconic building, Louis Kahn stated that "The sun did not know how beautiful its light was, until it was reflected off this building." Unfortunately, Utzon never saw the Sydney Opera House, his most popular work, completed.  Jørn Utzon in front of the Sydney Opera House during construction, 1965. Image Courtesy of Keystone/Getty Images Born in Copenhagen in 1918, Utzon studied architecture at the city's Royal Academy of Fine Arts. After World War II, he joined Alvar Aalto's Helsinki office and won traveling scholarships to Morocco and the US whilst also designing ranges of furniture and glassware.  Sydney Opera House. Image © <a href='https://www.flickr.com/photos/jimmyharris/114537716/'>Flickr user jimmyharris</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Utzon's ambition as a young designer was seemingly boundless. Ten years before he submitted his winning entry for the opera house in Sydney, Utzon had entered a competition in London to design a replacement for the Crystal Palace, which he did not win. As noted in The Guardian's obituary of Utzon, the submission demonstrated that the UK's capital once had the chance to "build something just as extraordinary as the opera house" with a design that was "personal, sculptural and quite outside the mainstream of architectural development at the time." Some argue that Utzon's architectural style correlated with that of Eero Saarinen (who was also a judge for the opera house competition), architect of the TWA terminal at New York's Kennedy airport.  Sydney Opera House: perspective from staircase between the two halls looking towards the north. Image © Jørn Utzon In 1966, nine years after his winning entry was accepted by the opera house competition jury, Utzon was driven to resign his position and leave Australia. Those in power had deliberately underestimated costs in order to get the project started; when costs soared, Utzon, it appears, took the majority of the blame, leading to a number of arguments with local and national politicians. His strong, collaborative friendship with Ove Arup—another Dane—also turned sour over the Opera House project.  Bagsværd Church. Image © <a href='https://www.flickr.com/photos/seier/5958688179/'>Flickr user seier</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Back in Denmark, Utzon embarked on two other key architectural projects: the Bagsværd Church (Denmark) built between 1968 and 1976, and the Kuwait National Assembly, designed and built from 1971 onwards and rebuilt in 1993 after being destroyed by Iraqi forces during the Gulf War. Utzon's obituary in The Guardian notes that they "have a sculptural purity that makes them compelling works of architecture" and that they "seem to stand outside the mainstream of 20th-century modernism." Alongside these projects, Utzon also built a house for himself overlooking the sea in Mallorca, Spain. Once described as "a domestically scaled summation of Utzon's architectural ideas," it symbolizes what became a quiet but profound architectural career.  Utzon's Home on Mallorca. Image © <a href='https://www.flickr.com/photos/drzimage/475618855/'>Flickr user drzimage</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Utzon's architectural career was one of pure, ambitious ideas and subsequent broken collaborations and unlucky circumstances. For an architect of Utzon's talent, his output was relatively modest. Most of his key buildings, such as the Sydney Opera House and the Kuwait National Assembly are often seen as "fatally compromised" projects, often through factors that Utzon could not have controlled.  Kuwait National Assembly. Image © <a href='https://www.flickr.com/photos/xiquinho/3447464666/'>Flickr user xiquinho</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Utzon missed the opening of Sydney's iconic building in 1973, and did not attend the ceremony awarding him the Royal Australian Institute of Architects Gold Medal in the same year. When he was offered the Freedom of the City of Sydney in 1998, the Lord Mayor had to take the keys to him in Denmark. He told the Royal Institute of British Architects in 1978, when he was awarded the Royal Gold Medal, "if you like an architect's work, you give him something to build, not a medal." Check out Utzon's major works featured on ArchDaily via the thumbnails below, and further coverage of him and Sydney's most iconic building below those. You can also see some of Utzon's original drawings for the Sydney Opera House on the New South Wales Government's website. The Opera House Project: Telling the Story of an Australian Icon Video: Jørn Utzon's Nature-Inspired Sydney Opera House Sydney Opera House to Undergo $202 Million Renovation Le Corbusier Tapestry Intended for the Sydney Opera House Will Finally be Installed LEGO® Unveils 3,000 Brick Sydney Opera House References: Guardian, denmark.dk, Sydney Opera House This posting includes an audio/video/photo media file: Download Now |
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