Arch Daily |
- 3 Stories / GASPARBONTA
- U House / Ronnie Alroy Architects
- Is "Post-Digital Drawing" the Next Stage in the Hand vs Computer Debate?
- Mecanoo and Gispen's Design Modular Furniture Collection for Flexible Learning Environments
- Public Library and Socio-Cultural Center / Singular Studio
- Spotlight: Mario Botta
- The Creative Energy of Zaha's Sketches
- JC House / Plus Line Design
- Announcing First Comprehensive Biography of Bjarke Ingels
- RIBA’s New National Architecture Centre Will Celebrate Liverpool’s Architectural History
| Posted: 01 Apr 2017 07:00 PM PDT  © Bálint Jaksa Photography
 © Bálint Jaksa Photography From the architect. 3 Stories is an apartment converted from a most unusual structure to a contemporary living space.  © Bálint Jaksa Photography 'I highly doubt, that this apartment can be turned into a decent home' - said a close relative of the owner, seconds after we first saw this place. I hardly agreed. I loved it. Luckily, the owner - a great innovator, a friend and a fellow dino enthusiast - and I were on the same page about the outcome. This was one of the most complicated structures, I have ever seen, covered by numerous layers of human history and unwanted building materials. We had to take the long road and uncover this beauty and turn it to a contemporary home.  © Bálint Jaksa Photography  © Bálint Jaksa Photography Having three stories with one entrance simplifies the question of public and private spaces, naturally the first story became the public zone with the entrance-lobby-kitchen-dining room combo. Since one of the main attractions of the apartment is the incredible roof terrace, located on the third story, we had to connect this to the public zone, while creating a nice quiet private part, a bedroom with its on terrace and a bathroom on the second story. So we went on and created a nice cozy living room underneath the beautiful roof structure, connected with two staircases. This way we have a perfectly fluent connection between all the spaces.  Section Choosing materials here was really easy, since we had beautiful wooden surfaces, and brick. Adding concrete and iron to the mix was an obvious selection, creating a contrast between the surfaces to highlight the beautiful details was the trick. What amazed me was how the personal belongings of the owner made these spaces complete, fitting perfectly to the concept. I believe this is how a project like this should end - with everything in its right place.  © Bálint Jaksa Photography We used a great deal of repurposed old wood for furniture, stairs and wall covering also. This material was originally used in an old building's wooden structural elements. We liked the idea, that old materials can keep being reused as new. Even more interesting when it is next to this house's wooden structural elements.  Section This posting includes an audio/video/photo media file: Download Now |
| U House / Ronnie Alroy Architects Posted: 01 Apr 2017 01:00 PM PDT  © Amit Geron
 © Amit Geron From the architect. The project is located in Tel Aviv, city that was declared by unesco in 2003 as world heritage since "The White City of Tel Aviv can be seen as an outstanding example in a large scale of the innovative town- planning ideas of the first part of the 20th century. The architecture is a synthetic representation of some of the most significant trends of Modern Movement in architecture"  © Amit Geron The house with a background of the upcoming tall buildings seeks to remind the heritage of the white city. The house is a one family urban house which reinvents the idea of the white cube with the ribbon window which is a significant feature of the 30't and 40's residential buildings in Tel Aviv.  Plan In the 30's the ribbon windows stood one above the other. In the white 2016 cube the ribbon windows are allowed a flexible interaction with the interiors of the house and react to the surroundings.  © Amit Geron The ribbon windows are accentuated by a dark metal frame around them. In the main entrances the metal frames become a metal fold that defines the entrance and protects from the weather.  Section In the back courtyard the Metal fold becomes a canopy for shade. The white cube sits on assembly of exposed concrete walls and planters that form a plastic landscaping that brings out the purity of the white cube. The Interior of the house contracts with the white cube.  © Amit Geron It involves interplay of raw materials in juxtaposition to the purity of the cube. In the centre of the house is a cantilevered staircase of metal and wood that transforms itself on each floor, on the basement it becomes a desk and working area, on the ground floor it is a division between the living room and the kitchen Above the staircase there's a skylight that brings in light and is a reminder of the white cube and therefore of the white city.  © Amit Geron This posting includes an audio/video/photo media file: Download Now |
| Is "Post-Digital Drawing" the Next Stage in the Hand vs Computer Debate? Posted: 01 Apr 2017 09:00 AM PDT  <a href='http://www.archdaily.com/801629/garage-house-fala-atelier/58538399e58ece1f960000f8-garage-house-fala-atelier-collage'>Garage House / Fala Atelier</a>. Image Courtesy of Fala Atelier Currently on display at the MoMA in New York is Zaha Hadid's concept painting for her seminal unbuilt project, The Peak in Hong Kong. The piece was made in 1991, on the edge of the digital revolution in architectural drawing fueled at its heart by the popularization of 3D CAD programs. The painting for The Peak arguably came at the end of the period of architectural drawing for its own sake, and the beginning of a period of scalable, scrollable renderings meant to show the real world. It only makes sense that this new software for image creation would usher in a new style of drawing with a function very different to the previous era: tool and process inherently constrain design by imposing a predetermined agenda for the user's interaction with them. During this digital period, architects like Lebbeus Woods and Michael Graves, known for their mastery in the art of hand drawing, pushed back against the dominant narrative of hyperrealism in architectural drawing. However, according to Sam Jacob's latest article for Metropolis Magazine, we may be entering an age of "post-digital" representation. In the post-digital, architects return to the convention of drawing, but create new methodologies by reevaluating and appropriating the digital tools of the last few decades. Current techniques within this practice have leaned heavily towards the collage, but research into what post-digital drawing could mean continues in firms and universities.
To learn more about the future of the post-digital, read the original article by Sam Jacob here. This posting includes an audio/video/photo media file: Download Now |
| Mecanoo and Gispen's Design Modular Furniture Collection for Flexible Learning Environments Posted: 01 Apr 2017 07:00 AM PDT  Courtesy of Mecanoo Dutch firm Mecanoo has partnered with furniture manufacturer Gispen to create a new collection of modular and customizable furniture geared specifically towards a variety working and learning environments. HUBB has been designed to adapt to a range of working requirements and scenarios, seamlessly accommodating different collaborative activities and individual work preferences.  Courtesy of Mecanoo "The ideal working and learning environment offers zones for focused activity, collaboration and socializing, each characterized by different activities," explained the design team. "Utilizing the modular HUBB furniture concept, different zones flow seamlessly into each other, accumulating in a landscape that has the flexibility to be tailored to what's required at that moment."  Courtesy of Mecanoo The collection consists of a series of elements that combine to provide multiple combinations, functioning around a single core. Different furniture configurations include stand-alone, wall integrated, and custom diner-style booths, all of which can be rearranged as users see fit. Chairs can be used individually, combine to create benches, or merge to form a focused working hub with the addition of a roof piece, as dictated by work and learning requirements. Responsibly sourced timber, PET and steel have all been used in the manufacture of the furniture, keeping in line with Mecanoo and Gispen's sustainable ideals. Based on circular economy principles, which aim to prevent material shortage and waste, all elements of the collection are fully reusable and demountable, offering longer lifespans.  Courtesy of Mecanoo HUBB has already been implemented at the Fontys University of Applied Sciences in the transformation of a formerly vacant space into a new multipurpose learning environment. Both Mecanoo and Gispen are keen to explore the future of learning, by "creating environments where creativity, innovation and identity flourish, and where people can exchange ideas and inspire one another."  Courtesy of Mecanoo The HUBB collection can be viewed on Gispen's website, and more information on the project can be found here.  Courtesy of Mecanoo News via Mecanoo. This posting includes an audio/video/photo media file: Download Now |
| Public Library and Socio-Cultural Center / Singular Studio Posted: 01 Apr 2017 06:00 AM PDT  © David Frutos
 © David Frutos From the architect. This building, conceived with a hybrid use of Public Library and Socio-Cultural Center, is located in the seaside neighborhood of Javea, near the port. This is the reason why, after a process of architectural approach, it has been inspired by reasons related to the sea ... metal facade vibrates, has three dimensions and simulates movement, such as sea surface. The facade treatment, as a light metal skin that envelops the whole volume, aims to boost its weightlessness without touching the ground plane. It is a large box or floating cage, a huge metal fishing net as those in the nearby port.  Isometric The project addresses a dual program with a single compact volume of rectangular shape that uses all permitted parameters of local urban planning. There are three floors above the ground and a half-buried floor that gives access to the back yard where is located the main hall of the socio-cultural center. A perforation on the top floor generates an outside patio, breaking the uniformity of volume along with the lateral incision, which is the outside stairway of evacuation.  © David Frutos The ground floor opens to the outside through a glass enclosure to reach the entrance, sheltering the more public program and the room for children's activities. The uses of library are disposed at higher levels, with diffuse natural light through the outer skin, which gives a more private character for concentration on reading.  © David Frutos  © David Frutos Two large interior voids connect the three main levels of the building, generating successive spaces with diagonal perspectives.  Sections  Section The metal skin has been specifically designed to ensure sun penetration through it during winter while avoiding solar gaining in summer. With this strategy, and also with other bioclimatic issues such us cross ventilation, biodynamic lighting, natural isolation, etc, the building has obtained the highest sustainable qualification.  © David Frutos This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Apr 2017 05:00 AM PDT  Cathédrale d'Evry (Essonne-France). Image © <a href='https://www.flickr.com/photos/tongeron91/8674923860/'>Flickr user tongeron91</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Working since he was 16, Swiss architect Mario Botta (April 1, 1943) has become a prolific and well known crafter of space, designing a huge array of places of worship, private homes, and museums, perhaps most notably the San Francisco Museum of Modern Art and the Church of San Giovanni Battista in Mogno, Switzerland. His use of traditional masonry over the streamlined steel and glass of so much modern architecture creates strong, self-confident buildings that pull together the contrast between the weight of his materials and lightness of his designs.  © Sanyam Bahga Studying architecture in the Italian cities of Milan and Venice, Botta began his professional career working under giants of modernism such as Louis Kahn and Le Corbusier himself, whose religious buildings at Ronchamp, among others, influenced the goals of Botta.  Bechtler Museum of Modern Art, Charlotte. Image © Joel Lassiter  Santa Maria degli Angeli Chapel. Image © Jonathan Lin Botta is most well known for his museums; attracting international attention for the San Francisco Museum of Modern Art in the 1990s. Museums are perfectly suited to Botta's geometrically pure, counter-intuitively light style of design and his ability to draw on the deep classical traditions that ran through western architecture—honed after nearly 50 years of continuous work that shows little sign of slowing, with his projects in more recent years including the Bechtler Museum of Modern Art in Charlotte.  SFMOMA, San Francisco. Image © <a href='https://www.flickr.com/photos/benchan/164924830/'>Flickr user benchan</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>  Chiesa di S.Giovanni Battista, Mogno-Fusio. Image © Irene Grassi As such, his reputation as an architect of traditional materials is impressive, something only helped by his keen ability to recognize and incorporate vernacular styles of the area into his work, while still keeping the building recognizably distinct. He has worked on projects across the world, from Tel Aviv to San Francisco, and most recently has expanded into Asia. See ArchDaily's articles about the work of Mario Botta via the links below: Bechtler Museum of Modern Art / Mario Botta Ando, Botta & Glancey on the Dream of Venice, Photographed by Riccardo De Cal This posting includes an audio/video/photo media file: Download Now |
| The Creative Energy of Zaha's Sketches Posted: 01 Apr 2017 02:30 AM PDT
A year after her untimely passing, we take a look back on one of the hallmarks of Zaha Hadid's career as an architect: her sketches. In October we wrote about how her paintings influenced her architecture. Now, we examine her most emblematic sketches and the part they played in the initial formal exploration of her design process.  Terminus Multimodal Hoenheim Nord1 2001. Image Courtesy of Zaha Hadid Architects  Phaeno Science Centre 2005. Image Courtesy of Zaha Hadid Architects Drawings, whether done by hand or digitally, are the result of a personal, intimate process of thinking through a project and setting a path for the general development of the design. Possessing different characteristics and intensities, each sketch is a reflection of the author's thoughts--acting as both a kind of signature and the theoretical seed of a larger process. Some architects use sketches to define details and create their design from that starting point, some use the drawing itself to determine the form of a project, and other architects draw the context in order to imagine the specific location of their project.  Rosenthal Center for Contempoary Art 2003 . Image Courtesy of Zaha Hadid Architects  Rosenthal Center for Contempoary Art 2003 . Image Courtesy of Zaha Hadid Architects Zaha's exceptional, unique sketches don't have much to do with concrete visions of what a project will eventually be. On the contrary, her drawings are profoundly influenced by her admiration for artistic abstraction. The beauty lies in the formal liberty that Hadid mines as she approaches what will eventually become her buildings. The drawings depict formal exercises, spatial conceptualizations, compositions, construction systems, structures, or contextual relationships (among other things). They are an invitation to use the liberty gifted to us by the act of drawing.  Phaeno Science Centre 2005. Image Courtesy of Zaha Hadid Architects
This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Apr 2017 02:00 AM PDT  © Vlad Patru
 © Vlad Patru From the architect. The house is located on a low traffic street with an ordinary residential use of a four-member family. The topography places the house between two adjoining blind walls, which divides the space into two yards: a limited front yard, which provides street access and connects with the private, landscaped backyard. A third "courtyard" is created indoors, beneath the staircase. This empty space stretches to the width and height of the house, from wall to wall and has an oversized skylight providing ample light.  © Vlad Patru This skylight also provides passive ventilation for the entire space through an electric controlled window.  © Vlad Patru With energy efficiency in mind, the house is insolated by a 15-centimeter stone wool layer (20cm for the upper terrace,) and the west facing facade (towards the backyard) is protected against the sun by a concrete console at second floor level and wooden pergola and sunshades at first level. These passive systems, which reduce energy consumption, are complemented by the solar panels and the floor radiant heat.  Ground Floor  © Vlad Patru  First Floor Plan Wood plating can be found on the East facing facade (street side,) as well as indoors (hard wood flooring is raised on the walls or by MDF veneer.) This creates a warm, natural atmosphere. Following the same trend, the yards have been landscaped with various plants types, with varying blooming seasons to provide a beautiful landscape year-round.  © Vlad Patru  © Vlad Patru Ultimately, the core principles of this project are the connection to nature (in an urban setting with limited available lot) and energy efficiency.  © Vlad Patru This posting includes an audio/video/photo media file: Download Now |
| Announcing First Comprehensive Biography of Bjarke Ingels Posted: 01 Apr 2017 01:00 AM PDT  One year ago today the Editors of ArchDaily conceived of a project which has consumed a small and dedicated team ever since. After drawing the best talent following an international (and highly secretive) recruitment drive in 2016, a special task force was engaged with the challenge of developing our company's first printed publication. "The decision to break into print was not one we took lightly," explains ArchDaily's Managing Editor of Books, Lea Brary. "However, we are confident that this endeavor will please architecture fans and bibliophiles worldwide." Following twelve months of intense work and production we are proud to reveal BjarkeDaily: What It's Like to Write About the BIG Man – the first comprehensive biographical study of Bjarke Ingels and BIG; an homage to the architect and practice who have become a quotidian feature of our platform for over half a decade. BjarkeDaily was born out of an absence – an absence of news. On a daily basis our Editors are faced with the same perennial questions: "Where in the world is Bjarke today? Is the 'Courtscraper' finished? Did you see that documentary with him in, yet?" On days in which no news comes from either Copenhagen nor New York City, the emptiness in our Newsroom is palpable. "Sometimes we have no Bjarke news; those days are very strange... hollow, even," one Editor commented. This project has filled the void. A 1417-page publication, which will be published in four volumes between now and Summer 2018, documents all there is to know about Bjarke Ingels, his practice, and their completed and ongoing projects. Our specialized team of Editors painstakingly recreated his travel itinerary by triangulating locations of Instagram posts of and by the Danish architect. In so doing, they have inadvertently developed new location techniques which have since been purchased and implemented by two notable intelligence agencies. Including a comprehensive post-lecture selfie-survey crowdsourced from 22 cities around the world and curated from over 600 submissions, the publication is also printed on high-quality 110gsm Swedish Munken paper and will be available in six languages (English, Spanish, Portuguese, Mandarin, Danish, and Gaelic). The decision to move forward with the project came about when the team realized that close to 25% of visitors to ArchDaily's digital platforms were coming solely for information about Bjarke and his projects. It is estimated that 9 out of every 10 readers consumes at least one article about Bjarke per day. Every indication suggests that this figure will rise exponentially with Bjarke's age. In an added bonus, it is expected that people will actually take ArchDaily more seriously now that we are publishing words on paper and not just on screens.
A fifth volume will be published in 2019 outlining the long process of production and creative endeavours of our team. This behind-the-scenes 'reveal' will be called Behind the Bjarke, and will be published by our new imprint, ArchBookly. Noah's Bjarke, a children's story about ArchDaily intern Noah Klue's journey to get to know the architect and his partners, is expected to be available online and in all good book stores in time for the 2017 Holiday Season.
 BjarkeDaily: A Biography of Bjarke Ingels This posting includes an audio/video/photo media file: Download Now |
| RIBA’s New National Architecture Centre Will Celebrate Liverpool’s Architectural History Posted: 31 Mar 2017 11:00 PM PDT  © Edmund Sumner Liverpool will soon be home to the Royal Institute of British Architect's (RIBA) new national centre for architecture, RIBA North, which will be a new focal point for visitors to learn about architecture, as well as the culture and history behind Liverpool's built environment. Occupying a part of the Mann Island Buildings designed by Broadway Malyan in 2013, RIBA North will offer a host of new opportunities for architectural discovery and education, including exhibitions, lectures, tours, and a digital model of the city. "At RIBA North, we have a building with museum conditions which will offer a magnificent opportunity to view RIBA's world-renowned historic collections showing hundreds of years of the UK's extraordinary architectural history," explained RIBA President Jane Duncan. "We are particularly proud to strengthen our cultural and creative offering in the north of England, and to enable many more people to explore and understand the enormous impact that architecture and design has on all our lives."  © McCoy Wynne The centre's main attraction is the permanent City Gallery, where the public can explore Liverpool's historical urban development and evolution as a city, while speculating on what the future holds, through the interactive Digital City Model. This 3D model encompasses Liverpool and its surrounding areas, and aims to be a useful tool for architects, planners, and developers as they continue to design for the region's future. Alongside a café and a shop, the centre will display temporary exhibitions including the valuable RIBA Collections, which contain architectural drawings, prints, and photographs, dating back to the 15th century.  © Edmund Sumner The first of these exhibitions, titled Liverpool(e): Mover, Shaker, Architectural Risk-Taker, hones in on the city's ambitious architectural undertakings, as well as its "willingness to take risks and consider audacious schemes." As a result of a £67,000 grant from the Heritage Lottery Fund, 30 unseen drawings, watercolors, and models from the RIBA Collections will be on display, including the never-built work of Sir Charles Nicholson, Philip Webb, Sir Denys Lasdun and Graeme Shankland.  © Web Aviation UK "We're proud of our heritage in the city, which is why we have focused on bringing so much of it back to life, and I have high hopes that the RIBA's presence in the city will increase opportunities to work with other cities across the Northern Powerhouse," said Joe Anderson, Mayor of Liverpool.  © Web Aviation UK Situated on Liverpool's waterfront, RIBA North is set to open on June 17th and hopes to provide new opportunities for architectural education and discourse. Learn more about the new national centre here. News via RIBA This posting includes an audio/video/photo media file: Download Now |
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