Arch Daily |
- Sapiens / Costa Lopes
- AD Classics: Vitra Design Museum / Gehry Partners
- Lano Fruits Office / Laura Ortín
- Single Family House on a Slope / Dost
- a+u 2017:04 – MVRDV Files #3
- T.LOFT Experience Museum / CM design
- Jey Shir / Aleshtar Architectural Office
- Floating Pavilion / Shen Ting Tseng architects
- Patom Organic Living / NITAPROW
- Peter Cook's Advice For Young Architects: "Get Out and Look!"
- Tucumán Building / Garnerone + Ramos Arq
- Adjaye Associate's Aishti Foundation Photographed by Julien Lanoo
- The Saint George College’s Gymnasium / Gonzalo Mardones V. Arquitectos
- Frank Lloyd Wright School of Architecture to Change Name with New Branding
- Emerge / Jason Griffiths and College of Architecture - University of Nebraska-Lincoln
- Which Cities Have the Most Skyscrapers?
- 3:2 House / Método
- 7 of MIT Labs' Best Ideas for Future Cities
- Step Up Your Sketches With These Basic Principles Of Two-Point Perspective
- Benoit&Roselyne / DIXNEUFCENTQUATREVINGTSIX
| Posted: 27 Apr 2017 10:00 PM PDT  © Fabrice Fouillet
 © Fabrice Fouillet From the architect. The Sapiens Building (Polytechnic Institute of Science and Technology) is located in a still semi-industrial area, on an intermediate topographic platform between the northern limit of downtown, not far from Luanda's port and the Central Railway Station, and the bottom of the cliff just bellow the residential neighbourhood of Miramar.  © Fabrice Fouillet The situation was very challenging, even more when considering the implantation on a wedge plot, next to Rua dos Municípios Portugueses, already very compacted by two towers, one of offices with 14 floors and the other of housing with 20 floors.  © Fabrice Fouillet The polyhedral volume occupies the available plot completely. On one hand, its abstraction fits better to the close proximity of the towers and, despite its six floors, guarantees its formal firmness.On the other hand, enhance the concrete structure, the galleries in continuous parietal and surgical tear dramatize the polyhedral whole, become tropicalized mediators of light and shadow, allow the views over the city and deliver an elegant urban vibration.  Ground Floor Plan  Section Finally, this same tearing denounces the firm rationalization and public fluidity of the educational program, unified between the peripheral galleries and the circulatory heart of the building, and between the cafeteria on the roof terrace and the ground floor open to the exterior, with the public mission being celebrated in the big auditorium.  © Fabrice Fouillet  © Fabrice Fouillet The Sapiens Building transforms the contingencies to its own advantage, vigorous in urban presence and generous in public ethics.  © Fabrice Fouillet This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Vitra Design Museum / Gehry Partners Posted: 27 Apr 2017 09:00 PM PDT  © Liao Yusheng From the architect. Even at the Vitra Campus in Weil-am-Rhein—a collection of furniture factories, offices, showrooms, and galleries, many of which are the products of iconic architects—the Vitra Design Museum stands out as exceptional. With its sculptural form composed of interconnected curving volumes, the museum is the unmistakable work of Frank Gehry – an architect who has built a legacy for himself upon such structures. What may not be immediately apparent is the crossroads that this serene white building represents: it was in this project at the southwestern corner of Germany (close to the Swiss border) that Gehry first realized a structure in the vein of his now signature style.  © Liao Yusheng As with a number of great works of architecture, the Vitra Design Museum's story began with a fire. One night in 1981, a single bolt of lightning struck the Vitra Campus setting off an inferno which reduced half of the campus to smoldering ruins by morning. In the wake of the devastation, Vitra would commission a number of notable architects from around the world—including Tadao Ando, Alvaro Siza, and Zaha Hadid—to contribute designs for buildings to replace those lost in the blaze, curating a sequence of projects by some of the late 20th Century's most celebrated designers.[1] Gehry's contribution to the campus came in the late 1980s. Over its (then) three decades in business, Vitra had accumulated a sizable collection of chairs and other pieces of domestic furniture. The company initially planned to house these articles in a simple shed-like structure, providing both public exhibition and storage facilities. During the design process, however, this simple mandate grew more ambitious; what had been envisioned as a display space for a private collection evolved into the Vitra Design Museum, an independent organization dedicated to the research, dissemination and popularization of design.[2]  © Liao Yusheng By the 1980s, the Canadian-American Gehry had already made a name for himself as a "Deconstructivist" architect. His body of work by the time rejected the cold monumentality of Modernism, instead seeking integrity with its surroundings and creating spaces that related more clearly to human scale. This philosophy was perhaps best exemplified by his own home in Venice, California, with its jagged, oblique protrusions of chain link and glass. In fact, his early work was almost exclusively composed of straight lines and angles, a far cry from the undulating, sculptural style he has since adopted. It was only with the Vitra Design Museum, his first realized building in Europe, that Gehry's now signature style began to emerge.[3,4] Designed in collaboration with German architect Günter Pfeifer, the Design Museum is a clear transition between Gehry's smaller-scale Deconstructivist projects and the grander, sleeker aesthetic for which he is better known. It is neither fully angular nor fully curved but a mixture, with volumes of either nature intersecting at shallow angles throughout the structure. The sloping curves, finished in white plaster, are likely a reference to Le Corbusier's Notre Dame du Haut, located nearby across the French border. The zinc alloy plating which covers the roof and some wall planes, meanwhile, not only references a nearby factory building by Nicholas Grimshaw, but calls forward to Gehry's later works, which would be sheathed entirely in polished metals.[5]  © Liao Yusheng  © Liao Yusheng The interior of the building comprises four main display galleries, production areas, a test laboratory, cafeteria, multi-purpose room, and offices. It is the functional requirements of these spaces that helped to dictate the size of the volumetric towers, bridges, and cubes that compose the form of the building, but their arrangement was evidently dictated by a desire to create a sense of spatial intrigue.[6] The inclusion of curves, beyond referencing Notre Dame du Haut, may also be inspired by the nearby Vitra factory: the focal elements being gentle, sweeping curves. This, perhaps, was meant to imply the feeling of a collective movement, fitting for a place of industrial manufacturing.[7] Despite its 8,000 square feet (743 square meters) of exhibition space being relatively modest for a museum, the Vitra Design Museum is nonetheless one of the world's leading institutions dedicated to design. The display areas occupy two floors of the building, consisting of a series of exhibition halls (two of which connected by a dramatic spiral stairway). A large cross is cut into the roof above, bathing the exhibition spaces in light. The main furniture collection, originally consisting solely of Vitra CEO Rolf Fehlbaum's approximately 200 Modern and contemporary chairs, has since grown to over 6,000 objects including chairs, cutlery, consumer electronics, and architectural prototypes.[8,9,10]  © Liao Yusheng The Vitra Design Museum opened its doors to the public in 1989 and has enjoyed widespread acclaim in the almost three decades since. Its fluid, dynamic composition of interconnected volumes made an instant and lasting impression; architectural writer and critic Paul Heyer lauded the building, describing it as "a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions. As a totality it resolves itself into an entwined coherent display."[11] For Gehry himself, the Vitra Design Museum represented a life-altering epiphany: "I love the shaping I can do when I'm sketching and it never occurred to me that I would do it in a building. The first thing I built of anything like that is Vitra in Germany."[12] Whatever stance one takes on Gehry's unique architectural style, it cannot be denied that it has become a global sensation – a sensation which was born in a modestly-sized museum in a factory campus in a discreet corner of Germany. References [1] Fiederer, Luke. "AD Classics: Vitra Fire Station / Zaha Hadid." ArchDaily. April 21, 2016. [access].
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| Lano Fruits Office / Laura Ortín Posted: 27 Apr 2017 08:00 PM PDT  © David Frutos
 © David Frutos From the architect. LANO FRUITS new office. They are 'oranges brokers'. This office distributes fruits all over the world.  Isometric  Plan  © David Frutos The Restoration is carried out by the reinforcement of the structure with a delicate concrete operation. The reorganization of pipes allows to maintain the original height. And the opening of a skylight provides a lot of natural light during the working day.  © David Frutos The Architecture starts at the coffee break area, the hall for workers and sporadic visitors. They  © David Frutos There are no studies. They prefer a space of meetings and confidences which is cosier.  Cross Section  © David Frutos The floor is a twisted PVC colour triangulation. It also covers some blind parts of the partition to hide the toilet and the broom closet.  © David Frutos  Longitudinal Section The main lighting is lifted off the ceiling with circular lamps of kind light. In the meeting  © David Frutos This posting includes an audio/video/photo media file: Download Now |
| Single Family House on a Slope / Dost Posted: 27 Apr 2017 07:00 PM PDT  © Andrin Winteler | bürobuerau
 © Andrin Winteler | bürobuerau From the architect. This single family house is on a steep southern slope that leads to the centre of the village.  Ground Floor plan An introvert north facade contrasts strongly with the other facades, which are symmetrical and open to the views. The windows on the south, east and west façade are carefully designed and positioned in a dialogue with the slope.  © Andrin Winteler | bürobuerau  South Elevation + Section 1 As for the interior, the program is split vertically: the public area is on the first floor and the private area on the ground floor. The use of natural and rough materials, such as concrete and wood, create the perfect stage to display the owners' passion for art and valuable furniture.  © Andrin Winteler | bürobuerau The functional spaces such as the kitchen and the bathroom are held in a central volume. A clever strategy that allows all the surrounding space to be used freely as the living area.  © Andrin Winteler | bürobuerau This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Apr 2017 06:00 PM PDT  From the publishers. The April 2017 issue of a+u is devoted to the work of MVRDV, the architectural office based in the Netherlands. This is the third of the MVRDV FILES series by a+u, following MVRDV FILES 1 in 2002 and MVRDV FILES 2 in 2007.  As was done in the first two volumes, the projects in this issue are organized by the project number, which corresponds to the starting dates of the projects. In the past decade, MVRDV has completed some of their world-famous projects including the Book Mountain and Market Hall. These projects were featured in the second volume when they were still in the planning phase. Back then, many of us thought these projects were visionary. After 24 years since the establishment of the office, MVRDV is now realizing many of their "visions". They believe in the positive possibilities that architecture can show to the society, and strive to make them a reality. Through the featured 37 projects and interviews with the three directors, we invite our readers to immerse in the future of architecture that MVRDV is envisioning.    Contents
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| T.LOFT Experience Museum / CM design Posted: 27 Apr 2017 03:00 PM PDT  © Zhi Xia
 © Zhi Xia From the architect. Futian village is a typical urban village in Shenzhen. It is located in the east of Futian District, to the north is the popular digital shopping district, Huaqiang North, to the South is Huanggang area. This project is located in east side of Fuxiang street which is the important commercial street in Futian village, large number of people from "Huan Qing Cultural Square" are gathering to accelerate the development and upgrade of existing commercial street shop. How to promote the transformation of the original single commercial street to the multi-functional integrated business model, so as to create more opportunities in the diverse environment?  Concept diagram Our strategy is to transplant the spatial form of different scales to strengthen the functional structure of the community. To place the diversified strategies of three-dimensional space to create multiple variations of life situation of village complex mode to accommodate, so that people from different regions, and then provide maximum opportunities for exchange, the interaction of multiple scenarios, in order to form a full of attractive and unique "city in village."  © Zhi Xia With the attribute of city space and architectural space existing features, we changed the originally closed and immutable and frozen store image, to maximize the display of internal space, not only broke the unitary block elements form of the shop, but also built a key node which can interact with public activities in plaza. It is also a continuation of large-scale outdoor activities more than to expand indoor small cultural activities.  axonometric diagram  programme We construct "space system co-existence" to complete the grafting on the village highly inclusive "city symbiosis" of the social system, new spatial form implanted into the "space system co-existence" in the premise of keep integrity of original spatial structure and skin texture, the tremendous contrast between metal coated aluminum plate sandwich blend space and original wall texture forms, the concept emphasizes the importance of symbiosis blend of old and new, harmonious space.  © Zhi Xia The first floor space is for the public area and open reception area, flexible spatial arrangement satisfies the daily food and beverage use can be derived the exhibitions, salons, lectures, film screenings, fashion show and other diverse types of space.  © Zhi Xia The second floor space is divided into a number of functional attributes of independent space, a collection of books, games room, studio, office, lounge and other functions, to provide a differentiated composite space for diversity demand.  © Zhi Xia We expect to excite urban village life and new business development mode in diverse understanding and imagination through from the project, more social, artistic and public ideas are found and to rethink the meaning and value of life in the urban village.  exploded axonometric diagram This posting includes an audio/video/photo media file: Download Now |
| Jey Shir / Aleshtar Architectural Office Posted: 27 Apr 2017 01:00 PM PDT  © Parham Taghioff + Farshid Nasrabadi
 © Parham Taghioff + Farshid Nasrabadi From the architect. That's really a mouthful expression but it's true. In every corner of this historical city you can find inner beauty and jay sheer is one of this inner beauty which is in contrast to other architectural part of new and modern city of Isfahan. The reason will be unveiled to you in just a moment in the mean time let's find out more about jay sheer.  © Parham Taghioff + Farshid Nasrabadi "Jay sheer" residential building is taken its name from its neighborhood "Jay Sheer". (Jay is one of the previous historical names of Isfahan). The design of building is based on internal relationship with the traditional architecture of the city and the volume of the building is designed as a symbol of protest against the inappropriate new age of architecture. And it defines itself by isolating itself from the inconvenient atmosphere around it. The proper openings, decks and the yard of the building makes a proper environment inside it. The material of the building is brick which is influenced by the traditional architecture of the city and it is transferred into a modern and minimal form to be in harmony within the modern architecture of the city. This design focuses on two aspect of the contrasted architecture of the building.  © Parham Taghioff + Farshid Nasrabadi First, it's the southern façade with the dark color which is the reaction against the modern architecture of the city and second, its internal white bricks which shows the perspectives of interior design.  © Parham Taghioff + Farshid Nasrabadi Even though Isfahan now is a modern city in its own way, but even in this time you can still find something or someone that wants to say let's not forget about our culture and the past.  Plans and Sections This posting includes an audio/video/photo media file: Download Now |
| Floating Pavilion / Shen Ting Tseng architects Posted: 27 Apr 2017 12:00 PM PDT .jpg?1493153918 "© Shawn Liu") © Shawn Liu
.jpg?1493154004 "© Shawn Liu") © Shawn Liu  Concept  Concept "Floating" was a temporal architecture exhibited in the TFAM plaza which lasted for three months. The plaza is situated on the edge of urban center, adjacent to riverbank on the north side, hence causing frequent wind across the plaza. Due to the unbearable gusts of wind and subtropical sunlight on this plaza, people visiting the museum usually hurry inside the museum building, leaving the plaza a space lacking vitality. .jpg?1493153731 "© Shawn Liu") © Shawn Liu .jpg?1493153801 "© Shawn Liu") © Shawn Liu In response to the natural feature of the site, the concept of "Floating" is derived from the attributes of wind and light. By joining the kite canopy and the curved island platform from above and below, a pavilion that captures breeze and light is created, floating amidst the plaza. Through the interaction between kite canopy and natural forces, a new way of perceiving the space is provided. The plaza becomes a gathering catalyst, an intimate yet public field. .jpg?1493153820 "© Shawn Liu") © Shawn Liu  Axonometric The kite canopy is consisted of 320 box-kites. The swaying motions of kites enhance the unique presence of wind, providing a place of relaxation. Sun light across different time of the day permeated through the kites, transforming and creating multiple presentations of light and shades. .jpg?1493154063 "© Shawn Liu") © Shawn Liu .jpg?1493153944 "© Shawn Liu") © Shawn Liu Beneath the canopy is a curved island ascending towards the center. The light cast onto the curvilinear surface permeated through the kites creates a feast of light and shadow. Visitors approach out of curiosity, meander within the pavilion, laying under the shades or sliding down the curved slope. Wandering towards the center, a reddish-pink spherical void is placed within the island. When entered, the unique sound effect reflected by the spherical space and the natural elements embrace the visitor with a sense of serenity. .jpg?1493153984 "© Shawn Liu") © Shawn Liu  Detail This posting includes an audio/video/photo media file: Download Now |
| Patom Organic Living / NITAPROW Posted: 27 Apr 2017 10:00 AM PDT  © Ketsiree Wongwan
 © Ketsiree Wongwan  Site plan From the architect. Tucked away in Thonglor's prime residential neighbourhood, the newly constructed building serves as a shop/showroom for Patom body care products, a small 25-seat café and a place for raising ecological awareness and sustainable living through a series of workshops and farmers market held in the garden, selling fresh produce from the local network of organic farmers.  © Ketsiree Wongwan The small wood-framed glass building sits on a slightly raised mound covered by wild grass and ferns that naturally soften its rectangular footprint while carefully preserving an existing line of fruit trees. The building's transparency and its modest size set out to unveil the expanse of the lush garden around and beyond its volume, which in turn create a setting where passersby can catch a clear glimpse of the livelihood inside the glass enclosure alongside the garden's natural surroundings.  © Ketsiree Wongwan The use of curvature in the design facilitates both the physical and the visual flow of the rectangular enclosure and conceptually reconnects the interior design language with its landscape. The rattan wrapped spiral staircase and the corresponding curved mezzanine add to the overall interior, an elevated getaway with a privileged view, a hint of intimacy and playfulness.  © Ketsiree Wongwan The composition of wood posts and ceiling pattern owe its visual reference to the scenic view of coconut trees and palm trees at Patom's Organic farm where their tall slender trunks with branches that radiate around the trees' zenith form an inspiring gesture which initiates the design of the ceiling's structural layout and the central wood post of the building.  © Ketsiree Wongwan  © Ketsiree Wongwan With high regard for wood as a renewable and sustainable building material, all structural posts and beams are consciously made of reclaimed Redwood and Tabak wood recovered from the owner's old and abandoned houseboat. Tree trunks that form the base of the brass display tables were collected from fallen trees at the owner's farm. Café tables and chairs were refurbished from the owner's unused teak furniture collection.  © Ketsiree Wongwan  First floor plan This posting includes an audio/video/photo media file: Download Now |
| Peter Cook's Advice For Young Architects: "Get Out and Look!" Posted: 27 Apr 2017 09:00 AM PDT  The legendary, ever-insightful Sir Peter Cook recently shared some advice for students with Det Kongelige Danske Kunstakademis Skoler for Arkitektur, Design og Konservering (KADK). Recommending ideas such as studying at two or more schools, working in at least two countries, and getting outside and simply watching people, it is clear that the key component to Sir Cook's suggestions for self-improvement as an architect is a diverse and engaged set of personal experiences. ArchDaily has also had a few opportunities to speak with Sir Cook, and just as we see in the video below, his passion and good will always shine. The full text of Sir Cook's comments:
See ArchDaily's previous interviews with Sir Peter Cook at the links below: "Creative Cynic" Peter Cook Explains Why Archigram Designs Were Always Meant to Be Built AD Interviews: Peter Cook / CRAB Studio This posting includes an audio/video/photo media file: Download Now |
| Tucumán Building / Garnerone + Ramos Arq Posted: 27 Apr 2017 08:00 AM PDT .jpg?1493180270 "© Walter Salcedo") © Walter Salcedo
 © Walter Salcedo "Tucumán Building" is located within Pichincha District —four blocks from Oroño Boulevard and five blocks from Paraná River waterfront. Built on a 10 m x 17.5 m plot, this building is 13 m tall, the maximum height permitted as per Rosario's Urban Code. This was established for the area delimited by a special plan devised for Pichincha District, "Plan Especial Barrio Pichincha", which applies to the majority of the blocks in the area.  AXONOMETRIC 2 .jpg?1493180278 "© Walter Salcedo") © Walter Salcedo  BALCONY DETAIL The starting point was the development of a plan that would conform to the morphology of the block —with only one building with balconies protruding from the frontage line. Next, we worked toward the interior of the plot on the design of the semi-covered spaces of the units.  © Walter Salcedo The material chosen for the skin was concrete blocks. These were emplaced in the raw so that their natural characteristics could be appreciated. Moreover, the proportions of these blocks allowed us to "pierce" the plan and generate movement across the width of the building. The outward appearance was completed with exposed concrete for the ceilings and ironwork for the openings.  © Walter Salcedo So as not to disrupt the continuity into the pedestrian zone, we cleared the view with glass panes both at the ground floor premise and at the entrance of the building, and with metallic gates in the garages. This continuity was further accentuated by the fact that both the sidewalk and the garages shared the same material.  WALL + STAIR Other highlights are the folded steel plate stairs and the ingress of zenith light, which was achieved by means of the subtraction of blocks over the closure of the ounter façade. This way, we not only allowed natural sunlight into the common areas of the building but also established an intimate connection between the interior and the exterior.  © Walter Salcedo This posting includes an audio/video/photo media file: Download Now |
| Adjaye Associate's Aishti Foundation Photographed by Julien Lanoo Posted: 27 Apr 2017 07:00 AM PDT  © Julien Lanoo In this series, photographer Julien Lanoo turns his camera toward Adjaye Associates' Aishti Foundation in Beirut, a shopping center and museum showcasing the private contemporary art collection of Tony Salamé, the founder of Lebanese luxury retailer Aishti. Located on a coastal brownfield site in central Beirut, the building integrates the two distinct programs by establishing what the architects call a "celebration of views into the spaces as well as a homogenising tiled design that presents a language throughout the building's floor, façade and roof." Interior spaces are organized around a reflective central atrium, while an undulating landscape along the water reclaims seaside public space, and opens up views over the city of Beirut. Check out the full photoset, below.  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo  © Julien Lanoo See more of Lanoo's work, here.
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| The Saint George College’s Gymnasium / Gonzalo Mardones V. Arquitectos Posted: 27 Apr 2017 06:00 AM PDT  © Nico Saieh
 © Nico Saieh  © Nico Saieh From the architect. The Saint George´s College is located at the foothills of Cerro Manquehue, in the Vitacura neighbourhood, Santiago de Chile, in the middle of a forest that is maintained thanks to the microclimate of a place enclosed under the hill. This school, designed in the 70's by the architect Gustavo Munizaga, responds to a campus typology, with programmatic volumes scattered among the trees, covering the entire terrain and having the hill always present as a backdrop. The original idea takes the option of streets, hallways and squares, where circulations and volumes that compose the classrooms are arranged at the height of the trees foliage.  © Nico Saieh The new gym is located in the same place where the old one was, also using the terrace used before as recreational courts.  © Nico Saieh  Roof Plan - Exterior Courts  Section A first consideration was to join this major campus system without interrupting the views to the hill. For this, a building mainly buried was projected, keeping the maximum height of the volume to the same level of the roofs of the original school buildings. A second idea was to create a building able to hold sports activities, both inside and outside. For this, a large roof (fifth façade) was designed, as a support for outdoor courts, replacing the old recreational terrace.  © Nico Saieh Programmatically, the building was resolved with a large central space that houses a main court (or three of training), stands with seats for 2500 people, stage and athletic training track, two lateral buildings housing each dressing and physical conditioning rooms; also, an upper building that receives the teachers' halls, being its roof a stand to the other courts of the sports complex.  © Skye Chapman  Section  1st Underground Leve Plan This building, being buried (sixth façade), is illuminated and ventilated by interior courtyards.  © Skye Chapman  © Nico Saieh The buried building was completely made of reinforced concrete, reaching twelve meters under the ground level. Concrete with added titanium dioxide was used, allowing the concrete to bleach, and also helping like trees with the elimination of toxic gases produced by cars (photocatalysis). In order to support the upper courts and generate the interior space, seven 50 meter long box-type beams were designed complementing the surface with a 20 cm thick reinforced concrete slab. These beams were divided in three sections in order to be transported, lifted and mounted in their definitive position. The sections were built in factory with pre-stressed concrete, and once placed in its temporary supports, the set was post-tensioned to assemble each beam.  © Nico Saieh The set generated an important structure with a large mass. Given the seismicity of the area, it was necessary to place reinforced concrete walls around the perimeter, capable to withstand the stress caused by an earthquake. The walls were placed in a discontinuous way on three sides of the enclosure to allow the passage of light, stairs and accesses.  © Nico Saieh This posting includes an audio/video/photo media file: Download Now |
| Frank Lloyd Wright School of Architecture to Change Name with New Branding Posted: 27 Apr 2017 05:15 AM PDT
Following a successful several-year long campaign to maintain its accreditation as an institute of higher learning, the Frank Lloyd Wright School of Architecture has announced a name change and rebranding, as part of efforts stipulated by the Higher Learning Commission to distance itself from the larger Frank Lloyd Wright Foundation. As a nod to the institution's origins as Frank Lloyd Wright's Taliesin Fellowship, the school will now be known as the School of Architecture at Taliesin.  via Frank Lloyd Wright Foundation "Adopting this new name, the School of Architecture at Taliesin, helps us to secure our identity as an experimental, forward-looking architecture program that is deeply rooted in the Taliesin Fellowship," said Aaron Betsky, dean of the School. "The process in which we developed our new relationship with the Foundation and our accreditors has been an opportunity to closely examine who we are as a school and how to best position ourselves to advance our mission and create quality educational experiences for our students." Coinciding with the name change, the School has also received a new visual identity and branding strategy created by Pentagram partner and Frank Lloyd Wright Foundation boardmember Michael Bierut. According to Bierut, the graphic strategy was inspired by both the institution's heritage and aspirations.  via Frank Lloyd Wright Foundation "The solidity of the horizontally-oriented typography evokes the desert landscape that inspired Frank Lloyd Wright and his students," explains Bierut. "The variety of forms that these letterforms will assume is meant to indicate the capacity for experiment and invention that has always been at the heart of the Taliesin experiment." "Dean Betsky and the School have been excellent partners of the Frank Lloyd Wright Foundation," says Foundation President & CEO Stuart Graff. "As we celebrate the 150thanniversary of Frank Lloyd Wright's birth this year, we are highlighting the profound impact Wright has on the way we continue to build and live. We believe that Wright is more relevant today than he was even in his own lifetime, and the School of Architecture at Taliesin is a prime example of his ongoing impact and contribution to innovative architecture and design." Learn more about the upcoming changes, here. News via Frank Lloyd Wright Foundation.
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| Emerge / Jason Griffiths and College of Architecture - University of Nebraska-Lincoln Posted: 27 Apr 2017 04:00 AM PDT  © Mike Lundgren
 Diagram "Emerge" is a one hundred square foot structure designed to hold small gatherings of teachers and students visiting the Bauman Tree Farm. It is a collaboration between the College of Architecture at the University Lincoln-Nebraska, the tree farm, and The DR Johnson Lumber Mill.  © Mike Lundgren  Section Emerge is located within the forest to draw students into contact with new and old growth trees and to expose them to the diversity of the surrounding trees. Through a program called "Forests Today & Forever" the farm promotes forest stewardship and education each year welcoming up to 2,000 visitors. .jpg?1487638304 "© Mike Lundgren") © Mike Lundgren The structure's floor and walls are made from Cross Laminated Timber (CLT), and the roof is a combination of CLT, glulam and dimension lumber. The structure is clad on the roof and sides with a simple build-up of CLT, shingles and timber siding.  Diagram Emerge was designed to provide an aesthetic narrative that allows visitors to appreciate the project's relationship to forestry production in the Pacific Northwest. Visitors experience this narrative in a various ways including the building's front and back screens. Here timber elements are arranged in an ordered pattern at the lower level but become increasingly disordered as they go up. The CLT gable ends are left exposed, protected by a screen of slats at either end of the building. These slats respond to angles of rain by gradually increasing their pitch, the higher they are on the screen. This screen describes the way dimensional lumber "emerges" from the natural environment of the forest.  Diagram  © Mike Lundgren This narrative is continued on the inside where the visitor's attention is drawn up to the roof light and to the views of the forest canopy above.  © Mike Lundgren Emerge is the third in a series of five projects for the farm, which collectively demonstrate diverse uses of timber in a range of forestry settings. Each project enhances the farm's education program through the tactile, phenomenological, and spatial qualities of architecture. Through these projects the Bauman Farm is able to integrate the latest developments in the lumber industry with the traditions of forestry in the American Northwest.  © Mike Lundgren This posting includes an audio/video/photo media file: Download Now |
| Which Cities Have the Most Skyscrapers? Posted: 27 Apr 2017 02:30 AM PDT  There's a lot that the presence of skyscrapers can say about a city. They can be indicators of anything from wealth to modernization to density, or a combination of all three, depending on where you look. This potential to observe trends in a city through the height of its buildings makes data on those buildings valuable to a multitude of industries, so companies like Emporis conduct and distribute research on topics like the newest, tallest, and most expensive buildings in the world. Keep reading to find out about the ten tall cities that are home to the largest number of skyscrapers—as defined by Emporis' definition of a building that is 100 meters or more. 1. Hong Kong (1302) © <a href='https://www.flickr.com/photos/ashleyt/5903678858/'>Flickr user Lim Ashley</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Perhaps more so than in any other city, verticality for Hong Kong is an absolute necessity. The mountainous geography of the city's small islands meant that by the 1900s, Hong Kong was already innovating with vertical building methods to become one of the densest urban centers on the planet. The reality is that there just isn't space to do things any differently. While some architectural standouts exist in Hong Kong, like Norman Foster's HSBC building and I.M. Pei's Bank of China Tower, the city is known more for its sheer height and density than individual buildings. Together, the 1302 skyscrapers create an urban tapestry that has become iconic in itself. 2. New York (727) © <a href='https://www.flickr.com/photos/karlnorling/14155443959/'>Flickr user karlnorling</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Another notable case of island-prompted architecture, New York City's love affair with the skyscraper dates back to the late 19th century when tall buildings migrated eastward from Chicago. After a population explosion caused an initial need to build upwards, the postwar economic boom in the 1920s made it possible for buildings to be taller than ever before. The Chrysler Building and Empire State Building were built in this period. Today, the city is home to the United States' tallest building, One World Trade Center. 3. Tokyo (488) © <a href='https://www.flickr.com/photos/trendscout/7329679610/'>Flickr user Matthias Mueller</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Until 1963, Japan's laws for building standards capped construction height at 31 meters. Shortly after the law was changed, the slablike Kasumigaseki Building in Tokyo became the country's first modern skyscraper. Following the Kasumigaseki Building's construction in 1968, Tokyo steadily increased its number of skyscrapers each year, peaking with several dozen new projects annually between the 1990s and 2000s. Japan's frequent earthquakes have necessitated a strict building code that requires skyscrapers to implement safety infrastructure such as shock absorbers, large foundations, and bases that can move independently from above floors into their designs. Tokyo's tallest skyscrapers are mostly mixed-use office buildings, with the notable exception of Kenzō Tange's Tokyo Metropolitan Government Building, which was the tallest in the city when it was built in 1991. You can find out more about the history of tall buildings in Japan here. 4. Chicago (312) © <a href='https://www.flickr.com/photos/vxla/5458296107/'>Flickr user vxla</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Although it has now dropped to spot number four on the list, Chicago was once the site of what many consider the world's first skyscraper: William Le Baron Jenney's ten-story Home Insurance Building in 1884. The building was later demolished and Chicago's building code later banned the construction of these early skyscrapers, but the city's history paved the way for a second phase in skyscraper design. In the 1960s and 70s, the John Hancock Center, Willis Tower (formerly Sears Tower), and Mies van der Rohe's IBM Building set the tone for a new Chicago architecture based on the International Style. Another important Chicago skyscraper from the same period is Bertrand Goldberg's Marina Bay Towers, which was one of the tallest residential projects in the world at the time of its construction in 1964. 5. Shanghai (296) © <a href='https://www.flickr.com/photos/frans16611/10381819445/'>Flickr user Francois Philipp</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Shanghai is a city divided in two by the Huangpu River, and the eastern side, Pudong, holds its most iconic skyscrapers. As recently as thirty years ago, Pudong was an unimportant annex of farmland and low-rises to Shanghai's longstanding Puxi. Since China's economic boom, it has become the city's financial center, as well as a particularly photogenic piece of the country's display of wealth and modernity. The skyscrapers of Pudong, built from the 90s onwards, are almost painfully futuristic, and the area is a stunning collection of shimmering glass megatowers. The recently completed Shanghai Tower from Gensler is now the tallest in China, and the second tallest in the world. 6. Dubai (286) © <a href='https://www.flickr.com/photos/ajaygoel2011/32769092921/'>Flickr user Ajay Goel</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Another recently, rapidly vertical city, Dubai was a small desert town before the discovery of oil and subsequent creation of the United Arab Emirates in 1971. Even as late as the 1990s, Dubai was almost entirely unrecognizable from the architectural fantasyland it is described as today. Dubai's towers and urban planning are a result of massive investments in new engineering technology, and its two most famous buildings are a testament to this. The Burj al Arab is a 320-meter offshore hotel, and the Burj Khalifa is the tallest building in the world at 828 meters. 7. Shenzhen (260) © <a href='https://www.flickr.com/photos/johnas/9535463146/'>Flickr user jo.sau</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Shenzhen didn't exist a few decades ago. In its place was a small fishing village—until 1980, when it became China's first Special Economic Zone, meaning it allowed private enterprise and foreign investments. It is now a major pillar of the Pearl River Delta, one of the country's biggest manufacturing hubs, and has a population of 11 million people. The influx of people and business created both the necessity and financial means for an eruption of skyscrapers, like the Ping An Finance Center—the world's fourth tallest building—that now define the city. 8. Toronto (255) © <a href='https://www.flickr.com/photos/archer10/14840276941/'>Flickr user Dennis Jarvis</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Mies van der Rohe's Toronto-Dominion Centre, a collection of 6 modernist buildings of 222 meters each, were Toronto's first skyscrapers in 1967. In the decades that followed, tall hotels and office buildings moved into downtown Toronto, and the last ten years have seen an increase in soaring condominiums, whose presence has been criticized for being too uniform and alienating to the average citizen. 9. Guangzhou (245) © <a href='https://www.flickr.com/photos/johnas/9713793896/'>Flickr user jo.sau</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Like Shenzhen, Guangzhou is another Pearl River Delta city that has seen major architectural growth as a result of its manufacturing economy. Many of its newer skyscrapers are clustered in the downtown area around the Canton Tower, where they frame a large public square and park area with a pleasant, if homogenous, blue glass background. Much of the rest of the city follows a more traditional socialist architecture, where washed-out pastel residential buildings line the streets. 10. Singapore (232) © <a href='https://www.flickr.com/photos/maltman23/15991825045/'>Flickr user Mitch Altman</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> At the time of its independence in 1965, Singapore was undeveloped with little infrastructure. Its economic growth in the 70s and 80s was mirrored by an influx of modernist skyscrapers in the International Style, and progress continued well into the 2000s. By law, Singaporean buildings are only allowed to reach 280 meters, but SOM's Tanjong Pagar Centre was given special permission to build to 290, and has remained the country's tallest building since. Singapore's other tallest buildings span back to UOB Plaza and One Raffles Place, built in the 70s and 80s respectively. This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Apr 2017 02:00 AM PDT  © Tatiana Mestre
 © Tatiana Mestre From the architect. Architecture is a snapshot of our current way of living. It is a synthesis of humanity in a time specific period. After the industrial revolution with the increasing reproduction of mass media, the introduction of new materials and new ways of transportation; the idea of a traditional interior space was transformed into a dialogue between interior and exterior. This change also challenged the boundaries of private and public spaces.  © Tatiana Mestre  Elevation  © Tatiana Mestre 3:2 House has the intention to question the physical and visual boundaries of space in single family housing. We pretend to create a visually continuous and connected area that is limited by a gradient boundary –rather than a physical wall- between the private and public areas of a house.  © Tatiana Mestre The project is divided into 4 zones: bedrooms in the private zone; library and studio in the semi-private; living and dining rooms in the public area and a services area. The private area merges into the semi-private, and the semi-private merges into the public area. It is a gradient transition of private spaces that encourages interaction between its inhabitants without losing the essence of traditional spaces.  © Tatiana Mestre  Diagram The great windows facing south, and the little diversity in its materials; make it a very comfortable house for its latitude, and give it a timeless yet contemporary feeling.  © Tatiana Mestre This posting includes an audio/video/photo media file: Download Now |
| 7 of MIT Labs' Best Ideas for Future Cities Posted: 27 Apr 2017 01:00 AM PDT
Future cities have captured our imaginations for centuries. From Thomas F. Anderson's 1900 vision for a Future Boston, through Le Corbusier's 1924 Ville Radieuse, to modern 'future-proof' cities such as Songdo, South Korea, architects and town planners have considered how cities will respond to the movement of people, capital, technology, and ideas. Today, groups such as the Senseable City Laboratory at MIT have been created with the goal of suggesting ideas for the city of tomorrow. Through a technique known as 'Futurecraft', the Senseable City Lab places the designer in a possible future environment and asks them to generate design proposals which could enhance daily life. As we are about to see, some of their ideas would make heads turn even in a galaxy far far away. HubCabImagine a city where an autonomous vehicle, such as those being developed by Google and Uber, will drop you to your office at 9am, drive other citizens to doctor appointments, university lectures and lunchtime meetings, and return to the office at 5pm to drive you home. Shared mobility was central to the Senseable City Lab's 2014 HubCab experiment. Over the course of a year, the Lab tracked 150 million taxi journeys across New York City in order to identify commuter patterns and develop an efficient car share system. The Lab estimates that improved transport sharing technology could potentially reduce the number of taxi journeys by 40%, thus cutting congestion and emissions, and saving people time and money. If cities embraced the concept of shared mobility, four out of every five private vehicles could be taken off city streets, leading to faster journey times, less noise and cleaner air. Given that the average city car is idle for 95%-99% of the day, new sites once occupied by car parks would become available for development. With the success of car-sharing companies such as ZipCar and DriveNow, the clean, efficient, peaceful smart city of shared mobility may be on the horizon. Learn more about HubCab by the MIT Senseable City Lab here. Roboat Roboat. Image Courtesy of MIT Senseable City Lab Perhaps autonomous cars are last week's news. Instead, the Senseable City Lab has partnered with the Amsterdam Institute for Advanced Metropolitan Solutions to design the world's first fleet of autonomous boats. Many of the world's largest cities were built with rivers and canals as their lifeblood. Senseable City Lab imagines a future scenario where these waterways are alive with 'roboats' transporting goods and people, creating self-assembly bridges, and forming pop up interventions such as concert stages. Furthermore, these boats can monitor the city's water creating literal streams of information about urban and human health. Learn more about Roboats by the MIT Senseable City Lab here. Trash TrackWith the rapid development of micro-computing in mind, Senseable City Lab imagined a future where micro-technology was so small and cheap that every object could be geo-tracked. In a 2009 experiment dubbed Trash Track, the Lab recruited hundreds of volunteers to place geo-locating tags in rubbish bins across Seattle. The experiment revealed a chronically complex disposal chain crossing the United States, leading to major improvements by waste management providers. A future city of smart rubbish could promote behavioral change amongst citizens, optimize and manage disposal chains, and if taken to an international level, could combat illegal exports of hazardous electronic waste worth 3.75 billion US dollars. Learn more about Trash Track by the MIT Senseable City Lab here. Local WarmingEvery evening, energy is wasted on heating empty rooms inside and lighting empty streets outside. Too often, our environment is optimized for potential habitation, whether in use or not. Therefore, consider a future in which an 'energy cloud' follows every citizen. The Senseable City Lab proposes a future city where wifi-enabled "responsive infrared heating elements" in every room are activated and deactivated by motion detectors, merging thermal comfort with energy efficiency. The idea was showcased by Senseable City Lab at the 2014 Venice Biennale, under the title Local Warming. Learn more about Local Warming by the MIT Senseable City Lab here. Treepedia Treepedia. Image Courtesy of MIT Senseable City Lab The green canopy plays an important role in urban life, with trees helping to mitigate extreme temperatures, provide natural respite from traffic, noise, and congestion, and improve the quality of our urban environment. Despite this, the average citizen is often removed from the understanding and development of their environmental habitat. In response, the Senseable City Lab have developed an innovative metric called the 'Green View Index', using Google Street View panoramas to evaluate and compare green canopy coverage in major cities. Through monitoring the urban tree coverage, citizens and planners can see which areas in their city are green and not green, compare their green canopy with other cities, and play a more active role in enhancing their local environment. Treepedia will continue to expand in more municipalities across the globe. In the future, users will be able to add unique tree information on an open-source street map and engage with officials to advocate for further planting in particular areas. Learn more about Treepedia by the MIT Senseable City Lab here. Light TrafficSenseable City Lab, in collaboration with the Swiss Institute of Technology (ETHZ), and the Italian National Research Council (CNR) have developed slot-based intersections that could replace traditional traffic lights, significantly reducing queues and delays. In the concept known as Light Traffic, sensor-laden vehicles pass through intersections by communicating and remaining at a safe distance from each other, rather than grinding to a halt at traffic lights. In dense urban areas, the system can be designed to accommodate pedestrian and bicycle crossing with vehicular traffic. Learn more about Light Traffic by the MIT Senseable City Lab here. Boston 3-1-1 Boston 3-1-1. Image Courtesy of MIT Senseable City Lab Like computers, cities will only be as smart as the people who use them. The city of tomorrow will undoubtedly be a convergence of bits and atoms, where the virtual and physical are entwined. WikiCitizens will be connected to their city, and to each other, in real time. As virtual and social technologies develop, apps and tools are emerging which allow citizens to play an active role in the maintenance of their city. The Senseable City Lab have developed the Boston 3-1-1 app, providing Boston's citizens with a platform for reporting social and infrastructural issues like potholes, graffiti, and litter. As digital platforms are integrated into the urban environment, citizens could design, operate, and adjust the cities of tomorrow. Learn more about Boston 3-1-1 by the MIT Senseable City Lab here. All concepts and images via: MIT Senseable City Lab. This posting includes an audio/video/photo media file: Download Now |
| Step Up Your Sketches With These Basic Principles Of Two-Point Perspective Posted: 26 Apr 2017 11:00 PM PDT
You may know about Lynda.com, the online education platform that hosts thousands of video courses for learning how to use software. But did you know that Lynda also has some great drawing, animation, and design courses? The best part (if you're a current student or local library card owner)? Lynda can be accessed for free from many universities, colleges, and libraries! If your backpack-toting, library-visiting days are behind you, the platform offers a free 10-day trial. If you're looking to perfect your ability to capture or project building interiors and exteriors, Amy Wynne's hour-long course "Drawing 2-Point Perspective" is a solid option. In the course description, Wynne explains:
Topics include:
To see if you can access Lynda for free, check out your university/library websites to see if it's offered. If you have a .edu login or email, you can try placing "lynda." in front of your institution's URL to see if a partnership exists. Ex: https://lynda.harvard.edu, This posting includes an audio/video/photo media file: Download Now |
| Benoit&Roselyne / DIXNEUFCENTQUATREVINGTSIX Posted: 26 Apr 2017 10:00 PM PDT  © Florian Kleinefenn
 © Florian Kleinefenn  Roof Plan From the architect. This typical house of the Gard, wedged in between vegetation and hillside, stands on a lot that has been separated into three levels of terraces held in place by dry stone retaining  © Florian Kleinefenn The extension added to this house, which until recently only served as second home, had to enable Benoît and Roselyne to host their children, grandchildren and friends. A monolithic and sculptural concrete volume rises from this landscape of greenery and limestone, resonating with the genie of this place, a former quarry.  Axonometric View This volume has been designed to allow the interplay of light and shadow to reveal its facetted form and to assert its presence and contemporary look without negating its kinship with the house it adjoins. Like the existing farmhouse, the extension is laid out in two main, contiguous structures; the first, in the form of a square, of approximately 5 meters by 6 meters (within the range of current dimensions for small farmhouses in this region, the second, is rectangular and on a single level.  © Florian Kleinefenn Narrow openings analogous to the farmhouses of the Usège region, are positioned on the east and south façades to protect the interior from intense heat in summer and cold in winter. The wind known as the mistral, only allows for a few apertures on the north side, apart from the ones on the terrace, which recall the little openings traditionally found on the attic level placed there for the purpose of observing the migration of thrushes.  © Florian Kleinefenn Given the dimensions, orientation, opening and physicality of the project, it blends right into the logic of the existing constructions. Its design transposes the archetypal codes of Provençal farmhouse architecture while reinterpreting the typological characteristics of the original house in a contemporary architectural style. This house is a shelter that conveys a feeling of safety and protects its occupants from the sunny climate, intense sunlight but also violent storms.  © Florian Kleinefenn Thus there is no or very little porosity between the interior and exterior and the openings are like screens, or photographic frames of the landscape. They create the sequence of the movements of the inhabitants, from private spaces to common areas and on to the terrace and gardens.  © Florian Kleinefenn The additional spaces inside (bedrooms, bathrooms, living areas) and outside (pool, lower garden, levels of terraces, upper terrace on level 3) maintain privacy and the pace of life of each of the three generations gathered under the same roof.  Section This posting includes an audio/video/photo media file: Download Now |
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