ArchDaily

Arch Daily

Chokladfabriken / Jägnefält Milton
Istanbul Maritime Museum / TEGET
The House of Prajna / studio_GAON
Forte Bank Headquarters / Saraiva + Associados
Gallery House / CSA Craig Steere Architects
BULLIT / Hugo Mompó
Hyperloop One Releases Map of 11 Proposed US Systems
Tofana / noa* network of architecture
Shortlist Announced for 2017 RIBA London Awards
Watermill House / Office of Architecture
Should Airbnb Help Save This High-Tech Gem?
Tropik Works / VOID opd
Hollwich Kushner Unveils Plans for Mixed-Use Business District in Munich
Six of the Best Spatial Installations at Salone del Mobile 2017
Spotlight: Peter Behrens
University of Birmingham's Library / Associated Architects

Posted: 14 Apr 2017 07:00 PM PDT

Architects: Jägnefält Milton
Location: Stockholm, Sweden
Architects In Charge: Carl Jägnefält, Konrad Milton, Michael Mleczko
Area: 7700.0 m2
Project Year: 2016
Photographs: Mikael Olsson

Client: Oscar Properties

From the architect. The project entails converting a former chocolate factory from the thirties and an attached office building from the seventies into housing. The facade of the factory was intended to blend in with the adjacent apartment blocks, contrary to todays preferences when living in a former factory building is a quality in itself. For us the most interesting part of the project was how to create high quality living spaces in the office building where we had to deal with a huge building depth, a problem we kind of inflicted on ourselves.

We got the commission by proposing not to demolish the office building and not to penetrate the two buildings with additional staircases and elevators. Instead we kept the structure of the office building including the main staircase that connects the office building with the factory building. This certainly saved the client a lot of money but it also created an even bigger challenge for us.

Since all the apartments in the office building now had to be connected to the existing staircase located at the end of the building we had to design single facing apartments in a building that was already very deep. We solved this by cutting upp atriums in the slabs of the office building. Each atrium-apartment had a living room and a bedroom facing the street and a kitchen and two bedrooms facing the atrium giving the resident a view into their own apartment but never into the neighbours on the same floor. The atriums were open to the sky and would not only provide daylight but also fresh air and at times rain and snow.

The original office building was set back 6 m from the street frontage and was standing on pilotis creating a covered outdoor space that was meant as car parking but also became a popular place to urinate and/or deal drugs. Thanks to our atriums we could increase the building depth even further, extending the building all the way to the street and thereby fixing (or moving) the problem. The final 1,5 m of the extension were glazed non heated loggias that gave additional qualities to the apartments and at the same time allowed us to design a single glazing facade with slender window frames.

The old chocolate factory was handled more gently then the office building. Here the building depth and the existing windows already brought qualities to the interior space and the biggest alterations were one additional staircase, balconies on the courtyard side and loggias behind some of the existing windows facing the street.

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Istanbul Maritime Museum / TEGET

Posted: 14 Apr 2017 03:00 PM PDT

Architects: TEGET
Location: Istanbul, İstanbul, Turkey
Architects In Charge: Mehmet Kütükçüoğlu, Ertuğ Uçar
Design Team: Alev Dağlı, Saro Dionyan, Hande Köksal, Mert Üçer, Senem Akçay
Area: 15000.0 m2
Project Year: 2010
Photographs: Alican Aktürk

Building Survey & Restoration: Atölye Mimarlık-Sinan Omacan, Rıdvan Övünç
Construction Engineering: Tem Mühendislik
Mechanical Engineering: Okutan Mühendislik
Electrical Engineering: Yurdakul Mühendislik
Surveying Engineering: İmge Harita Mühendislik
Fire Consultancy: Alara Mühendislik
Lighting Consultancy: Kroma Aydınlatma

From the architect. The architectural competition for the museum was first announced in 2004 and the evaluation was completed in September, the same year. Most of the prominent architectural firms submitted their proposals as the problem was challenging as well as a prestigous one. It stands as a singular opportunity, when it comes to build a contemporary structure on Bosphorus, where strict conservation rules have been observed both by Bosphorus Legislative Department and National Monuments Council. The former Maritime Museum was in service then, in the same location, with a conglomeration of adopted buildings piled up from different periods. Apart from a wide range of materials like ship models, maps, photographs, navigation tools, outfits etc, the most striking aspect of the collection –and apparently the most spacious- was the part where about 40 Ottoman Sultan boats were exhibited in fairly miserable conditions. Ranging from 45 meters to 10, dating from 1500's to 1900's, this has been probably the most intriguing collection among its relatives throughout the world. The task was to propose a new exhibition scheme for the same site, preserving one –from 1940's-of the existing buildings, as designated by the Monuments Council. The lot in Beşiktaş, by the Bosphorus aligned with Ottoman Palaces, offered a very limited space with a set of difficulties to design and build; on the other hand, offering a symbolic strength to such a location surrounded by intense metropolitan life and monuments like Bosphorus, Palaces, Sinan Mosque and Barbaros –Ottoman Admiral once very famous in the whole Mediterranian Region- Square with the Statue and the Tomb.

The project site had 3 façades -the remaining one facing the neighbouring ex-tabacco warehouse was virtually invisible and mainly reserved for sevices-. The Bosphorus side was reserved for the boat gallery. On the opposite direction, at the Dolmabahçe Boulevard where it is linked to the city and the traffic access, we placed the entry. Finally, at the Beşiktaş Square side, we revealed the courtyard, embracing the Barbaros statue, around which the program of the museum revolved. Starting from the entry, the façades unfolded following a spiral circulation that incorporated the existing building at one corner.

Winning proposal featured the boat gallery as the climax of the entire complex, openning it up to the Bosphorus through a fractal interface. Given the fact that the collection is permanent and unchangeable, the design resembles a 'glove' perfectly fitting. Alluding to certain qualities of arsenal hangars, the space proposed is typologically a hybrid one.

First of all, it is a single space, where the long and slender sultan boats stand side by side facing the sea, providing the opportunity to perceive the collection in an impressive ensemble at a glance. Secondly, it is a compartmented space, subdivided into narrow bands each reserved for a boat. The seemingly two paradoxical aspects are brought together to co-exist in a single spacial experience. Such a feeling is enhanced by the design of structure. The extensive space allocated for the gallery is constructed with 7 bridges made of 6 meter high steel trusses varying in length from 55 to 25 meters. The outcome is a double height gallery with an alternating rythm of voids and steel trusses, where the ground level is totally left column-free. The roof and the facade reflect the alternating rythms of the interior organisation. The space opens up to the sky and the Bosphorus in a rather refrained fashion, through solids and voids.The ideal sealed box of the 'generic' museum is thus compromised here for the favour of natural light and views.

The plannimetric refractions of a fractal line as an outcome of the chronological and dimensional order of the collection is further accentuated in three dimensions with alternating solids and voids, each corresponding a cladded material: Solids in eternite, voids in copper. The whole composition rises from a shallow pool, which connects the gallery to the sea. The facade line of the new structure is recessed from the existing building at the Dolmabahçe Boulevard to form an open space in front of the entry that promises a meeting and gethering place for people in an otherwise fairly congested street scape with narrow sidewalks.

Three main materials used in the Project is sandstone, eternite and copper cladding sheets. Since the exhibition area dimensions derived from the chronological and dimensional order of the collection, the concept further accentuated in three dimensions with alternating solids and voids with this triple material usage.

Low E glazing system helps to prevent collection from unwanted and harmful sun rays.

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The House of Prajna / studio_GAON

Posted: 14 Apr 2017 01:00 PM PDT

Architects: studio_GAON
Location: Munwon-dong, Gwacheon-si, Gyeonggi-do, South Korea
Architect In Charge: Hyoungnam Lim, Eunjoo Roh
Area: 199.29 m2
Project Year: 2016
Photographs: Yong Kwan Kim

Project Team: Sangwoo Yi, Seongwon Son, Sungpil Lee, Hanmoe Lee, Joowon Moon, Minwoo Lee
Construction: Starsis
Supervision : studio_GAON
Building Area : 164.13m2
Building Scope: 3F
Height : 9.6m
Building To Land Ratio: 46.24%
Floor Area Ratio: 56.14%

From the architect. The House of Prajna seems like a vessel heading for the woods, embraced by the forest, with the pentagon shape of building site reminding of that of ship. On the bow of ship shape, a persimmon tree over hundred year old branches its arms toward the large sky with hollowed trunk. Although this house is a result of intentional design, I feel like it is already been completed by thousands of interactions of invisible components. Every time I visit, I feel like appreciating the work of someone else's.

The house is located in Gwacheon near Seoul. Gwacheon has been playing a role of government city, and praised for an ideal place for living. Other houses in the district, line along the street a bit apart from each other, and the surrounding woods enclave the town like a blanket. The site feels cozy.

At first, the owner of the house, a middle aged couple, said in tranquil but clear tone that they have four family members, have a dog and want to have a separate workroom distinctive from the living place. They bought the land ten years ago, and other lots around the site have been already filled out. Lastly, they wanted to preserve the awesome persimmon tree.

The word 'Prajna' originally comes from Sanskrit which means wisdom. The meaning of wisdom could be broadened to signify the ideal state of acknowledging the world without any barrier. Thus, the 'Prajna' also means a 'wisdom which can be attained after the true sense of realization about the whole living things.'

Distinctive from other religions, Buddhism aims for pursuing the realization instead of salvation for the next world or wealth of earthly life. Achieving 'prajna' through realization is the main purpose of the Buddhism. The realizations comes from looking back, observing the world with a transitory pause. Putting a pause in the middle of rushing life gives the opportunity to purify the distorted confusions originating from one's desires.

Architecture is not far from this process for it creates the way to permeate both the life and thoughts, and a house contains the both family and thoughts of the family. These thoughts help to imagine the images of floor and garden, but the result is not always predictable because the harmonization of several factors. Some are not even clear as to what they are.

The main theme of this house is an 'insight meditation.' There are several reasons why exclusive space for meditation has been located in the center of the house. The owner of the house studies Buddhism in his spare time and needs a place for a sitting meditation, and also his wife has been practicing tea ceremony for many years. Thus, I located the meditation room in the center, and only aftwerwards I designed other parts of the house, such as living place, dining room and bathroom.

Each part of the house is gradually raised, taking advantage of the trait of land, with northern part getting higher than the road. And this also creates a sense of place to each function.

After that, I added the other necessary functions of the house in a spiral composition as if 'samsara' were manifested in the Buddhism. Separated parts of the house gather toward the center where persimmon tree stand, but then they are also fragmented at the same time. Then, we drew a line with the corridor which penetrates the whole house, cutting through each room, garden, and terrace. In other words, the beginning and end, inside and outside of the house are all connected to each other. In the center of the house, under the persimmon tree, there is a tiny room, hardly fitting one person, used for meditation.

The House of Prajna also blurs the boundary of inside and outside. The house is intertwined with the woods, and the owner takes a place near the mountain like a hermit, and contemplates the outside world from inside the house.

The ultimate pursuit of Buddhism is to 'realize'. This realization enables people to escape from the boundless desires by unlimited wisdom. Everything is connected to each other. Hence there is no absolute image or location. Every existence could be substantial or shallow, and soul or body simultaneously.

House could be a space of presenting the journey of completing our imperfection, enabling us to 'realize' and be wise.

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Forte Bank Headquarters / Saraiva + Associados

Posted: 14 Apr 2017 12:00 PM PDT

Architects: Saraiva + Associados
Location: Astana 020000, Kazakhstan
Area: 30.353 m2
Project Year: 2016
Photographs: Alexander Mussiyan

The Alliance Bank, 10th largest in Kazakhstan, has set itself the goal of strengthening its position on the international market in order to become one of the leading banks in Central Asia. S+A proposal was thus a cornerstone in its corporate strategy and an architectural landmark in the capital city. Currently, it was distinguished on its form & function within Astana Architecture and Design & Business Dialogue.

The design is based on the metaphor of a treasure trove, keeping its valuable content safe. Located on the new administrative and business center of Astana, the new headquarter expresses important values in banking: trust through transparency and solidity. According on the line of vision, as well as on the light incision, the construction may appear to be solid but, on the other hand, may also consent a glimpse to the interior.

«It was beautiful to overcome the adverse climate conditions in Astana, taking in consideration the concept of a huge glass façade building. At that, the building predicts a second layer of façade in the inside thus providing a buffer zone between the exterior and the actual office spaces. Also a combination of efforts between specialities enabled the heating/cooling of its big atrium with nine stories high. On the other hand, a lot of decisions had to be made in the matters of protecting the building from the hard windy winter of Astana.» Country Manager of S+A Kazakhstan, Susana Ramalho, states.

The new building is accessed via an imposing stair and a generously-appointed foyer. The offices, meeting rooms and recreational areas are located on the floors above.

The lightness of the exterior glazing contrasts with the interior sense of warmness providing a vertical visual impact in the inside. From the already existing tubular structure the new headquarter was designed with multiple mismatch module structures, creating a fascinating horizontal dynamic on the facade. For that reason, the new building is the result of slicing down a bigger volume into smaller parts to become closer to the neighboring construction. The architecture comprises several box-like configurations and the different height of each glass box is defined by the existing skeleton.

Green facades provide better air quality, noise damping and natural beauty. Therefore, those living frontages maximize this project's green space with a minimum-sized footprint, creating a corporeal landscape where it was not thought possible. They are both low-cost and low-maintenance in comparison to other greening options. The architecturally sustainable design created an eye-catching project that stand out from the pack.

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Gallery House / CSA Craig Steere Architects

Posted: 14 Apr 2017 10:00 AM PDT

Architects: CSA Craig Steere Architects
Location: Nedlands WA 6009, Australia
Project Architects: Lauren Cullen, Simon Paul
Design Architect: Craig Steere
Area: 643.0 m2
Project Year: 2014
Photographs: Jack Lovel

From the architect. Located on a picturesque site in Nedlands overlooking the Swan River in Perth's western suburbs, this house has been designed to allow for the current and future needs of a growing family of four teenage sons.

Responding to this need, the buildings longitudinal volume is organized into two distinct pavilion forms oriented around a central courtyard. The entry pavilion houses the main living area to the ground floor and the main suite above, with both levels accessing river and suburban views. Natural Light and Privacy from the street is controlled, when necessary, with the use of mechanical louvres to the main suite, which provide a play on light and shadow to this tranquil retreat. The rear pavilion was designed to accommodate four boys – incorporating a large living room connected to an outdoor living area and four identical bedroom pods with separate external access, providing the boys with spaces that aid their growing independence, whilst still maintaining visual and physical connections to the main living spaces. A transitional gallery space accommodates a large kitchen that opens onto the central courtyard and swimming pool and provides a central communal hub for the family to come together to enjoy meals and quality family time. Along the spine of this program the service rooms including the scullery, laundry and powder room are tucked away, concealed within large white, floor to ceiling panels of cabinetry to retain the emphasis on the elegant gallery aesthetic that draws you through the buildings' program. In the evening this language is further articulated via continuous LED strip lighting discreetly hidden within the cabinetry.

The brief called for a strong connection between inside and out and this was achieved with the use of a linear pergola structure that creates a dialogue between spaces, fusing the pavilions together providing a physical and visual link between indoor and outdoor spaces. This seamless connection is enhanced with the use of a swiss system of double-glazing which maximizes the visual connection and openings between the living areas and the courtyard spaces, via its ultra-slim framing system. The pergola also affords shelter and the delineation of space to the outdoor living areas, whilst adding the function of front and rear privacy screening as the structure folds down and anchors itself to the ground.

The residence has a distinct minimalist, contemporary, but warm expression with clean lines and cubic forms. A simple palette of materials has been selected including off-white rendered wall areas, acrylic, natural stone, timber flooring and accent cabinet elements and zinc cladding, complementing the robust form and achieving a low-maintenance design.

This house has been designed to achieve a 6 star energy efficient rating with the application of passive solar design principles and the careful selection of materials with longevity and sustainable technologies throughout the house including rooftop solar PV panels, double glazing, quality solar access and cross ventilation and LED lighting.

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BULLIT / Hugo Mompó

Posted: 14 Apr 2017 08:00 AM PDT

Architects: Hugo Mompó
Location: Carrer de Borriana, 14, 46005 València, Valencia, España
Architect In Charge: Hugo Mompó
Photographs: Mariela Apollonio

Client: Bullit Motorcycles

From the architect. In order to create the new shop "Bullit Cyclery" we started working within a large and dark unit with low-ceilings and entirely divided by walls. We wanted to overturn that situation and create a wide and light space. Thereby the false ceiling and the interior walls were demolished and we opened up completely the rear patio, leaving the space clear and full of light. A bike shop with a cosy character, with a living-room to sit and talk, a kitchen to work and a patio to let the light and air in.

Very little work was carried out: the elements that separate us from the outside, created by using galvanised steel trims; wooden floor slats of a single length whose remains are used as a hanging system; and simple furniture made of the same wood to create the reception desk and workbenches.

The walls are painted white and the ceiling is earth-coloured, the same colour as the pavement used in the entrance and the patio areas. Finally a fence, made of a steel structure, creates the boundary with the street, leaving free access when it is folded.

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Hyperloop One Releases Map of 11 Proposed US Systems

Posted: 14 Apr 2017 07:00 AM PDT

Hyperloop One has revealed the results of the second round of the Hyperloop Global Challenge, which is seeking proposals for future routes for their vacuum-powered transportation system. The semifinalists include 11 different routes connecting various major American cities. Check them out below.

Hyperloop Massachusetts: Boston-Somerset-Providence

Route Length: 64 miles

Rocky Mountain Hyperloop Consortium: Cheyenne-Houston

Route Length: 1152 miles

Hyperloop Midwest: Chicago-Columbus-Pittsburgh

Route Length: 488 miles

Rocky Mountain Hyperloop: Colorado Front Range/Mountain Network

Route Length: 360 miles

Colorado Hyperloop: Colorado Front Range

Route Length: 242 miles

Hyperloop Missouri: Kansas City-St. Louis

Route Length: 240 miles

Hyperloop West: Los Angeles-San Diego

Route Length: 121 miles

Hyperloop Florida: Miami-Orlando

Route Length: 257 miles

Hyperloop Nevada: Reno-Las Vegas

Route Length: 454 miles

PNW Hyperloop: Seattle-Portland

Route Length: 173 miles

Hyperloop Texas: Texas Triangle

Route Length: 640 miles

To vote for the route you believe would best serve the country, visit the Hyperloop Challenge poll, here.

Also announced was the completion of the 1640-foot-long Hyperloop One test track, located in the desert just outside of Las Vegas. The facility will serve as the outdoor lab where extensive testing on the company's proprietary levitation, propulsion, vacuum and control technologies can be carried out. The company believes the first completed Hyperloops should be in cargo service starting in 2020, with the first passenger pods in operation by 2021.

News via Hyperloop One.

BIG and Hyperloop One Unveil Designs for Unprecedented Autonomous Transportation System
Bjarke Ingels Group (BIG) and Hyperloop One have unveiled joint designs for an autonomous transportation system and the world's first Hyperloop pods and portals in the United Arab Emirates (UAE). The designs are being presented as Hyperloop One signs a deal with the Dubai Roads and Transport Authority (RTA), bringing the project one step closer to reality.

Full-Sized Hyperloop One Test Track Nears Completion
Hyperloop One has revealed images of its full-scale test track, called the DevLoop, for the first time as it prepares for its first public trial later this year. The 500-meter-long (1,640 feet) DevLoop is located in the flat terrain of the Nevada desert, just 30 minutes from Las Vegas.

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Tofana / noa* network of architecture

Posted: 14 Apr 2017 06:00 AM PDT

Architects: noa* network of architecture
Location: Strada Colz, 75, 39030 La Villa BZ, Italy
Architects In Charge: Lukas Rungger, Christian Rottensteiner, Marina Gousia, Lea Mittelberger
Area: 2500.0 m2
Project Year: 2016
Photographs: Alex Filz

From the architect. In the demolition and reconstruction of the Hotel Tofana in St. Kassian / S. Cassiano in Badia Valley (IT), the surrounding mountain range served as inspiration for the new architecture and interior design. The concept transfers the athletic spirit of the owner family to the entire building...

Günther and Verena Frena's enthusiasm for sport played a decisive role in the design of the new hotel. The dynamic personality of the two Yoga and Pilates instructors, mountain bikers, ski and snowboard instructors and mountaineers has led the new Tofana to adapt to these two athletic powerhouses: the "mountain" becomes an abstract conceptual inspiration for the entire architecture. The outer silhouette is aesthetically pleasing with its unique scenic entourage and reflects the shape of a tree-lined mountain peak. The hotel acts as a "base camp" for the guest.

„From building to landscape: the design celebrates the evolutionary transformation of an originally compact building - into a layered structural landscape that sustainably reflects its surroundings... the house brings nature into the house", says Lukas Rungger

Interior and exterior, retreat and natural experience, are connected by terraces and balconies, which seem to encircle the landscape. Spacious window surfaces and the terraced structure allow light to penetrate deep into the interior of the building. The terraces are merged by vertical elements in the form of stairs and ramps and are drawn up like a path winding up and around the building to the roof with a "summit cross".

The green case

Densely planted coniferous trees and plants that wind upwards characterize the appearance of the facade. The building becomes an integral part of the surrounding natural backdrops, whereby the compact building with its irregular, asymmetrically designed shape and the many edges acts like an upwards tapering rock formation. The house brings nature into the house. At the same time, the numerous trees on the terraces intensify the conceptual design ideas, and seem to allow the outer space to merge with the interior.

Never stop exploring

The new Tofana should become the temporary home of the guest... Meeting point, regeneration and recreational center as well as starting point or base camp for adventurers, sportsmen and connoisseurs.
Following the motto "Never stop exploring", the concept of movement and the infrastructure in the new Tofana Hotel, follow the principle of a climbing route, which can be traversed by the visitor. The nature and the mountain serve as a stage for various places to linger and relax.

Caves and Biotops

Various lounges and restaurants can be found on the ground floor, always following the alternating natural landscape of the Badia Valley: furniture and sofas in blue, green and brown tones suggest alpine meadows, biotopes, moss forests or rock caves. From the "Base Station" - the reception with gondola – takes you up to the "hut cabbins" (rooms & suites), further over the rocks to the summit of snow and ice creating the relaxation area with a view of the Dolomites. The natural experience becomes the main theme of the entire design.

The furnishing is flexible, the details are thought through down to the smallest detail and made by local craftsmen. The harmonious materiality of the house is based on local sustainable elements such as larch wood, linen fabric, natural stone walls and large, light-flooded glazing… Hammocks, swings, poufs, couches, cushions, posters and words weave through the spaces, underlining the genuine character of the house.

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Shortlist Announced for 2017 RIBA London Awards

Posted: 14 Apr 2017 04:30 AM PDT

A total of 85 buildings from the British capital have been shortlisted for the 2017 RIBA London Awards, including projects from Wilkinson Eyre, AHMM, Allies and Morrison, Herzog & de Meuron, and Rogers Stirk Harbour. All 85 buildings will now be visited and carefully assessed by one of four regional juries, before the regional winners are selected in June of this year. Winning projects will continue on to compete for the RIBA Stirling Prize - the UK's highest honor for architecture.

See a complete list of shortlisted buildings after the break.

1 King William Street / AHMM

131 Sloane Street / Stiff + Trevillion

Mixed Use Scheme, Bermondsey / Hampson Williams Ltd

Private House, North London / Alan Higgs Architects

Shepherd's Bush Road / ColladoCollins Architects with LOM Architects (interiors)

2 Orchard Place / NGArchitecture

30 Cannon Street / Delvendahl Martin LLP

40 Chancery Lane / Bennetts Associates

5-7 St Helen's Place with The Leathersellers' Hall / Eric Parry Architects

55 Victoria Street / Stiff + Trevillion with Pozzoni

6 Wood Lane / Birds Portchmouth Russum Architects

8 Finsbury Circus / WilkinsonEyre

Ansdell Street / Studio Seilern Architects

Barretts Grove / Amin Taha + Groupwork

Belarusian Memorial Chapel / Spheron Architects

Boxpark Croydon / BDP

Brentford Lock West / Mikhail Riches Ltd

Private House, East London / Hugh Strange Architects

Cork Study / Surman Weston

Dujardin Mews / Karakusevic Carson with Maccreanor Lavington

Feilden Fowles' Studio / Feilden Fowles Architects

Foundry Mews / Project Orange

Francis Crick Institute / HOK with PLP Architecture

Google Pancras Square / AHMM

Grand Union Studios – The Ladbroke Grove / AHMM

Hackney New School / Henley Halebrown

Hafer Road / Peter Barber Architects with Mark Fairhurst Architects

Hidden House / LTS Architects

Hidden House / Coffey Architects

Highgate House / Carmody Groarke

Highgate Junior School / Architype

Hindsman Yard / Foster Lomas

Home Studio, Kilburn Lane / Studio McLeod

House in Coombe Park / Eldridge London

Kings College School / Allies and Morrison

Kings Gate and the Zig Zag Building / Lynch Architects

Lock Keepers / Allies and Morrison

Marie's Wardrobe / Tsuruta Architects

Mathematics – The Winton Gallery / Zaha Hadid Architects

New Cancer Centre at Guy's Hospital / Rogers Stirk Harbour + Partners

New Ludgate / Fletcher and Priest Architects with Sauerbruch Hutton

New Scotland Yard / AHMM

New Studios, Wimbledon College of Arts / Penoyre and Prasad

No. 49 / 31/44 Architects

One Ruskin Square / Shed KM

Orsino Building, Uxbridge High School / AndArchitects

Paradise Gardens / Lifschutz Davidson Sandilands

Park Heights / PRP

Park House / 31/44 Architects

Peabody Cleverly Estate / Lyndon Goode Architects

Photography Studio for Juergen Teller / 6a architects

Queen's Court / Child Graddon Lewis

Redchurch Street / vPPR Architects

Riverwalk / Stanton Williams

Salesian House / MSMR Architects

Salter's Hall / DeMetz Forbes Knight Architects

Science Museum Research Centre / Coffey Architects

Silchester / Haworth Tompkins

Southwark Town Hall and Theatre Peckham / Jestico + Whiles

St Benedicts School / van Heyningen and Haward Architects

St John's Hill, Burridge Gardens, Phase 01 / Hawkins\Brown

Sun Rain Room / Tonkin Liu

Tapestry Building / Niall McLaughlin Architects with Weedon Partnership

Tara Theatre / Aedas Arts Team

Tate Modern Switch House / Herzog & de Meuron

The Bartlett School of Architecture / Hawkins\Brown

The British Museum World Conservation and Exhibitions Centre / Rogers Stirk Harbour + Partners

The Cooperage / Chris Dyson Architects

The Cube Building / Hawkins\Brown

The Design Museum and Holland Green / Allies and Morrison with OMA and John Pawson

The Green Nunhead / AOC Architecture Ltd

The Laboratory, Dulwich College / Grimshaw

The Layered Gallery / Gianni Botsford Architects Ltd

The Library at Willesden Green / AHMM

The Lighthouse, King's Cross / Latitude Architects

The Loom / Duggan Morris Architects

Tyers Street, Cabinet Gallery / Trevor Horne Architects

Upper Richmond Road / AHMM

Valentino London / David Chipperfield

Vantage Point / GRID architects

Walmer Yard / Peter Salter and Associates with Mole Architects and John Comparelli Architects

Wedderburn Road / Finkernagel Ross

West Croydon Bus Station / Transport for London

Whole House / Hayhurst and Co.

Windsor Walk / A21 Architects

News via RIBA.

Shortlist Announced for 2016 RIBA London Awards
A total of 68 buildings have been shortlisted for the 2016 RIBA London Awards, including projects from John McAslan + Partners, dRMM Architects, Níall McLaughlin Architects, Eric Parry Architects and Rogers Stirk Harbour. All shortlisted buildings will now be visited and carefully assessed by one of four regional juries, and regional winners will be considered for a RIBA National Award.

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Watermill House / Office of Architecture

Posted: 14 Apr 2017 04:00 AM PDT

Architects: Office of Architecture
Location: Long Island, New York, USA
Architects In Charge: Aniket Shahane, Principal; Ivan Kostic, Valentin Bansac, Tristan Walker, Stephen Maher, Edward Simpson, Joshua Eager
Area: 6000.0 ft2
Project Year: 2016
Photographs: Rafael Gamo

Others Participants: General Contractor: Aran Construction; Structural Engineer: Blue Sky Design; MEP: Altieri Sebor Wieber; Pool: Pristine Pools
Landscape: Summerhill Landscapes, Inc.; Interior Designer: ; Friedman Moore; Design Collaborator: Asheshh Saheba

From the architect. When our clients approached us to discuss the feasibility of designing a fully appointed 6000 square foot summer house in the oceanside town of Southampton, New York, our immediate concern was that the lot – located in a FEMA floodplain, on a property that is approximately 50% unbuildable wetlands – wouldn't deliver the square footage or the living spaces required to create a 'Hamptons Home'.

Rather than fight the constraints imposed by the land, we saw this as an opportunity to capture a variety of spaces that could exist under, over, and between the building and the landscape.The design of this project is literally 'high-end'. Three zinc-clad volumes – the Public wing, the Guest wing, and the Family wing – elevate all the heated areas and critical infrastructure above the floodplain. These volumes organize the primary indoor areas such as living rooms, bedrooms, baths and mechanical rooms, while interstitial spaces between the house and ground foster a series of outdoor rooms including a carport, a courtyard, a pool pavilion, a terrarium, and roof terraces.

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Should Airbnb Help Save This High-Tech Gem?

Posted: 14 Apr 2017 02:30 AM PDT

The Columbus Occupational Health Association could be an ideal candidate for a partnership between Airbnb and Columbus, Indiana. Image Courtesy of H3

This article was originally published by The Architect's Newspaper as "Why Airbnb should help save an architectural icon."

If I had to guess, I would say that it has been forty years since Columbus, Indiana, was the hot topic of cocktail conversations at design-related get-togethers in New York City. In those days, it was the supercharged patronage of industrialist J. Irwin Miller and his relationships with designers like Eero Saarinen and Alexander Girard that spurred a wave of innovative and provocative architecture in the small Midwestern town. Columbus, with a population of 45,000, has a Robert Venturi fire station, a John Johansen school, a park by Michael Van Valkenburgh, and several buildings by Eliel and Eero Saarinen, including the younger's iconic Miller House.

However, Columbus is once again in the spotlight. Exhibit Columbus is an ongoing initiative that launched September 29 with a symposium that will set the stage for a large public design exhibition in 2017. Exhibit organizer Richard McCoy, with the assistance of local patrons and leaders such as president of the Wallace Foundation Will Miller, designer Jonathan Nesci, architect Louis Joyner, educator T. Kelly Wilson, and archivist Tricia Gilson, has built a local movement and amassed a group of world-class designers—Aranda/Lasch, Baumgartner + Uriu, Rachel Hayes, Höweler+Yoon, IKD, Ball-Nogues Studio, Johnston Marklee, Jonathan Olivares Design Research, Oyler Wu Collaborative, Plan B Architecture & Urbanism, and studio:indigenous—that are competing for the inaugural Miller Prize, an unusual head-to-head competition where ten teams will make site-specific installations for five sites in Columbus. Five will win the battle and build their proposals fall 2017.

All of this attention has once again launched Columbus into the design consciousness. Many people are excited to see what the 2017 exhibition will bring. In parallel, there is another incredible opportunity in Columbus that could build on this momentum.

With renewed interest in the town, which thrives off of architectural tourism, the hospitality industry is booming. Notably, however, there are few Airbnb properties. A cursory search for a weekend in October returns only three listings, none of which are downtown where all of the action is. This matters because young tourists are looking for more exciting lodging options than a regular hotel. What would alternative lodging look like in Columbus today?

Aerial of Columbus Occupational Health Association. Image Courtesy of H3

There is a venue that would be perfect. The Cummins Occupational Health Association (COHA) was one of the most innovative buildings in Columbus, but it is now under threat because its owner, Cummins Inc., has no use for it. Originally completed in 1973 by Hugh Hardy of Hardy Holzman Pfeiffer, this late modernist, high-tech building is one of Columbus's best-kept secrets. Its colorful, highly expressive exposed building systems celebrate building technology with mannerist exuberance. The spacious open plan is choreographed by a ramp that animates the space and was a revolutionary new way of building healthcare facilities in the 1970s. However, this ramp may render it inflexible for healthcare-related adaptive reuse in today's world.

So what is the appropriate new life for COHA? One possibility would be lofts or student housing. While the town may not have the market for this typology, there might be another solution. If Airbnb bought the building, it could turn it into a cluster of rentals (like a hotel) that would be rentable on Airbnb and could piggyback off of its collaboration with Japanese architect Go Hasegawa in the Japanese village Yoshino. This project, Sugi No Ie (Yoshino Cedar House), acts as both a rental unit and community center for visitors and is owned by local community groups, thus giving back to the town and offering a community-based experience for travelers.

Original Interior of Columbus Occupational Health Association. Image Courtesy of H3

In this model, the town would own the space, and rent it out on Airbnb. Proceeds could benefit the Heritage Fund, which is invested in the preservation of the architecture through Landmark Columbus. Airbnb would be helping to preserve modern design.

The COHA building is perfect for this model. It needs a patron, and there is no cut-and-dry reuse for it. How cool would it be to stay or live in a radical, 1970s doctor's office? Artists or designers could get long-term rentals, while visitors could stay for the night. It would take a visionary company like Airbnb that values design to revitalize this space into one of the world's best design destination hotels. The company would be a hero. Let's hope it can make this dream a reality.

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Tropik Works / VOID opd

Posted: 14 Apr 2017 02:00 AM PDT

Architects: VOID opd
Location: Playa Grande, Guanacaste Province, Costa Rica
Architect In Charge: Tropik Works
Area: 215.0 m2
Project Year: 2016
Photographs: Andrés García Lachner

Developer: Greenenergy

From the architect. Tropik Work, the first off-grid residence in Costa Rica, was born out of the investigation of a new way of life rather than a traditional architectonic response. In wanting to establish a balance with the environment, we reimagined the concept of housing, creating an adaptable and malleable solution that grows with time in harmony with nature. We firmly believe that the consumption of renewable energies promotes technological development, as part of the new efficient economic model that is established as an engine of growth and employment. At the same time, these renewable energies are part of the vision promoted by our country to become carbon neutral by the year 2021. If we consider that construction is one of the primary contributors of CO2 emissions, we are forced to assume this challenge and establish the parameters for a new sustainable development.

Everything is planned to take only what is necessary, through passive systems that are adapted to different configurations and to each of the living areas present in our country. We have based ourselves on three fundamental principles: efficiency, double functionality and maintaining a closed cycle, where each of these principles is materialized in the architecture.

Efficiency is established through a prefabricated system that is later put together on site. This allows shortened execution times and reduces the cost of construction, as well as the direct impact over the terrain. The double functionality is reached as the architecture is conceived to fulfill and resolve a specific climatic parameter. Maintaining a closed cycle is achieved through the reutilization of resources, energy, water and food, that are integrated to each other through an organizational system that revolves around an elevated central patio, defining the unit as a living component that breathes from its interior. This organizational system at the same time allows a double relation with nature, since the inhabitable spaces are contained within a natural space.

The crossed ventilation, prefabrication, the extraction and induction system which passively takes advantage of the air currents and thermal differences, the reutilization of water for food production and the solar radiation protection, as well as the captured energy stored in a comprehensive system of solar panels strategically positioned to take advantage of energetic performance, are part of the basic strategies which allow us to be an independent, 100% sustainable off-grid system.

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Hollwich Kushner Unveils Plans for Mixed-Use Business District in Munich

Posted: 14 Apr 2017 01:00 AM PDT

Hollwich Kushner design . Image Courtesy of Art-Invest Real Estate and Accumulata Immobilien

Renderings have been released for Hollwich Kushner's first European project – Die Macherei, a new mixed-use business district based in Munich. Designed by the New York firm in collaboration with local practices msm meyer schmitz-morkramer and OSA Ochs Schmidhuber Architekten of Frankfurt/Cologne and Munich respectively, the financial hub will feature 64,000 square meters of rental space, bringing together offices, shops, dining experiences, a hotel and a gym.

"I could not be more excited to realize our first European project in my hometown. Designed not just as a series of buildings but as an exploration of the spaces between the buildings, Die Macherei is an innovative design for a  new way of working and interacting, integrating social activity and behaviors to promote a sense of community," expressed Matthias Holwich, principal at HWKN.

msm meyer schmitzmorkramer design. Image Courtesy of Art-Invest Real Estate and Accumulata Immobilien

Of the six new interrelated buildings that will occupy the site, HWKN is behind the design of the hotel and two adjacent office buildings. Situated in the district's east, the buildings opt for simplicity through the adoption of a uniform identity, which in turns adds emphasis to the various public spaces available to locals and visitors alike.

The hotel features an elevated bar and consists of a series of outdoor terraces offering views of the distant Alps, while the east office building accommodates a two-story gym. The third building extends to guide pedestrians towards Die Macherei's public plaza, at the heart of the district.

OSA Ochs Schmidhuber Architekten design. Image Courtesy of Art-Invest Real Estate and Accumulata Immobilien

With the loft-like proportions of the facade, the buildings portray an informality that puts people first, explain the architects.

Meanwhile, msm meyer schmitz-morkramer is responsible for the design of two buildings along Berg-am-Laimstraße, with offices and retail spaces, while OSA Ochs Schmidhuber hints at the materiality of former local brick kilns with its design of a 15,000 square meter incubator building, providing working spaces and conference rooms.

Courtyard. Image Courtesy of Art-Invest Real Estate and Accumulata Immobilien

Hollwich Kushner and OSA Ochs Schmidhuber Architekten design. Image Courtesy of Art-Invest Real Estate and Accumulata Immobilien

Construction is expected to continue until 2019, as the three practices work in collaboration with Munich developers Art-Invest Real Estate and Accumulata Immobilien.

News via: Hollwich Kushner.

Architects: Hollwich Kushner, msm meyer schmitz-morkramer, OSA Ochs Schmidhuber Architekten
Developer: Art-Invest Real Estate, Accumulata Immobilien
Area: 64000.0 m2
Project Year: 2019
Photographs: Courtesy of Art-Invest Real Estate and Accumulata Immobilien

Winning Proposal to Define Jurong Lake District as Singapore's Newest Business Hub
The Singapore Urban Redevelopment Authority (URA) has selected KCAP Architects&Planners as the primary consultant to develop Singapore's Jurong Lake District, leading a varied design team that includes SAA Architects, Arup, S333, and Lekker.

OMA to Regenerate Historic Columbia Circle in Shanghai
OMA, in collaboration with local architects ECADI and landscape architects West 8, has developed a new mixed-use masterplan for Columbia Circle in the center of Shanghai. Layered with rich history, the site contains preserved colonial monuments, former industrial buildings and 1920's country club buildings by architect Elliott Hazzard - these elements will be renewed and transformed by the master plan to return Columbia Circle into one of Shanghai 's most prominent public spaces.

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Six of the Best Spatial Installations at Salone del Mobile 2017

Posted: 14 Apr 2017 12:30 AM PDT

With the 2017 Salone del Mobile now behind us, photographer Laurian Ghinitoiu has shared a collection of photographs from Milan Design Week. From housing prototypes to immersive "digital installations", the annual design show—which is often touted to be the fourth largest of any kind in the world—this year brought together a wide range of practitioners and design companies. In Milan, unusual collaborations are the order of the day.

Unlike our top five installations at 2016's incarnation, the installations of 2017 have not been ranked.

COS × Studio Swine: New Spring at Cinema Arti

COS × Studio Swine. Image © Laurian Ghinitoiu

Inspired by the famous cherry blossom festival in Japan, the installation is designed to create a special moment that brings people together. A fleeting shared experience that evokes a sense of the changing seasons.

Diller Scofidio + Renfro: A Matter of Perception: Linking Minds at Palazzo Litta

Very often good ideas are generated by closed encounters and long lasting collaborations. The goal [was] to create an exhibition that lends into the creative process between two or more persons. Ideas that grow from scratch through a mix of friendship, mutual trust and experience.

nendo: Invisible Outlines at Jil Sander Showroom

The project is about creating more edges from a single sheet. [...] With one sheet there are four sides, but by cutting them and spreading them open, the edges create this kind of landscape.

SPEECH: City DNA at Cortile del 700 (University of Milan)

The installation consists of mirrors and media screens: they divide the courtyard space into four sectors, each of which develops its own local transformation of material into the immaterial. Its main theme is the visualization of a modern metropolis: the media screens broadcast video collages out of maps and photographs of four cities – Shanghai, New York, Moscow and Milan.

SO-IL: MINI LIVING – Breathe

[It] calls into question conventional living concepts and introduces a creative problem-solving approach for future challenges in urban areas [and] shows what happens when we view houses not only as a space in which to live, but as an active part of our environment.

AA Museum Lab + Lärs Muller Publishers: Nomadic Bookstore in Piazza San Marco

Nomadic Bookstore. Image © Laurian Ghinitoiu

Conceived as an itinerant urban structure, the hovering LED-lit roof of the pavilion projects into the city ever changing provocative titles of Lars Müller's books and shelters the publications within a soft interior-scape.

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Spotlight: Peter Behrens

Posted: 13 Apr 2017 11:00 PM PDT

The AEG Turbine Factory. Image © <a href='https://commons.wikimedia.org/wiki/File:Berlin_AEG_Turbinenfabrik.jpg'>Wikimedia user Doris Antony</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>

If asked to name buildings by German architect and designer Peter Behrens (14 April 1868 – 27 February 1940), few people would be able to answer with anything other than his AEG Turbine Factory in Berlin. His style was not one that lends itself easily to canonization; indeed, even the Turbine Factory itself is difficult to appreciate without an understanding of its historical context. Despite this, Behrens' achievements are not to be underestimated, and his importance to the development of architecture might best be understood by looking at three young architects who worked in his studio around 1910: Le Corbusier, Mies van der Rohe and Walter Gropius.

Peter Behrens portrait taken by Waldemar Titzenthaler c.1913. (Public domain)

Born in Hamburg, Behrens moved to Munich in 1890 where he began his career as a painter, illustrator and bookbinder. In these years, he was part of Munich's art scene, and generally worked in the popular style of the time, Jugendstil (Art Nouveau). In 1899, Behrens was invited by the Grand-duke Ernst-Ludwig of Hesse to Darmstadt Artists' Colony, where he was offered the opportunity to build his own house.

The resulting building—Behrens' first work of architecture—is indebted to Art Nouveau in some of its features, but it is more remarkable for the way in which it deviates from Art Nouveau norms. Many consider its more austere, stripped down style to be Behrens' first step away from decorative styles and towards the modernism that he eventually helped to inspire.

The Peter Behrens House at the Darmstadt Artists' Colony. Image © <a href='https://www.flickr.com/photos/16782093@N03/4238259133'>Flickr user Metro Centric</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>

In 1907, Behrens teamed with ten other artists and designers and a group of twelve companies to create the Deutscher Werkbund, an organization that was deliberately designed to compete with the English Arts and Crafts movement, and to improve the status of German design and industry. As a result of this organization, Behrens was employed by AEG as an artistic consultant and called upon to design everything from the company's logos and typefaces to its product design, effectively making Behrens the world's first industrial designer.

From this alliance in 1909 came the AEG Turbine Factory. Once again, the design does not entirely eschew traditional architecture, with solid gable ends and corner walls recalling an abstracted classical temple. However, the building's industrial nature required a significantly different approach, in both its spatial and functional requirements, to anything that established architectural styles had to offer. As a result, steel and glass predominate in the building's 123-meter long shell.

From the AEG Turbine Factory, it is not difficult to trace a lineage to Walter Gropius' design for the Fagus Factory four years later, and then onward to the rest of the modern movement. Still relatively young, Behrens went on to teach at the Academy of Fine Arts Vienna and the Prussian Academy of Arts. Though he never replicated the success of some of his protégés, his style also continued to evolve—ironically, 19 years after he created the Deutscher Werkbund to compete with English designers, Behrens designed the "New Ways" house in Northampton, considered by some to be the UK's first Modernist house.

Find out more about the three architects who began their careers working for Behrens here:

Spotlight: Le Corbusier

Spotlight: Mies van der Rohe

Spotlight: Walter Gropius
Gropius was the founder of the Bauhaus, the German "School of Building" that embraced elements of art, architecture, graphic design, interior design, industrial design, and typography in its design, development and production (learn more in our infographic here).

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University of Birmingham's Library / Associated Architects

Posted: 13 Apr 2017 10:00 PM PDT

Architects: Associated Architects
Location: Birmingham B15 2TT, United Kingdom
Architect In Charge: Warren Jukes
Area: 17000.0 m2
Project Year: 2016
Photographs: Tim Cornbill

Project Architect: Tim Cornbill
Technical Associate: Mark O'Donnell
Structural Engineer: ARUP
Services Engineer: Couch Perry Wilkes
Façade Engineer: Buro Happold
Quantity Surveyor: Currie & Brown
Landscape Architect: Churchman
Acoustician: Ramboll
Main Contractor: Carillion
Façade Subcontractor: Inasus
Services Subcontractor: NG Bailey
Concrete Frame Subcontractor: Morrisroe
Furniture Subcontractor: Broadstock

From the architect. Associated Architects' feasibility study concluded that a new building rather than refurbishment of the existing library would best meet the University's needs. The demolition of the adjacent deficient 1950s library will create a 'green heart' to the campus, improving both site circulation and the setting of the historic buildings. The new Library has a colonnaded frontage to this open space, at the natural centre of the University.

A brief was developed focusing on the user, rather than the collection, with intuitive, natural circulation. The plan is bisected by a central street running north-south. This generates the internal planning, creating quiet study spaces around the building's perimeter. 17,000sq.m of floor space is arranged over six levels with a series of lightwells running through the building. The angled west side is aligned to the new ring road, with railway and canal beyond. This arrangement exploits views and maximises the scheme's presence seen from the railway.

The new Library has a contemporary aesthetic, with a high level of glazing maximising views in and out to achieve optimum day-lighting to quiet perimeter study areas. Anodised aluminium fins and automatic blinds provide solar shading, adding a layer of detail to the elevations, with ceramic granite cladding to the cores. The importance of the south-east corner beside the University Centre is emphasised by the tower, orientated toward the landmark University clock tower.

Located on the Ground Floor are a café and an open plan atrium space which can be utilised for exhibition/events to showcase research at the University. Open access facilities take up half the ground floor atrium, the other half is populated with IT desks to make a vibrant circulation space. The reserve store is placed below ground on the sloping site, to keep overall height down and ensure ground floor activity. With some 62 kilometres of shelving, including 12km of open access bookshelves, the library provides a new home for the thousands of books and publications owned by the University.

The façade of the building was required to meet a variety of criteria. A balance needed to be achieved to utilise natural light but avoid overheating from solar gain. Active solar shading was integrated to control internal temperature, which creates a dynamic face to the building that changes at different times of day. Feature anodised gold vertical fins add another layer of external solar shading and create a rhythm to the façade. High insulative values were required to meet the target reduction in energy use in comparison to the existing library. The façade utilises a standard Schuco FW60 system with an integrated Schuco CTB roller blind and bespoke extruded fins.

Concrete was specified for the structural frame so this could act as exposed thermal mass to help with energy efficiency. Large areas of soffit and all columns were to be exposed so a detailed specification was produced to ensure that the highest quality finish was achieved alongside restrictions of number of blowholes and surface variations. On site, a clear Kiem wash was applied to the concrete throughout the building to help provide a consistent finish. Early design coordination was required to confirm lighting positions as these were cast into the slab, to be fed from the raised access floor above.

Acoustics are one of the most crucial factors to consider when designing a library. Two large atria and perimeter study spaces required treatment to ensure the acoustic criteria was met. The feature gold staircase in the centre of the building acts as a large acoustic baffle, with insulated metal perforated panels wrapped around its structure, alongside insulated panels that line the perimeter of the slab edges in the atria. Suspended metal acoustic baffles are located above the perimeter study spaces to ensure sound doesn't break out into the atria. Other study spaces vary in function from individual study, group workspaces and silent study spaces, so these are treated locally with a combination suspended baffles and acoustic ceilings, to help provide comfortable spaces for students to work.

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Tech News

subota, 15. travnja 2017.

Arch Daily

Arch Daily

Hyperloop Massachusetts: Boston-Somerset-Providence

Rocky Mountain Hyperloop Consortium: Cheyenne-Houston

Hyperloop Midwest: Chicago-Columbus-Pittsburgh

Rocky Mountain Hyperloop: Colorado Front Range/Mountain Network

Colorado Hyperloop: Colorado Front Range

Hyperloop Missouri: Kansas City-St. Louis

Hyperloop West: Los Angeles-San Diego

Hyperloop Florida: Miami-Orlando

Hyperloop Nevada: Reno-Las Vegas

PNW Hyperloop: Seattle-Portland

Hyperloop Texas: Texas Triangle

BIG and Hyperloop One Unveil Designs for Unprecedented Autonomous Transportation System

Full-Sized Hyperloop One Test Track Nears Completion

The green case

Never stop exploring

Caves and Biotops

Shortlist Announced for 2016 RIBA London Awards

Winning Proposal to Define Jurong Lake District as Singapore's Newest Business Hub

OMA to Regenerate Historic Columbia Circle in Shanghai

COS × Studio Swine: New Spring at Cinema Arti

Diller Scofidio + Renfro: A Matter of Perception: Linking Minds at Palazzo Litta

nendo: Invisible Outlines at Jil Sander Showroom

SPEECH: City DNA at Cortile del 700 (University of Milan)

SO-IL: MINI LIVING – Breathe

AA Museum Lab + Lärs Muller Publishers: Nomadic Bookstore in Piazza San Marco

Spotlight: Walter Gropius

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