Arch Daily |
- Isblocket (The Ice Block) / FOJAB arkitekter
- House near Havířov / Kamil Mrva Architects
- Loft in Trakai / Rimartus
- Roseroc / Okuno Architectural Planning
- Anmyeondo House / JYA-RCHITECTS
- Camper Shin-Marunouchi Building / Schemata Architects
- Monash University Logan Hall / McBride Charles Ryan
- Interiors of Zaha Hadid's Nearly-Complete High Line Residential Building Revealed
- Wembley National Stadium / Foster + Partners
- Seoul's Lotte World Tower Completes as World's 5th Tallest Building
- Room and Ficus / Cañas Arquitectos
- BIG, Kuma, 3XN Among 5 Competing for New Aquatics Center in Copenhagen
- Sports Complex in Bussy Saint-Georges / Martin Duplantier Architectes
- Soo Chan: “Architecture is About Preserving a Way of Life, Not Simply Introducing a New Formal Language”
- Oxfordshire Residence / Richard Meier & Partners
- New Study to Investigate Skyscraper-Induced Depression and Motion Sicknesses
- Bee Breeders Reveal New York Affordable Housing Challenge Winners
| Isblocket (The Ice Block) / FOJAB arkitekter Posted: 05 Apr 2017 10:00 PM PDT  © Felix Gerlach
 © Felix Gerlach From the architect. In the rapidly expanding city district of Hyllie, FOJAB arkitekter was commissioned to plan and design a new office building at the station square. The building connects on every floor to the parking garage (designed by FOJAB). At ground level there is a retail space and a passage through the block. The adjacent parking garage and a limited site area of 85 x 12,5m, demanded a narrow building with a one-sided facade.  © Felix Gerlach The main aim of the design was to create a characteristic building with an iconic facade, inspired by the place, its function and the Nordic light. The heart of the building is a generous staircase which, with its strong form, meanders up over a glass floor. The facade consists of a double glass structure in which the outer layer has white dots to create a pattern that mimics the cracking of ice. The pattern on the glass also creates an effective solar shading system, which made it possible to use a glass facade on a one-sided building, despite the direct sun exposure. The pattern varies in density on each floor level and creates a smooth transition between the transparent and opaque surfaces of the inner facade. The room heights towards the facade allows natural light to permeate the entire floor.  © Felix Gerlach  Section  © Felix Gerlach In some parts of the facade, the stainless steel frames, protrudes from the outer layer of glass, creating a break in an otherwise smooth and shiny facade. In the arcade courtyard towards the square, the facade is covered with oil-finished oak boards which, with their warm hue, create a contrast to the otherwise cold facade above. The facade continues upwards over the eaves, which forms the railings for the terraces.  © Felix Gerlach With the fragmented facade lines, the building volume reinforces the character of a block of ice, while simultaneously relating to the receded volume of the parking garage behind. In the play of volumes, large terraces are created, which overlook the main square to the west, the city to the north and the canola fields to the south.  Section This posting includes an audio/video/photo media file: Download Now |
| House near Havířov / Kamil Mrva Architects Posted: 05 Apr 2017 08:00 PM PDT  © Studio Toast
 © Studio Toast From the architect. The investor approached several architectonic studios with a clearly defined task: a house for a specific parcel which would be as open as possible towards the panoramic view of the Beskydy Mountains and would serve as a home for a couple with grown children.  © Studio Toast  © Studio Toast The house is situated in the upper part of a plot on a southern slope. A garage is proposed for the lower part of the parcel.  © Studio Toast  Floor Plan  © Studio Toast The layout was designed as a freely flowing living space, inserted between two horizontal slabs. In the centre of the house there is a bedroom proportioned in such a way that in the future it could eventually serve as a golf driving simulator. The quiet area is oriented towards an intimate patio on the north side of the house. In contrast, the entire southern part of the house is glazed. A solitary sauna extends from the interior of the house onto a terrace with a future swimming pool.  © Studio Toast This posting includes an audio/video/photo media file: Download Now |
| Posted: 05 Apr 2017 07:00 PM PDT  © Andrius Stepankevičius
 © Andrius Stepankevičius From the architect. A young couple requested their first apartment in Trakai interior to be very simple and contemporary. As a result it became black, white and grey colored loft. The great attention we paid to create functional zones and keep architectural context. After new apartment planning was made, second level and roof windows were added. First level contains empty and spacious living room with kitchen and bar zone, hall with stairs, shower room, bedroom and bathroom. At the second level appears entresol with lounge zone separated by metal grill and walk in closet.  © Andrius Stepankevičius We attempted to create a cozy, artistic and romantic atmosphere including some industrial design accents. It was decided to use very few colors - white, grey, black and some natural wood texture.  Floor Plans Some of the wall surfaces were left as painted black or white bricks to give more cozy and authentic feel. Kitchen unit was decided to be finished in black, also as entresol metal structure and stairs, as this gives more graphic look. Lamps, power sockets, switches and other small elements were selected in black color too. Some aged wood texture is used on bar unit facades to give more vibrant feel and vitality.  © Andrius Stepankevičius Simple industrial style warm spectrum lamps where chosen to create nice and cozy lighting in contrast to black surfaces. Natural and artificial lighting creates different color efects and mood. It was left a lot of free space for young clients future needs and self realization.  © Andrius Stepankevičius This posting includes an audio/video/photo media file: Download Now |
| Roseroc / Okuno Architectural Planning Posted: 05 Apr 2017 03:00 PM PDT  © Satoshi Asakawa
 © Satoshi Asakawa "Roseroc" is created to function as an employee cafeteria as well as an employee activity hall with catering functions. The major sectors of this company are the manufacturing of cables and catheters for medial purposes and the "roseroc" is built in the premises of those factories. "roseroc" needed to function mainly for 3 major purposes - as an employee cafeteria where they can spend their lunch break hours comfortably and feeling refreshed after dedicating a lot of their time manufacturing cables and catheters in the clean room, then, as a multiple purpose space where employees can use the area for meetings, activities for recreation purposes and so on, and lastly, as a symbolic icon of the company who is eager to penetrate into the international market.  © Satoshi Asakawa  © Satoshi Asakawa Considering that the area provided for "roseroc" was a vacant lot in the premises for factories, we were quite fortunate that there already were tall tress growing and we could utilize the landscape of a mountain located just outside the area. To make a full use of this natural environment that this area already had when we started planning the necessary facilities, utilities and appliances, we have decided create a long and continuing wall which starts from the outside, then involves the outside ("soto") garden then to the rooms and other facilities inside, and ends when the wall reaches inside ("uchi"). This single, long and continuing wall reflects an image of many employees of the company who move towards their goals in a big stream and the future vision of the company where everything and everyone is involved and becomes "one team".  Floor Plan This 450m2 single-story building with 15M x15M main banquet hall, which can accommodate up to 250 people during the lunch hours, has one single wall and the wall connects all of the facilities such as a counter style private room, kitchen space, VIP rooms and two courtyards. By making openings to the wall, we have tried to create the atmosphere that each space is continuously related. We wanted to have large openings which connect each facility yet do not destroy the profile of "one single wall" and in order to realize that, we have decided to have openings with triangle shape. Openings on the outer periphery wall triangle shape which are pointing upwards. They are designed to go along with the diagonal lines of the banquet room aiming to show the direction that goes outer area the strong presence of the wall itself. Looking at the construction aspects, we planned to have large trusses made for the shape of each openings to make a long wall for the building.  © Satoshi Asakawa Consequently, hardly any perpendicular pillar was made thus we have proceeded the construction using steel-form support and made sure of the sufficient rigidity when the whole segments were set and concrete.  © Satoshi Asakawa This posting includes an audio/video/photo media file: Download Now |
| Anmyeondo House / JYA-RCHITECTS Posted: 05 Apr 2017 01:00 PM PDT  © Hwang Hyochel
 © Hwang Hyochel From the architect. The owner of the house had been injured from a car accident in his teens. Since the accident, he was forced to spend much of his time in bed and during these long hours, the only thing in his view was the old ceiling and lamps of his old house.  © Hwang Hyochel Perhaps it was because of the wind and snow on the western coast island, the roof of the house was low and the house had a long eaves. The owner always had the lights on in his room, it being dark from the lack of sunlight through the windows. The house was cold during the winter and humid during the summers due to the poor insulation. Even the bathroom was cold and dark, making it even more difficult when a helper assisted the owner in washing himself.  First Floor Plan More than these physical discomforts, what the owner disliked most was the difficulty in communicating with his family. Because the house was composed of hallways, it was hard to catch sight of his family from his room. On the days his siblings and his nephews and nieces visited, he could only hear their presence through his ears. He regretted that he could never see his nephews and nieces play in the living room or out in the yard.  © Hwang Hyochel Finally, the owner decided to give himself a gift. A gift of a house that was warm and bright with sunlight all day long. A house that had a view of the sky, instead of lamps. A house where his family was visible right from his bed.  Section The owner lived with his mother and father, and his grandmother lived in the house right next door. All he wanted was a house with enough room for the three of them with a small room on the second floor for his siblings and nephews and nieces when they visited.  © Hwang Hyochel During the design process, the issues he pondered most was how to build a southeast-facing house that would be bright all day long without having to turn on the lights, and how he would have a view of the yard and garden from inside the house. In short, he wanted an open house that was well connected to the sunlight and external surroundings.  © Hwang Hyochel The house would be composed of a living room at the center with a hallway that was connected to everything in the house, and this area would create a path to the yard in four directions. Thus, the house had no visible dead ends, was always connected to the surroundings, and sunlight would saturate the entire house thanks to the reverse gable roof structure.  © Hwang Hyochel In order to insulate, heat, and adjust the humidity of the house through high ceilings, the house used an external insulation and warm-roof method where the lower level of the house was made of reinforced concreted, while the upper level was made of a lightweight wood frame. In order to resolve the issue of the reverse gable roof structure, steel truss was used to disperse the weight of the roof that was concentrated in the middle. This posting includes an audio/video/photo media file: Download Now |
| Camper Shin-Marunouchi Building / Schemata Architects Posted: 05 Apr 2017 12:00 PM PDT  © Koji Fujii / Nacasa & Partners Inc.
 © Koji Fujii / Nacasa & Partners Inc. From the architect. In this project, we located the stockroom consisting of movable racks directly facing the sales area, in order to minimize the distance between the two and reduce the waiting time of customers as much as possible. We chose steel mesh for the stockroom in order to create a see-through background highlighting movements of the store staffs and also create a sense of depth to visually maximize the small store volume.  © Koji Fujii / Nacasa & Partners Inc.  Plan  © Koji Fujii / Nacasa & Partners Inc. We intended to create a background for products composed of materials evoking a feeling of everyday life, so that customers can see and feel the products while imagining the everyday use. The overall material palette is composed of matte and industrial materials. Urethane rubber and MDF board were chosen to match the color of the shoe boxes, while galvanized steel and dyed cork were chosen to match the concrete floor.  © Koji Fujii / Nacasa & Partners Inc. This posting includes an audio/video/photo media file: Download Now |
| Monash University Logan Hall / McBride Charles Ryan Posted: 05 Apr 2017 10:00 AM PDT  © John Gollings
 © John Gollings From the architect. Logan Hall, on Monash University's Clayton Campus, is a 6 level building with 250 rooms of student accommodation designed by McBride Charles Ryan (MCR). It is located on a strategic corner where Sports Walk meets Scenic Boulevard. This building is one of four houses of similar accommodation that were designed concurrently by three individual design teams – MCR, Jackson Clements Burrows and Hayball Architects in association with Richard Middleton Architects.  © John Gollings The ground floor of Logan Hall will be occupied by a mix of retail tenants. Building services and servicing, plant and equipment, the residents' garden and BBQ facilities are located in a landscaped courtyard to the south of the building. The residents' foyer is positioned where the two wings of the building meet. This foyer can be accessed via pedestrian approaches from both the north and south. Vertical circulation and common facilities are also grouped in this corner on each of the buildings levels. These, which include double height common and games rooms, are places of increased activity where students meet and socialize while enjoying the eastern views to the Dandenong's and beyond. Differing colour schemes are used in the public spaces of each level and four distinct apartment colour schemes are peppered throughout providing the building with identity and vibrancy.  3D Model Monash University, conceived in the modernist heyday, is the veritable inversion of the traditional sandstone campus. Buildings as objects and mini-megastructures, the exceptional and the ordinary, are dotted throughout a native landscape. It is these origins which give the campus its uniqueness and it is these origins that detract from its urbanity. The work by the Monash University Design Review Panel and Campus Master Planners (MGS Architects) seeks to bring more definition and legibility to the Clayton campus. Their work has included steering developments to enhance the environmental quality through more clearly defined precincts, to improve the clarity of the campus landscape walks, and to conceive of Monash University as a 24-7 University City. There is a tension between the origins and uniqueness of the campus and this desire for a new sense of urban legibility. The project for Logan Hall sought to respond to this tension and the MGS Architects masterplan.  © John Gollings  Floor Plan  © John Gollings To the east, the split masses of Logan Hall act to reinforce the civic and urban quality of Scenic Boulevard. To the south, the L shaped building defines an open garden space for the students of the House. To the north, the modularity of the student units has been utilized to provide an unlikely and expressive form that recalls the distinct modernist formalism so evident in the Campus. Further elements such as the ground level colonnade, both cloister and modernist piloti suggest the building is a new complex hybrid.  © John Gollings The buildings stepped form and colonnade define a landscaped fore-ground to the building that sits alongside the newly developed Sports Walk. The colonnade, which aligns with the natural pedestrian desire lines of the campus, also provides a sheltered space between ground floor cafes and the northern landscaped forecourt.  © John Gollings This posting includes an audio/video/photo media file: Download Now |
| Interiors of Zaha Hadid's Nearly-Complete High Line Residential Building Revealed Posted: 05 Apr 2017 09:15 AM PDT  Unit 20. Interiors by Jennifer Post. Image © Scott Francis As Zaha Hadid's 520 West 28th approaches completion, photos of the apartment interiors have been revealed for the first time. Shared by developer Related Companies, the images show two of the building's first completed residences: the massive 4,500-square-foot Unit 20 and the more modest 1,700-square-foot Unit 12. The two units feature the interior built-ins and finishes designed by Hadid alongside interior design schemes envisioned by Jennifer Post and West Chin, respectively.  Unit 20. Interiors by Jennifer Post. Image © Scott Francis  Unit 20. Interiors by Jennifer Post. Image © Scott Francis The larger of the two units, the $15 million dollar Unit 20 contains four bedrooms and features views of the High Line and the Empire State building. The interiors have been outfitted by Post in a dynamic palette of white and muted tones, with pops of color introduced in contemporary furniture and art pieces. Post's choices were aimed at "[igniting] the architectural vision of Zaha Hadid, while preserving her voice and identity, and highlighting the seamless synthesis of indoor/outdoor living."  Unit 20. Interiors by Jennifer Post. Image © Scott Francis "I am usually the creative visionary behind both the architecture and interior design of a space. Here, I am respectfully creating a vision that coexists with the vision of one of architecture's greatest minds," explained Post. "This prompted me to really consider every move, every decision in a different, special way."  Unit 20. Interiors by Jennifer Post. Image © Scott Francis  Unit 20. Interiors by Jennifer Post. Image © Scott Francis The interiors of the $4.9 million Unit 12 were completed by West Chin, principal of West Chin Architects. Chin's approach was one of minimalistic functionality, resulting in a layout that would attract a range of couples or single dwellers. Furniture pieces were chosen to take advantage of light from the unit's large windows and the sensory architectural elements.  Unit 12. Interiors by West Chin. Image © Scott Francis  Unit 12. Interiors by West Chin. Image © Scott Francis  Unit 12. Interiors by West Chin. Image © Scott Francis The 11-story building contains a total of 39 residences across 21 interlaced levels. Units range in size from two to five bedrooms and are priced from $4,950,000 to $50 million for the three-story penthouse. The two completed residences will be used as model unit sales galleries as the building approaches its expected June 2017 move-in date. News via Related Companies.
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| Wembley National Stadium / Foster + Partners Posted: 05 Apr 2017 08:00 AM PDT  © Nigel Young
 © Nigel Young From the architect. Football World Cup Final in 1966, the old Wembley Stadium was the most important sports and entertainment venue in Britain. The challenge in reinventing it for a new century was to build on its extraordinary heritage and yet create a venue that would be memorable and magical in its own right. With 90,000 seats, standing almost four times the height and covering twice the area of the original, the new stadium is the largest covered arena in the world.  © Nigel Young  Sketches  © Nigel Young The stadium's facilities are designed to maximise spectator enjoyment; the seats are larger than before, with much more leg-room; the highest tiers are easily accessed via escalators; and the concourse that wraps around the building can provide catering for 40,000 spectators at any one time. One of the things that make the stadium special is the retractable roof, which ensures that the spectator experience is comfortable in all weathers. When the roof is open it ensures that the turf receives sufficient sunlight and air to keep it in perfect condition, while in poor weather it can be closed to cover the entire seating bowl. The roof is supported structurally by a 133-metre-high arch that soars above the stadium. An iconic replacement for the old building's twin towers, floodlit at night it is a strong symbol for Wembley and an instantly recognisable London landmark.  © Nigel Young  Elevation  © Nigel Young  Elevation  © Nigel Young The venue for the 2012 Olympics football finals, the stadium is designed to be ideal for the sport. Its geometry and steeply raked seating tiers ensure that everyone has an unobstructed view of the game. To recreate the intimate atmosphere and the distinctive 'Wembley roar' for which the old stadium was famous, the seats are located as close to the pitch as possible. Yet the building has also been consciously future proofed, with the ability to be adapted to host a variety of events, including international track and field events up to Olympic standard if required.  © Nigel Young This posting includes an audio/video/photo media file: Download Now |
| Seoul's Lotte World Tower Completes as World's 5th Tallest Building Posted: 05 Apr 2017 07:00 AM PDT Lotte_Group.jpg?1491409215 "© CTBUH") © CTBUH KPF's Lotte World Tower in Seoul, South Korea is officially complete, according to criteria established by the the Council on Tall Buildings and Urban Habitat (CTBUH). At 555 meters tall, the building becomes the tallest building in Korea (250 meters taller than the previous tallest building, Northeast Asia Trade Tower) and the world's new 5th tallest building. Lotte_Group.jpg?1491409204 "© CTBUH") © CTBUH The design of the 123-story tower draws from the forms of traditional Korean ceramics and calligraphy, rises in a sleek, tapered profile that contrasts with the city's mountainous topography. Inside, the tower contains a wide variety of program types, including retail spaces, office floors, a seven-star luxury hotel, and an "officetel." Commonly found in Korea, officetels offer studio-style apartments for employees who work in the building and feature service typically found in hotels such as standard furnishings, front desk services and gym access. The tower is home to a few record-breaking components, including the world's highest glass-bottomed observation deck, at 500 meters high; the world's highest swimming pool, located on the 85th floor; and the world's fastest elevator, which can transport visitors from bottom to top in one minute. At its base, the 10-story Lotte World Mall (open since 2014) offers retail and entertainment to more than 28 million people per year, equivalent to one out of every two South Koreans. In total, the mall comprises as much area as the tower itself. The two building components are connected via interior and exterior pathways and public spaces. The $3.5 billion dollar project opened to a grand fireworks spectacular this past weekend. CTBUH.jpg?1491409227 "© CTBUH") © CTBUH The completion of Lotte World Tower is especially notable, as it pushes Kuala Lumpur's 452-meter Petronas Twin Towers out of the list of Top 10 tallest buildings for the first time since opening as the world's tallest buildings in 1998. The current record has belonged to the 828-meter Burj Khalifa since 2010.
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| Room and Ficus / Cañas Arquitectos Posted: 05 Apr 2017 06:00 AM PDT  © Jordi Miralles
 © Jordi Miralles "The landscape is brought close to us by buildings" Martin Heidegger  © Jordi Miralles Room: location room or living room where one usually resides. Ficus: Any of numerous chiefly tropical trees, shrubs, and vines belonging to the genus Ficus, of the mulberry family, having milky sap and large, thick or stiff leaves, including the edible fig, the banyan, and many species grown as ornamentals.  © Jordi Miralles The ficus was already there when the lodge arrived. The room arrived to accompany the Ficus and to highlight the place.  Floor Plan The program could not be simpler. It's a place where one can enjoy the view and spend afternoons and part of the evening with friends and family.  © Jordi Miralles The location selected had a slight slope towards the east and a bonsai like tree, that resembles the ones grown by its owner.  © Jordi Miralles The view of the San Jose city with the central volcanic mountain range is spectacular, the Escazu mountains with it's Pico Blanco or White Peak , so close that you feel that you can touch them with your hands.  © Jordi Miralles At nighttime, San Jose becomes the main attraction as it starts lighting up, the sky starts turning red, tinted by the city lights and the rest of the landscape begins to get lost in the darkness. The only one thing that remains is the illuminated Ficus.  © Jordi Miralles With this in mind, we designed a glass house, elevated on top of metallic columns and with a cover that opens towards the view – 3 glass sides and a back wall (with the amenities).  Section The access is through a steel bridge and glass which directs us towards the open view of the city , and soon towards the end, breaking off into an angle to access the room. It's a unique 52 m2 space which holds living room, dining room, kitchen and a small adjacent bathroom.  © Jordi Miralles This space opens up completely on its northeast side facing the area's landscape and about 60% towards the 30 square meter terrace facing San Jose. A dark ceramic tile was chosen for the floor and the ceiling was paingted greyinh color so that during the night these colores would leave the room almost in a semi darkness and would not compete with the city lights. The furniture and the wall colors all complement such style.  © Jordi Miralles To sum it all up: a light and clear project, which is not intrusive, designed to immerse yourself within the scenery. This posting includes an audio/video/photo media file: Download Now |
| BIG, Kuma, 3XN Among 5 Competing for New Aquatics Center in Copenhagen Posted: 05 Apr 2017 05:00 AM PDT  Paper Island's former warehouses have been converted into designer shops and a street food market. Image © Flickr user bethmoon527. Licensed under CC BY-NC 2.0 The city of Copenhagen have announced the shortlist of 5 firms that will compete for the design of a new aquatics center to be located on a prominent site in the Copenhagen Harbor. Planned for completion in 2021, the project will feature a 5,000-square-meter facility offering both indoor and outdoor swimming areas with views across the water to the Henning Larsen-designed Copenhagen Opera House. The shortlist is as follows:
 COBE's masterplan for the island. Image © COBE and Luxigon The site is located on Christiansholm island (also known as Paper Island), an artificial island known for its large number of former paper-storage warehouses. A competition to create a new masterplan for the island was won by COBE in February of last year. Finalist teams will have until June 2nd to submit their proposals for the aquatic center. The competition winner is expected to be announced in December. News via City of Copenhagen, 3XN, AART.
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| Sports Complex in Bussy Saint-Georges / Martin Duplantier Architectes Posted: 05 Apr 2017 04:00 AM PDT  © Yohan Zerdoun
 © Yohan Zerdoun From the architect. Located on the edge of this suburban town, the building faces the horizon made of agricultural fields and infrastructures lines. For Bussy, this new and growing city at the East of Greater Paris area, this sport center represents one of the major public facilities. The rural and «fake-old» identity of the surroundings and its individual houses plays the role of contrast for the project.  © Yohan Zerdoun Emphasizing the horizon of the fields by cutting «horizontally» the three volumes of the building is the first step of the project. The alternation of empty and full portions develops a checkerboard of concrete and translucent elements that could be recognized day and night, from close as well as from far away. The calm but radical architecture draws its sources from the rural vocabulary (farms, cellars) where the functions and fluxes create forms.  © Yohan Zerdoun  Ground Floor Plan  © Yohan Zerdoun The main entrance is set in the central block on the south facade. Split in two by the horizon line, slightly elevated, it offers a clear view on the great landscape and distributes the whole complex with minimum clearance. Outside, a whistle-shaped balcony gives view to the panorama. On the rear facade, the central block stands out and gives access to two broad concrete ramps.  © Yohan Zerdoun Finally, the two gyms, one with galleries and the other dedicated to racket sports, are partially underground. Their upper part (above the skyline) is translucent and offers a soft light to the users.  © Yohan Zerdoun This posting includes an audio/video/photo media file: Download Now |
| Posted: 05 Apr 2017 02:30 AM PDT  Soori Bali, Indonesia, 2005. Image Courtesy of SCDA Architects By combining such concepts as phenomenology, sustainability and formal exploration, which have become part of a particularly Singaporean conception of architecture, Soo Chan of SCDA Architects occupies an unusual niche within the architecture profession. To complement this wide range of interests, his firm also engages in a wide range of activities, working on architecture, landscape, and interiors projects, and even acting as its own developer on a number of occasions. In this latest interview from Vladimir Belogolovsky's "City of Ideas" column, Chan discusses the early experiences that led to his current understanding of architecture, and how the context of Singapore has affected his designs. Vladimir Belogolovsky: Was architecture on your mind from an early age? What was it that first attracted you to the discipline? Soo Chan: I was deeply influenced by the house I grew up in, the Khoo Kongsi compound in Penang, an island off the west coast of Malaysia. Khoo Kongsi was planned around a central communal courtyard where many generations of my extended family lived, and it is a UNESCO World Heritage site today. I can still picture the spatial and light qualities of the long and narrow house I grew up in, punctuated with open air wells. I remember the smell of fresh rain coming deep into the house on to the sunken courts, and the pockets of light and darkness in the house.  Soori Bali, Indonesia, 2005. Image Courtesy of SCDA Architects This childhood experience probably influenced my decision to study architecture and the kind of work I do. I remember always making things, playing with building blocks and model kits. I also love to draw. My father was into development, which he did on the side, and I liked being at construction sites with him. Looking back, I really appreciate growing up being close to my family and to nature. VB: Could you touch on your experience studying architecture in the US? SC: I left for the US in 1980, right after high school when I was 18, and went first to Washington University in St. Louis and after completing my Bachelor of Arts there, I pursued architecture at Yale. After graduating, I stayed in the US for three years, working for various architects until 1990, before coming here to Singapore.  EDITION Sanya, Sanya, China, 2012. Image Courtesy of SCDA Architects VB: And who did you work for in the US? SC: A number of firms. First, for Allan Greenberg in New Haven. VB: The classicist... I am looking at your work and I am not quite seeing the connection... SC: Well, these were the 80s, the heyday of Postmodernism. Being at Yale I was also exposed to Deconstructivism and Poststructuralism. We had such critics as Rob Krier, Thomas Gordon Smith, Robert Venturi, Bob Stern, Philip Johnson. VB: Sounds like you were committed to the architecture of the times. SC: Totally and sincerely. I had a passion for classical architecture and Postmodernism was very attractive to me then.  EDITION Sanya, Sanya, China, 2012. Image Courtesy of SCDA Architects VB: And at Greenberg's office, were you drawing columns with Corinthian capitals? SC: And pediments, and entablatures with cornices and friezes, and acanthus leaves [Laughs]. And imagine, there were no computers back then. We had to draw all those details by hand. Then I moved to New York and started working for Kohn Pedersen Fox Associates. It was a transition to a new scale but still it was the Postmodernist period. I continued working on similar projects for a while even after coming here to Singapore. I started my own firm in 1995 after working on historic renovation projects for a few years, and then there was no more classical architecture. VB: What made you change? SC: Trips, exhibitions... I started traveling and I really liked projects by Schinkel, Rietveld, Kahn, Mies. I always liked these architects, but at the same time, I also wanted to go back to the basics and to me, classical architecture was a very important foundation. I like calm spaces. I was never drawn to Deconstuctivism, which I saw in the famous 1988 Deconstructivist Architecture show at MoMA. I knew it was not for me. I was much more interested in structure, order, sequence of spaces, center, symmetry. Another exhibition that was important for me was on Viennese secessionists. I liked Josef Hofmann, Otto Wagner, Joseph Maria Olbrich, as much as Wright or Le Corbusier. I also liked the fact that the secessionists designed everything from the spoon to the city, so to speak. But summarizing, what I took from the Postmodernism is the importance of looking back and learning from history, analyzing various building typologies.  SkyTerrace@Dawson, Singapore, 2006. Image Courtesy of SCDA Architects VB: You are multidisciplinary firm and besides architecture, you do landscaping, interiors, furniture, and product design. Could you talk about that? SC: I conceive my projects in a holistic manner. When I design a project, I think of the interiors flowing seamlessly onto the landscape. So interiors, landscape, and architecture are inseparable. I started designing tables, chairs, sofas, and other products for homes and offices early on, in collaboration with design companies. I like them as stand-alone objects but also I like to integrate them into spaces of my own design as much as possible. VB: Is there a particular progression from project to project in your work? SC: I try to be clearer now and focus on fewer ideas, as well as a more refined palette and detailing than in the beginning. What I like most about working here in Singapore is the ability to design and program transitional spaces, the boundaries between inside and outside.  SkyTerrace@Dawson, Singapore, 2006. Image Courtesy of SCDA Architects VB: Would you say there is such a thing as a Singaporean approach to making architecture? SC: Well, if you look at the work of Kerry Hill, WOHA or my work you can see many similarities in how our projects relate to the climate and region. But most importantly, Singapore does not have a weight of history as it is a relatively young nation. Our post-colonial architects are very open and free, and experimental. I would add that our architecture is universal. My architecture is universal. We utilize globally perfected building technologies and aesthetics. What makes us distinctive is how we bring landscape into buildings, particularly up to high-rises. VB: Do you have a particular position on green architecture? SC: I don't really talk about it consciously but many of my projects embrace sustainability and are Green Mark or EarthCheck certified. It feels natural to me. I think green architecture should be every architect's baseline. I would rather talk about the ideas behind the architecture itself.  East Coast House, Singapore, 1996. Image Courtesy of SCDA Architects VB: "Architecture itself," meaning...? SC: Meaning that beyond sustainability, there is the formal and spatial expression of architecture in context. It could be about how one space transitions into another... As an architect, how do you distil the essence of place? How do you evoke a spirituality of place formally? I use green architecture to generate these feelings and to humanize spaces, but it is more important to me to sustain culture and a sense of place, to interpret living traditions. For example, when I designed my resort in Bali I tried to generate spaces based on traditional planning techniques used in the design of temples and rice irrigation planning in the region. Such things are important because architecture is about preserving a way of life, not simply about introducing a new formal language. To me, cultural sustainability is just as important, so it is not just the use of green technology or formal techniques. I like designing spaces that are phenomenological. Materiality, light, and structure, and spaces in between buildings or parts of buildings are very important to convey such a feeling, both in horizontal and vertical projects. I first started incorporating gardens into single-family houses, inserting them in between rooms by breaking closed volumes into a system of pavilions. As the scale of my projects grew, I incorporated these green spaces into larger and taller projects.  SkyTerrace@Dawson, Singapore, 2006. Image Courtesy of SCDA Architects VB: The experience of in-between spaces, such as large multi-story cavities in buildings by you or WOHA, are a very distinctive Singaporean experience. To be able to feel the breezes and see the city all around you on various levels within buildings is something very special. SC: In our residential buildings, we combine various apartment typologies such as the famous double exposure units developed for the Marseille Block by Le Corbusier. We fuse similar apartment types with landscape in our quest to develop more responsive, regional solutions. VB: What you are describing seems consequential for this climate. Yet, it is rare to see these ideas implemented in other locations with similar climate conditions, which means it is encouraged here more than in other places. There is a favorable policy in place. SC: There are local codes that encourage this type of green architecture. For example, if you introduce a cavity or a cutout within a building, all the floor area that happens to fall outside of an imaginary 45-degree line, projected from the exterior edges towards the core, is free for the developer. If there is no height restriction the developer can add these areas to the project as various outdoor communal spaces. These ideas and regulations first appeared in the late 90s based on tropical modernist projects and vertical gardens as proposed by Geoffrey Bawa in Sri Lanka. By then we abandoned the Postmodernist model of the Greek temple. These vertical garden ideas were embraced by many Singaporean architects. We started experimenting with buildings that pulled apart and now a whole planning mechanism is enforced from top down. But I am much more interested in refining a particular formal language based on volume, line, and plane. Over the years, a clear formal language that can be applied to absorb site and program has served us well. It is not dissimilar to that of classical architecture.  Soori High Line, New York, 2008. Image Courtesy of SCDA Architects VB: Could you talk about your residential projects in New York? I am interested in how architects bring their regional ideas to new places and how their work transforms in the process. Do you think your ideas can be used in cities situated in much colder climates such as New York? SC: It is a challenge, of course. To keep the heat in you need to introduce technology, double-glazing with low emissivity coatings, but the glass can be pushed deep inside to present a transitional zone; to bring as much of the outside in as possible. In New York, you rarely have the opportunity to design something freestanding. Most buildings are grouped together and are located within mid-block as part of the overall urban fabric. So in New York we try to work with orientation and bring as much sunlight as possible deep into the building through multiple notches, slots, and slivers of space. We are also introducing pools of water to animate space through a connection of inside with outside. These are not necessarily for swimming but for bringing light reflections, the sound of circulating water, and tranquility for a full phenomenological experience. VB: Could you talk about your role not only as an architect but also as a developer? SC: First, my motivation to be a developer is to allow me to be pure as an architect. Being both a client and designer gives me a lot of control. It opens many opportunities and allows me to select the kinds of projects I want to explore and the way I want to do them. For example, I always wanted to do a resort, but I didn't know anyone who would commission me, so I went ahead and initiated such a project on my own in Bali. Soori Bali led to a number of resort commissions in other places, including the Maldives, Sanya, and Lijiang. I did the same in New York. I wanted to do a project there, so first, I designed a house in Westchester in 2000. It was called "A house for four seasons" [Prickly Pear] and the idea was to make various parts movable. In summers, the house would open up and undress and in winter, it would close up and bundle up. However, this project was never realized. Then I decided to develop a residential building near the High Line on 29th Street. The building will be finished later this year. Once I started this project, it attracted the attention of local developers and I was hired for two more commissions in the same neighborhood and another in midtown.  Central Park South Condominiums, New York. Image Courtesy of SCDA Architects VB: What did you learn from being a developer? SC: Now I sympathize with the developers a bit more [Laughs]. Well, it gives you a new perspective through which to understand the entire process. It is not just about design issues. You understand the whole picture and you try to exploit the full potential of the site, budget, marketing, and program. VB: What would you say is the intention of your work? SC: Simply put, I try to design spaces that can evoke an emotional response while continuing to hone the formal and spatial vocabulary that I am interested in pursuing. I strive to design spaces that are calm and are qualified by space, light, and structural order.  Cluny Park Residence, Singapore. Image Courtesy of SCDA Architects VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985 (TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries. Belogolovsky's column, City of Ideas, introduces ArchDaily's readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator's upcoming exhibition with the same title which premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design. This posting includes an audio/video/photo media file: Download Now |
| Oxfordshire Residence / Richard Meier & Partners Posted: 05 Apr 2017 02:00 AM PDT  © Hufton+Crow
 © Hufton+Crow From the architect. The siting of the Oxfordshire Residence is notable not only for the views afforded and the expansiveness of the landscape, but also the richness of the spatial experience which begins before one even enters the property and was the primary inspiration for the design; The relationships of openness and compression, light and shadow evinced by the area surrounding the site and the purity, beauty, and natural resources of this particular location in Oxfordshire are truly compelling.  © Hufton+Crow This country residence has been created based on three guiding principles: an engaging response to the site, a resonant connection with the history of the place, and a vital progression toward sustainability.  © Hufton+Crow  First Floor Plan  © Hufton+Crow It would be impossible to conceive of a residence in this part of the United Kingdom without considering the typology of the English Manor House. This design espouses many of the tenets behind this ideal: this is a family home which honors the woodlands and topography, drawing the occupant into a relationship with the natural world while creating space for comfortable living. Specific to the site of the house and the related buildings, the design seeks to integrate the landscape and views as part of its identity, bringing a natural balance between building and landscape.  © Hufton+Crow The structure and orientation of the house symbolize a direct response to the makeup of the site. The solidity of the back of the house effectively mirrors the density of the woodlands, while the lucidity of the glass in front embraces the openness of the landscape beyond. Similarly, the layering of program, walls and columns that dictate the interior layout are designed to complement the light and views specific to every vantage point, creating breathtaking common spaces.  © Hufton+Crow The design scheme for the Oxfordshire Residence placed an emphasis on sustainability, both in its contemporary meaning, which is to say mechanisms for conservation, emission reduction and renewable energy are employed wherever possible, and its traditional meaning, which is to say that this home is intended to stand the test of time.  © Hufton+Crow The house is anchored to its site, and has been carefully designed based in the human scale, the purity of the aesthetic, peerless construction methods and materials, and the conservation and utilization of natural resources.  © Hufton+Crow This posting includes an audio/video/photo media file: Download Now |
| New Study to Investigate Skyscraper-Induced Depression and Motion Sicknesses Posted: 05 Apr 2017 01:00 AM PDT  Courtesy of Flickr User Shashank Jain, licensed under CC BY 2.0 Have you been experiencing motion sickness, depression, sleepiness, and even fear, as you gaze out of your window from the 44th floor? If so, you may be prone to "Sick Building Syndrome" – the informal term for side effects caused by swaying skyscrapers, according to experts at the Universities of Bath and Exeter, who are launching a £7 million ($8.6 million) study into their causes and prevention through testing simulations. "More and more people are living and working in high-rises and office blocks, but the true impact of vibrations on them is currently very poorly understood," explained Alex Pavic, Professor of Vibration Engineering at the University of Exeter. "It will for the first time link structural motion, environmental conditions, and human body motion, psychology, and physiology in a fully controllable virtual environment." Despite the solidity of their masses, skyscrapers are indeed subject to motion in response to the external forces they experience from their surrounding urban environment, such as construction work and underground trains. With thinner floor slabs and greater column spacing, skyscrapers built from the 1970s onwards aren't able to dampen vibrations as well as their predecessors, thus amplifying the effects experienced by their occupants.  Courtesy of Flickr User Lei Han, licensed under CC BY 2.0 The study, which is to be conducted by a varied team of engineers, medics, physiologists and psychologists from the two universities, will use built simulators to test motion from tall buildings, offices, stadiums, and concert venues, in addition to vibrations caused by large crowds crossing bridges and leaving stadiums. Studies have already indicated that slight movements in buildings can register as the aforementioned symptoms, as well as poor concentration and lack of motivation. However, no concrete origins have been discovered yet, though scientists do believe humans have evolved in their perception of subtle vibrations.  Courtesy of Flickr User Jules Antonio, licensed under CC BY 2.0
The new simulation facilities will be funded by the Universities of Bath and Exeter, as well as the Engineering and Physical Sciences Research Council. The study hopes to shed some light on this curious phenomenon, and could possibly establish new standards for allowable levels of a building's motion for the health and safety of its occupants. News via: Council on Tall Buildings and Urban Habitat (CTBUH).
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| Bee Breeders Reveal New York Affordable Housing Challenge Winners Posted: 04 Apr 2017 11:00 PM PDT  First Prize: The Table Top / Lap Chi Kwong, Alison Von Glinow . Image Courtesy of Bee Breeders Bee Breeders have selected the winners of the New York Affordable Housing Challenge, inspired by barriers faced by the global population in our contemporary culture of housing scarcity and economic deprivation. The submissions provide various multifaceted architectural responses to scattered sites of various scales around New York City, "redefining the culture, economy, and experience of urban domesticity by means of space, material, morphology, or structure." Below are the winners of the New York Affordable Housing Challenge: First Prize: The Table Top / Lap Chi Kwong, Alison von Glinow  First Prize: The Table Top / Lap Chi Kwong, Alison Von Glinow . Image Courtesy of Bee Breeders A modular aggregation of elements, the winning project uses combined forms of a circle, square and rectangle to create various unit types, through different orientations and combinations. Costs are reduced through the implementation of a precast concrete post and slab system, which also allows for intertwined moments of solid and void, creating public courtyards and circulation routes. "The success of the first place proposal for the New York Affordable Housing competition lies in its use of a few simple modular elements aggregated to create a heterogeneous whole which serves to generate new modes of interaction between the inhabitants, their neighbors, and the public," explained the jury. Second Prize: Out-Of-Site / Peter Wong, Christopher Jarrett, Nazinin Modaresahmadi, Robert Stubbs  Second Prize: Out-Of-Site / Peter Wong, Christopher Jarrett, Nazinin Modaresahmadi, Robert Stubbs. Image Courtesy of Bee Breeders Another modular proposal, this project draws inspiration from Le Corbusier's model for the Unité d'Habitation, creating massing arrangements through L-shaped units in both plan and section. Specifically adapting to the scale of the different sites, the housing incorporates voided balconies into the neighboring context at Harlem's smallest site, while the use of greater voids at the UN site maximizes natural lighting and engages the street. According to the jury, "the selection of three varied New York sites demonstrates how morphologically robust the modular unit is by adapting to sites of different scale, shape, and context." Third Prize: New York Affordable Housing Challenge / Liyang Chen, Yao Zheng  Third Prize: New York Affordable Housing Challenge / Liyang Chen, Yao Zheng. Image Courtesy of Bee Breeders Emphasizing user customizability and preference, the free plan of this column and slab structure relies on movable partitions to create varying degrees of public and private programs within the building. The fabric retractable walls allow flexibility to accommodate a range of user types and family sizes, prioritizing community, while still maintaining individuality amongst the tenants. "This new model for domesticity is a powerful interrogation of how affordable housing can be achieved by minimizing costly and redundant private spaces in order to utilize shared infrastructures and amenities," noted the jury. "The proposal creates a generosity of space that is both flexible in its use and its function, creating a home that is no longer a series of bounded rooms with a predefined set of behaviors." Rising Star Award (Students Only):  Rising Star Award (Students Only): New York ParaSiTe Housing / Antonio González Viegas; Escuela Técnica Superior de Arquitectura de Sevilla. Image Courtesy of Bee Breeders New York ParaSiTe Housing / Antonio González Viegas; Escuela Técnica Superior de Arquitectura de Sevilla NYB Green Award:  NYB Green Award: Forging the Upward Frontier / Ryan Ball. Image Courtesy of Bee Breeders Forging the Upward Frontier / Ryan Ball The Honourable Mentions and complete winners' interviews can be found on the competition website, here. News via: Bee Breeders.
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