Arch Daily |
- University Library / OFFICE Kersten Geers David Van Severen
- This Project Explores the Ottoman Miniature as a Form of Architectural Representation
- Beirut Terraces / Herzog & de Meuron
- Reynard/Rossi-Udry House / Savioz Fabrizzi Architectes
- JIKKA / Issei Suma
- J Pavilion in Xiaogan / Total Architecture
- WeWork Tower 535 / NCDA
- OMA and Mia Lehrer Associates' FAB Park Redesigned for More Green Space
- International House / TZANNES
- Watch Adriaan Geuze of West 8 Explain the Design Behind New York's Largest Private Outdoor Gardens
- High Kitchen / A-Zero Architects
- Skyline House / Terry & Terry Architecture
- RIBA Announces 2017 London Regional Award Winners
- Alcântara Flat / M2.senos
- Spotlight: Robert A.M. Stern
- RCR Arquitectes' Pritzker Prize Acceptance Speech
- Lake Cottage / UUfie
- Timelapse of Herzog & de Meuron's Latest Completed NYC Skyscraper Takes us to New Heights
- London to Follow in New York’s Footsteps With Camden High Line
- DE BAEDTS House / Architektuuburo Dirk Hulpia
| University Library / OFFICE Kersten Geers David Van Severen Posted: 23 May 2017 10:00 PM PDT  Courtesy of Office KGDVS
 Courtesy of Office KGDVS From the architect. The new library for the faculty of Architecture and Urbanism of the University of Ghent can be considered a large, pavillion-like piece of furniture, inserted under the bacony of the existing Physics hall. The accessible, three-storied cupboard forms a complete perimeter around the central, atrium-like space, enforcing its monumental scale. Both the lendable collection as well as the more precious books which can only be consulted, are presented visibly around it.  Floor Plan  Section The perimeter of cupboards, realised completely as a bolted construction of prefabricated steel elements, contains passages, stairs, desks and corridors, and organises both the library itself as the access to the multiple backof ces and auxiliary functions. A system of vertically sliding, perforated panels allows for the cupboards to be closed off, protecting the collection during lectures and other events, while keeping it visually present.  Courtesy of Office KGDVS  Courtesy of Office KGDVS This posting includes an audio/video/photo media file: Download Now |
| This Project Explores the Ottoman Miniature as a Form of Architectural Representation Posted: 23 May 2017 09:00 PM PDT  Fishmarket. Image © Deniz Basman, Louis Mounis Over the following weeks we will be sharing a selection of unrealized student projects, alongside realized schemes by practices who explore representational techniques, in collaboration with KooZA/rch. The aim is "to explore the role of the architectural drawing as a tool for communication" and, in the process, provoke a conversation about the contemporary use, format, and role of drawing.  Territory Report. Image © Deniz Basman, Louis Mounis Mare Nostrum / Deniz Basman and Louis Mounis
 Winery. Image © Deniz Basman, Louis Mounis
 Winery. Image © Deniz Basman, Louis Mounis
 Art Storage. Image © Deniz Basman, Louis Mounis KooZA/rch: Why do you work with collage? Deniz Basman and Louis Mounis: We have always worked with collage, but have always adapted this technique to the specificities of the project we were working on. For Mare Nostrum, we wanted to use a more personal technique—that was also linked to the narrative context behind our project—and we immediately thought of Ottoman miniatures. These are a form of representation that was used by nations around the Mediterranean Sea for a long period of time. Here, we aimed to reinterpret this style.  Art Storage. Image © Deniz Basman, Louis Mounis KA: You explore and acquire depth through flatness. How important is this to the project? DB & LM: This flatness allowed us to focus on the framing, or the composition, of the visuals. "Flattening" the image allowed us to "cheat" when it came to the elements that we wanted to show; in other words, we were able to present a lot of context as well in tandem with architectural interventions. It was a way for us to visually affirm the imaginary elements that are also present in the narration of our projects. We wanted to detach ourselves from the super-realistic rendered images that we see everywhere, and rather tell tales and stories.  Greenhouse. Image © Deniz Basman, Louis Mounis KA: What dictated the rectangular, framed format of the drawings? DB & LM: This format is traditionally used in miniatures. The dimensions of the printed versions were also quite small, as it also is traditionally, which made them appear as postcards – objects that captured memories.  Greenhouse. Image © Deniz Basman, Louis Mounis KA: Do you agree with the idea that "the medium is the message"? DB & LM: We chose to use a lot of different mediums—such as a handwoven carpet, miniatures, three-dimensional printed models, photographs, and publications—because we saw them as narrative elements in a story that we wanted to tell. Using a carpet, for example, was a way for us to question the visual supports that we use in architecture – but also to reflect on the knowledge that needs to be accumulated in order to make a project.  Fishmarket. Image © Deniz Basman, Louis Mounis Mare Nostrum is the diploma project of Deniz Basman and Louis Mounis at the Ecole Spéciale d'Architecture in Paris (2016). The jury included Sébastien Chabbert, Doris Von Drathen, Cédric Libert, Nicolas Dorval-Bory, Reza Azard, Jean-Benoît Vétillard, Samuel Jaubert de Beaujeu, and Charles Aubertin. It has been shared as part of a collaboration with KooZA/rch.
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| Beirut Terraces / Herzog & de Meuron Posted: 23 May 2017 08:00 PM PDT  © Iwan Baan
 © Iwan Baan From the architect. Site The city of Beirut lies in the heart of the developing Middle East. Having always been a cosmopolitan city, it is a focal point of the region as a cultural and geographical link between Europe and the Middle East. The history of Beirut could hardly be more diverse; remains of Phoenician, Roman, Mamluk, Ottoman and Colonial rule have shaped the city and its buildings. The design of Beirut Terraces was quite literally influenced by the layers of the city's rich and tumultuous history. It is a history now also marked by inescapable traces of an eventful present. For generations to come, the people of Beirut will remember the assassination in 2005 of Prime Minister Rafik Hariri, when a car bomb detonated in front of St. Georges Hotel. The resultant devastation is still visible as a daily reminder. Despite a scarred history, there is a clear vision to rehabilitate the area, with a master plan well under way that aims to rebuild and revitalize this part of Beirut. The site of Beirut Terraces is in a portion of the master plan dedicated to office and residential high-rise buildings, in the vicinity of a new yacht marina.  © Iwan Baan Architecture The structure and appearance of the proposed building are informed with an awareness and respect for the city's past, as well as the self-confidence and optimism of contemporary Beirut. Five principles define the project: layers and terraces, inside and outside, vegetation, views and privacy, light and identity. The result is a vertically layered building: slabs of varying sizes allow for interplay between openness and privacy that fosters flexible living between inside and outside. Fine detailing and a focus on the concerted orchestration of quality materials produce a structure that is both efficient and luxurious. Careful environmental engineering and specific use of vegetation further enhance sustainability and the quality of life within the building.  © Iwan Baan Layers and Terraces The building is a multilayered 119-metre tall high-rise. The stratified structure is distinguished by projecting or set back living areas that generate terraces and overhangs, light and shadow, places of shelter and exposure. As a result, each unit is unique and variations in the layout of the apartments on each layer thoughtfully shape a new neighbourhood.  © Iwan Baan Light and Identity Extensive overhangs provide shade and reduce solar gain. The slabs of each floor protrude around their entire circumference by a minimum of 60 centimetres, easing construction and maintenance of the extensive double-galzed façades. The floor plates are thick enough to balance the daily temperature cycles by virtue of their thermal mass, storing cold through the night and releasing it during the day. Such passive strategies make the building a truly sustainable place to live in. Where necessary, perforations in the overhangs modulate the lighting and exposure to the sun. Their density, shape, and the shadows they generate form a striking pattern that gives the tower a distinctive identity and sets it off from its surroundings.  © Iwan Baan Structure To guarantee sufficient differentiation of the building volume and maintain reasonable building ratio, the tower is made of five modular floors, repeated in different combinations. The structure is carried by the core and a regular column-grid that spans up to 14.7 metres. As a result the walls of the apartments are not structural and their arrangement is open to future flexibility. Each quarter of the tower has its own lobby with elevators serving no more than two apartments at a time. For greater efficiency, two lobbies share service elevators, MEP risers, and fire escapes.  © Iwan Baan Apartments The mix of apartments of different sizes and types, including multi-storey duplexes, are distributed throughout the building, offering a variety of conditions to meet each tenant's needs and provide each level with a unique identity. The apartments generally consist of three areas: a public reception area, a private living space, and a service area. The foyer and grand living room in the reception area include areas for seating and dining with access to a spacious viewing terrace. The private space features a family living room and bedrooms with en-suite bathrooms and walk-in closets and often also includes access to a terrace. The service area comprises a kitchen with storage and laundry room attached and a maid's bedroom with bathroom. All the main spaces, such as living rooms and bedrooms, provide a clear height of 3.31 metres. This posting includes an audio/video/photo media file: Download Now |
| Reynard/Rossi-Udry House / Savioz Fabrizzi Architectes Posted: 23 May 2017 07:00 PM PDT  © Thomas Jantscher
 © Thomas Jantscher From the architect. Situated in the old village of ormône, this house was built in 1860, and then altered over the years. It stands in the middle of an area of the village that has tremendous character, and consists of a masonry base of natural stone whose upstream part rises up to form the backbone of the building and whose downstream part is surmounted by a timber structure.  Before  © Thomas Jantscher The timber part is simply raised. The masonry part is altered. This stone spine, which links the whole project together, is extruded in a kind of "chimney" to the east and extends to the north to form an annexe.  © Thomas Jantscher The rustic simplicity of this building is accentuated by the treatment of the outer walls, which are given unity by a coating of simple render, applied both to stones from which render had been removed so they could be re-pointed in a style similar to traditional "pietra rasa" plasterwork, and also to the new parts constructed in concrete.  © Thomas Jantscher The large areas of glazing flush with the exterior further accentuate its mineral appearance, emphasising its carefully-smoothed lines, while orienting the spaces towards chosen views: the rhône valley to the east, savièse to the north, the mountains of val d'hérens to the south and the garden to the west.  B-B' Longitudinal Section In the northern part, the spaces are structured by two partial floor slabs, which open onto circulation and living spaces and allow visual relationships between the occupants of the different levels, the children on the first floor and their parents in the eaves. The character of the house's exterior is echoed in its interior by the use of a mineral coating on the walls, and by the use of exposed concrete slabs for the floor.  © Thomas Jantscher In the southern part, set behind timber walls, the bedrooms are covered with larch panelling, producing a contrast with the rest of the project.  A-A' Transversal Section This timeless contrast between mineral and the wooden elements, established when the house was first built, is thus retained and reappropriated, providing consistency with the original structure.  © Thomas Jantscher This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 May 2017 03:00 PM PDT  © Takumi Ota
 © Takumi Ota From the architect. The site is located at the top of the mountain ridge, which the top has been cut off and flattened by the previous owner.  © Takumi Ota  © Takumi Ota The newly-built consits of 5 huts varying in size and height which recalls the former ridge top.  © Takumi Ota  Plan  © Takumi Ota It is a final abode for the clients – two ladies in their 60's. A social worker and a cook – where they will give and serve the community until the end of their remaining lives.  Sections Spaces are unembellished as a primitive hut. Concrete walls, floors and table.  © Takumi Ota Thier kitchen is open to the public, functioning as a luchtime restaurant using local products. Meals are also delivered to elderly living alone in the local community.  © Takumi Ota This posting includes an audio/video/photo media file: Download Now |
| J Pavilion in Xiaogan / Total Architecture Posted: 23 May 2017 01:00 PM PDT  © Rjing-Photo
 © Rjing-Photo Background Project is located in Xiaogan, Hubei province. It is the first completed project constructed by Zhuo'er Group in PeachBlossom Town. Taking advantage of the rich natural resources of the Peach Blossom with an area of thousands hectors in Xiaogan, Zhuo'er Group aims to build a comprehensive idyllic town which includes rustic-style resorts and family-friendly leisure parks. The villa, an exhibition of the local cultural and pastoral life, is a tourist attraction to the citizens in Wuhan and its surrounding areas.  © Rjing-Photo Planning The J pavilion, as a modeling architecture of the whole scenic spot, is not only a window to display Peach Blossom Town, but also a reception place for a huge number of tourists. The villa is located in the north part of the village, facing a small pond and a boundless peach forest in its south, and a slightly higher terrain in its north. The overall layout of the villa consists of three layers. The north entrance will let you have an access to the scenic spot and see the height of two layers. You will have a view of a broad landscape of the south part when you stand on the terrace located at the third storey of the building. The view of the villa with surrounding villages creates a harmonious atmosphere.  Axonometric Drawing Architecture The tangential dislocation of the three layers creates a variety of balconies, terraces and semi-outdoor gray spaces with different areas. The main part of the first storey is composed mainly by hotel rooms, and the stone elevation facade forms a massive platform; the third storey is an independent cabin consisting of two main bedrooms; and the second storey includes an entrance hall, a dining room, a meeting room and a study room, surrounded by large glasses, in order to create a levitation effect for the cabin in the third-storey. The whole building is modern and yet classical and aesthetic style.  © Rjing-Photo  1F Plan  © Rjing-Photo  2F Plan Interior The interior and furniture design is composed of natural elements in order to harmonize the peach forest, with furniture lavishly decorated with wooden ensemble; decorative textiles made of comfortable cotton and fabric; and ornaments accessorized in ceramic stoneware and preserved materials. The spacious design breaks the stereotype display and leaves more unique feelings and imaginations to each visitor. There is a hundred Peach Blossom in a hundred people's eyes.  © Rjing-Photo  © Rjing-Photo This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 May 2017 12:00 PM PDT  © Dennis Lo Designs
 © Dennis Lo Designs From the architect. The new model of communal workspaces with hot desking and flexible new ways of working paradoxically means the modern workplace plays an even more important role in social interaction and creative culture.  © Dennis Lo Designs Tasked with designing unique communal spaces for global brand WeWork's new 60,000 sqft co-working concept, which spread over eight floors in Causeway Bay, Hong Kong, NCDA started with careful consideration of these new points of interaction and understanding human dynamics in order to implement WeWork's unique approach for creating a series of spaces that would allow people to gather brainstorm, and just relax.  © Dennis Lo Designs Taking inspiration from Hong Kong's iconic transportation and cues from WeWork's in-house design team, NCDA has defined each floor as an individual 'neighbourhood', creating a distinctive sense of place for each floor through different colour and material palettes, eclectic custom-design furnishings, and a collection of local-inspired wallpapers alongside inspirational bespoke artworks by Hong Kong-based creatives that include photographers, lighting artists and various illustrators. The purpose is to encourage members to explore the various thematic floors and discover collaboration opportunities.  © Dennis Lo Designs  © Dennis Lo Designs Each of the communal spaces offers a forward-thinking yet nostalgic take on a local cultural theme, drawing typology from the iconic transportation to the city's quintessential streetscape. For example, a pantry inspired by the traditional street kiosks, curved bar counter with wooden overhang inspired by the Ferry terminal, custom-designed sofas are a nod to the Star Ferry's signature seating, Bespoke lighting further evokes Hong Kong's familiar street signage, trams and florescent lights. This decorative 'hardware' and its arrangement in the space is designed to encourage interpersonal connectivity through impromptu conversations, while also fostering a sense of community and collaborative culture that is unique to both WeWork and Hong Kong.  © Dennis Lo Designs  © Dennis Lo Designs The new coworking space embraces Hong Kong unique characters and local creativities, while the design sets a new standard for office culture, raising quality of life during and after work for a diverse workforce through creating opportunities for communication, collaboration, and personal connections.  © Dennis Lo Designs This posting includes an audio/video/photo media file: Download Now |
| OMA and Mia Lehrer Associates' FAB Park Redesigned for More Green Space Posted: 23 May 2017 10:05 AM PDT  via Curbed The design of OMA and Mia Lehrer+Associates' park at First and Broadway (FAB) in Los Angeles has received a green update, reports LA Downtown News, following a community feedback session in which residents voiced their desire to add additional plantings to the scheme.  via Curbed Selected last June as the winner of a competition for the park's design, the scheme will retain its signature elements, including the OMA-designed sculptural shade canopies and restaurant structures, albeit with a few additions, including a rooftop deck on the FAB Food building. But the most significant changes are seen in the center of the park plan, where nearly 10,000 square feet of planned hardscape has been switched out for grassy meadows.  via Curbed "One of the things we heard most with the original design was 'more trees,' so we added more, and wanted to make sure they're big enough to provide deep shade," said Ben Feldmann, a principal at Mia Lehrer + Associates, in the News' report. Additional changes concern accessibility to the park: park entrances have been moved to the corners of the site, and a new ramp has been added near the restaurant. The $28 million project will now move forward towards planned groundbreaking in 2018, with an opening date slated for early 2020. Learn more about the competition here. News via LA Downtown News. H/T Curbed.
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| Posted: 23 May 2017 10:00 AM PDT  © Ben Guthrie
 © Ben Guthrie From the architect. Designed by Tzannes architects for Lendlease, International House Sydney is a distinctive new element in the city, establishing a warm and welcoming connection between the new precinct of Barangaroo and the historic heart of the city.  © Ben Guthrie The most striking aspect of International House Sydney is that six above ground levels are constructed entirely from engineered or cross laminated timber, including floors, columns, walls, roof, lift shafts, egress stairs and bracing bays, supported by a single ground retail level of conventional concrete structure.  © Ben Guthrie The building explores a new form of beauty, one of unique and integral character, with outstanding green credentials. It expresses with aesthetic potency the fully exposed timber structure, stripped of additional layers of finishing materials.  © Ben Guthrie  © Ben Guthrie This is architecture that is detailed with rigour, made to last and not simply for 'aesthetic effect'. Its intention is to become a long-term appreciating commercial asset, understood for its intrinsic, enduring beauty.  © John Gollings Around 3,500 cubic metres of sustainably grown and recycled timber were used in construction. By not using concrete, thousands of tonnes of greenhouse gases were avoided.  © Ben Guthrie Importantly, International House Sydney demonstrates that the commercial real estate market will accept mass timber construction as a viable and exciting alternative to conventional concrete construction, increasing opportunity for architecture to contribute more effectively to a lower carbon and more sustainable future for urban development around the world.  Sketch  Elevation International House Sydney was conceived to add amenity and delight to the experience of the public realm, to demonstrate leadership in environmentally sustainable design and foster wellbeing. The entirely natural and renewable timber material used structurally is innovative technology for projects with demonstrated prospects for its adoption across an increasing number of commercial applications around the world.  © Ben Guthrie Located on the boundary of the Barangaroo South precinct along Hickson Road and flanked to the north and south by pedestrian bridges that connect back to the city, International House Sydney defines the street edge of the Barangaroo South commercial and retail precinct with a spectacular 2-storey colonnade designed from recycled iron bark solid timber. The colonnade leads to the southern façade forming the covered public plaza and connects to Mercantile Walk with another significant covered public space providing additional opportunities for activities within a protected environment.  Section The architecture is underpinned underpinned by placemaking concepts: including establishing pedestrian oriented scale; reinforcing the urban form of the street and pedestrian networks, creating special conditions at corners to improve pedestrian amenity and experience; establishing a simple, understated aesthetic character as a counterpoint to other architecture in the precinct to enhance legibility; am interiors that create a fresh and healthy working environment for occupants.  © Ben Guthrie The design turns the structural limitations of structural engineered mass timber and recycled hardwood to advantage, establishing a strong visual presence and legible load path through the building column and beam construction. The double height colonnade bracing columns made from recycled ironbark evoke memories of the forest origins of timber, these ancient trees respected in their new industrial use to further distinguish the architecture and its contribution to the design of the public domain.  Model Planet Ark and others indicate positive physiological and psychological benefits for occupants of timber interiors. The smell, tactile and visual stimuli of timber deliver a more natural and healthy indoor environment. Its feeling and natural warmth has been shown to reduce stress and anxiety, particularly when coupled with improved indoor air quality and beautiful aesthetics. Prefabrication of the structure provided significant reduction in construction time and additional quality control achieved by off site factory manufacture. The full prefabrication of the timber components was delivered through a comprehensive 3D digital documentation process, co-ordinating every penetration, connection and interface prior to procurement  © Ben Guthrie International House Sydney is an exemplar of place making architecture that reduces negative environmental impacts in the built environment. It provides an ongoing store for carbon pointing towards the future of commercial building construction globally. This posting includes an audio/video/photo media file: Download Now |
| Watch Adriaan Geuze of West 8 Explain the Design Behind New York's Largest Private Outdoor Gardens Posted: 23 May 2017 08:05 AM PDT In this video, West 8 co-founder Adriaan Geuze discusses the design process behind New York City's largest private outdoor gardens, which will be located at One Manhattan Square in the Lower East Side. Currently under construction, the 800-foot-tall glass residential tower will feature more than an acre of exterior garden space designed by West 8 Urban Design and Landscape Architecture.  © wordsearch Inspired by parks and urban spaces from around the world, the dynamic landscape scheme will feature a range of programmatic spaces, including a tea pavilion, a putting green, a treehouse and children's area, and a fire pit seating area offering romantic views of the Brooklyn and Manhattan Bridges.  © wordsearch In total, the building will contain over 100,000 square feet of indoor and outdoor amenities. Amenities featured within the structure, designed by Adamson Associates and Dattner Architects, include a spa and tranquility garden, theater and performance spaces, a full basketball court and a private 2-lane bowling alley, among many others. Learn more about the project here. News via Extell Development Company This posting includes an audio/video/photo media file: Download Now |
| High Kitchen / A-Zero Architects Posted: 23 May 2017 08:00 AM PDT  © Adam Scott
 © Adam Scott From the architect. The brief of the project was to convert the basement of an existing house in Catford to a new kitchen and bicycle workshop with new access to the garden.  © Adam Scott The architects persuaded the clients to improve diagonal connections in the house by opening up a double height space from basement to the ground floor.  Existing and Proposed Section This double height space allows both verbal and visual connections through the house and frames a west-facing view to the garden from the ground floor sitting room.  © Adam Scott The materials were considered with respect to the relationship of new to old, with the original pine flooring exposed steels painted turquoise, and exposed brick used throughout.  Floor Plans The stair forms the interface between old and new, with a Victorian string carrying the flooring from above to below, and a rhythm of stainless steel rods top and bottom bolted providing the balustrade.  © Adam Scott This posting includes an audio/video/photo media file: Download Now |
| Skyline House / Terry & Terry Architecture Posted: 23 May 2017 06:00 AM PDT  © Bruce Damonte
 © Bruce Damonte From the architect. This project is a rebuild of an existing post 1991 fire-storm house. Situated high on top of the Eastbay mountain range overlooking the city of Oakland, the site has unobstructed view's toward the southwest Bay and Golden Gate. It was designed for a young family, who desired an open plan home that embraced the views of the bay and a connection to the existing garden.  © Bruce Damonte  Section  © Bruce Damonte The property has large redwood trees at the two longitudinal sides of the property, thus channeling ones focus from the front garden area to the to back views. The design consists of shrouding the open common space in a wood tube that connects the garden in the front to the viewing deck off the living space at the rear. Situated near the top of the mountain range, about 1800 feet above sea level the site is confronted with extreme weather and wide temperature swings. The roof of the tube form is warped out creating a large ventilation volume for the living space echoing the wisps of the coastal fog flowing inward, thus cooling the interior with the afternoon breezes. The main living space becomes the connector of the two contrasting outdoor spaces.  © Bruce Damonte Working with the existing floor plan the design transformed the kitchen area to open out and connect to the front yard garden and forming an outdoor dining area. A concrete planter/bench was placed to further define the outdoor garden space. Opposite of the remodeled kitchen the interior dining space seamlessly opens out to the viewing deck creating one large open space and extending the roof structure as a trellis to shelter the space from the direct sun. A new stair connects the main floor with the lower ground floor continuing the wood tube down through a crevasse to a media/projection room, bedroom and office area.  © Bruce Damonte This posting includes an audio/video/photo media file: Download Now |
| RIBA Announces 2017 London Regional Award Winners Posted: 23 May 2017 05:00 AM PDT  © Luc Boegly + Sergio Grazia. ImageThe Design Museum and Holland Green / Allies and Morrison with OMA and John Pawson. The Royal Institute of British Architects (RIBA) has named 50 projects as winners of 2017 RIBA London Regional Awards, including the London Building of the Year, "Photography Studio for Juergen Teller" by 6a architects. "The year has demonstrated once again the breadth of the capital's architectural output at the very high level that the RIBA programme requires, and the juries took enormous pleasure in selecting a most exemplary set of schemes," said Jury chair Matthew Lloyd. Selected from a 85-strong shortlist, these 50 projects will now go on to compete in RIBA's National Awards program, the winners of which will create the shortlist for the RIBA Stirling Prize – the highest award for architecture in the UK. 1 King William Street / AHMM  © Timothy Soar. Image1 King William Street / AHMM 40 Chancery Lane / Bennetts Associates  © Allan Crow. Image40 Chancery Lane / Bennetts Associates 5-7 St Helen's Place with The Leathersellers' Hall / Eric Parry Architects .jpg?1495554470 "© Courtesy Szerelmey. Image5-7 St Helen's Place with The Leathersellers' Hall / Eric Parry Architects") © Courtesy Szerelmey. Image5-7 St Helen's Place with The Leathersellers' Hall / Eric Parry Architects 55 Victoria Street / Stiff + Trevillion with Pozzoni  © Kilian O'Sullivan. Image55 Victoria Street / Stiff + Trevillion with Pozzoni 6 Wood Lane / Birds Portchmouth Russum Architects  © Magdalena Pietrzyk. Image6 Wood Lane / Birds Portchmouth Russum Architects 8 Finsbury Circus / WilkinsonEyre  © Dirk Lidner. Image8 Finsbury Circus / WilkinsonEyre Barretts Grove / Amin Taha + Groupwork  © Tim Soar. ImageBarretts Grove / Amin Taha + Groupwork Belarusian Memorial Chapel / Spheron Architects  © Joakim Boren. ImageBelarusian Memorial Chapel / Spheron Architects Boxpark Croydon / BDP  © Nick Caville. ImageBoxpark Croydon / BDP Brentford Lock West / Mikhail Riches Ltd  © Mark Hadden. ImageBrentford Lock West / Mikhail Riches Ltd Dujardin Mews / Karakusevic Carson with Maccreanor Lavington  © Mark Hadden. ImageDujardin Mews / Karakusevic Carson with Maccreanor Lavington Feilden Fowles' Studio / Feilden Fowles Architects  © David Grandorge. ImageFeilden Fowles' Studio / Feilden Fowles Architects Grand Union Studios – The Ladbroke Grove / AHMM  © Timothy Soar. ImageGrand Union Studios – The Ladbroke Grove / AHMM Hidden House / Coffey Architects  © Timothy Soar. ImageHidden House / Coffey Architects Highgate House / Carmody Groarke  © Hélène Binet. ImageHighgate House / Carmody Groarke Highgate Junior School / Architype  © Dennis Gilbert. ImageHighgate Junior School / Architype Home Studio, Kilburn Lane / Studio McLeod  © Lawrence Carlos. ImageHome Studio, Kilburn Lane / Studio McLeod King's College School / Allies and Morrison  © Nick Guttridge. ImageKing's College School / Allies and Morrison Marie's Wardrobe / Tsuruta Architects  © Tim Crocker. ImageMarie's Wardrobe / Tsuruta Architects Mathematics – The Winton Gallery / Zaha Hadid Architects  © Luke Hayes. ImageMathematics – The Winton Gallery / Zaha Hadid Architects New Cancer Centre at Guy's Hospital / Rogers Stirk Harbour + Partners  © Mark Gorton. ImageNew Cancer Centre at Guy's Hospital / Rogers Stirk Harbour + Partners New Scotland Yard / AHMM  © Timothy Soar. ImageNew Scotland Yard / AHMM New Studios, Wimbledon College of Arts / Penoyre and Prasad  © Tim Crocker. ImageNew Studios, Wimbledon College of Arts / Penoyre and Prasad No. 49 / 31/44 Architects  © Anna Stathaki. ImageNo. 49 / 31/44 Architects Paradise Gardens / Lifschutz Davidson Sandilands  © Paul Riddle. ImageParadise Gardens / Lifschutz Davidson Sandilands Park Heights / PRP  © Richard Chivers. ImagePark Heights / PRP Photography Studio for Juergen Teller / 6a architects  © Johan Dehlin. ImagePhotography Studio for Juergen Teller / 6a architects Redchurch Street / vPPR Architects  © Ioana Marinescu. ImageRedchurch Street / vPPR Architects Science Museum Research Centre / Coffey Architects  © Timothy Soar. ImageScience Museum Research Centre / Coffey Architects Silchester / Haworth Tompkins  © Philip Vile. ImageSilchester / Haworth Tompkins St John's Hill, Burridge Gardens, Phase 01 / Hawkins\Brown  © Jack Hobhouse. ImageSt John's Hill, Burridge Gardens, Phase 01 / Hawkins\Brown Sun Rain Room / Tonkin Liu  © Alex Peacock. ImageSun Rain Room / Tonkin Liu Tapestry Building / Niall McLaughlin Architects with Weedon Partnership  © Nick Kane. ImageTapestry Building / Niall McLaughlin Architects with Weedon Partnership Tate Modern Switch House / Herzog & de Meuron  © Iwan Baan. ImageTate Modern Switch House / Herzog & de Meuron The Bartlett School of Architecture / Hawkins\Brown  © Jack Hobhouse. ImageThe Bartlett School of Architecture / Hawkins\Brown The British Museum World Conservation and Exhibitions Centre / Rogers Stirk Harbour + Partners  © Joas Souza. ImageThe British Museum World Conservation and Exhibitions Centre / Rogers Stirk Harbour + Partners The Cooperage / Chris Dyson Architects  © Peter Landers. ImageThe Cooperage / Chris Dyson Architects The Design Museum and Holland Green / Allies and Morrison with OMA and John Pawson  © Sebastian van Damme. ImageThe Design Museum and Holland Green / Allies and Morrison with OMA and John Pawson. The Fetal Medicine Center (Windsor Walk) / A21 Architects  © Adam Scott. ImageThe Fetal Medicine Center (Windsor Walk) / A21 Architects The Green, Nunhead / AOC Architecture Ltd  © Tim Soar. ImageThe Green Nunhead / AOC Architecture Ltd The Laboratory, Dulwich College / Grimshaw  © Daniel Shearing. ImageThe Laboratory, Dulwich College / Grimshaw The Layered Gallery / Gianni Botsford Architects Ltd  © Luigi Parise. ImageThe Layered Gallery / Gianni Botsford Architects Ltd The Library at Willesden Green / AHMM  © Timothy Soar. ImageThe Library at Willesden Green / AHMM The Loom / Duggan Morris Architects  © Jack Hobhouse. ImageThe Loom / Duggan Morris Architects Tyers Street, Cabinet Gallery / Trevor Horne Architects  © Tim Crocker. ImageTyers Street, Cabinet Gallery / Trevor Horne Architects Valentino London / David Chipperfield  © Santi Caleca. ImageValentino London / David Chipperfield Vantage Point / GRID architects  © Morley von Sternberg. ImageVantage Point / GRID architects Walmer Yard / Peter Salter and Associates with Mole Architects and John Comparelli Architects  © Hélène Binet. ImageWalmer Yard / Peter Salter and Associates with Mole Architects and John Comparelli Architects West Croydon Bus Station / Transport for London  © Alex Upton. ImageWest Croydon Bus Station / Transport for London Whole House / Hayhurst and Co.  © Marcus Peel. ImageWhole House / Hayhurst and Co. In addition, special recognition was given to:
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| Posted: 23 May 2017 04:00 AM PDT  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG From the architect. On a street in Alcântara, with a magnificent view of the Tagus River and of the Ajuda National Palace, the client bought two small two bedrooms apartments in an old building built in the 70's, with the intention of convert them into a single apartment.  © Fernando Guerra | FG+SG In the back of the building, there are reminiscences of the large industrial constructions that characterize the neighborhood.  © Fernando Guerra | FG+SG One particularity about these apartments was the stairs and the elevator box of the building between them, which bring out their absolute symmetry but also shows an image of two different spaces. The initial design theme for the project was precisely the deconstruction of this image.  Plan In this sense, we have tried to distorter this perception, using the large common spaces like the kitchen and the living room as the transversal communication axes between the two poles, and removing the connections by creating corridors. The two distribution halls were kept. And we use slatted wood in these spaces, first to qualify these transitions and secondly to hide the entrance doors (removing one of them) and the existing electrical boards.  © Fernando Guerra | FG+SG The relation between the spaces with different spans and exterior light is very particular, which was optimized by the withdrawal of the entrance doors in the room.  © Fernando Guerra | FG+SG In order to reinforce the symmetrical composition, the pre-existent structure of the bedrooms was evidenced, even when it was no longer necessary, as in the living room, where the partition is showed, organizing the entrance area and the dining space.  Section Facing the street, the narrow but long balcony goes along with the entire facade, serving the living room and the suite. At the back of the building (tardoz), the option was to transform the marquee area and give it a livable character, winning some space for the bedrooms.  © Fernando Guerra | FG+SG The kitchen, also in the back (tardoz), takes advantage of the large span throughout the façade. A small wall was built, which hides the laundry and service area, and at the same time creates a balcony, almost like an island, which works like a table for quick meals.  © Fernando Guerra | FG+SG Whenever possible, existing materials, such as flooring, or stone used in the kitchen counter were reused. The doors and wood were repaired and painted. For creating a neutral atmosphere we use light colors with the exception of the dark furnishings at the top of the central volume, both in the kitchen and in the living room.  © Fernando Guerra | FG+SG During the construction work we had all kind of the surprises, some predictable others not so much, about the structure, plumbing, or electricity. What appeared to be a struggle, revealed the great character of the apartment. In all spaces we had to design crown molding, which allowed regularize all the visible beams and at the same time to remove the infrastructures from the ground, being a less intrusive option and allowed to reuse the floor. In some spaces, like in the living room or in the bedrooms, this molding gets bigger and becomes a storage space.  © Fernando Guerra | FG+SG This process was very interesting, because it demanded a balance between the pre- existences, with the design concept that had to be constantly adapted to the construction work and to the character of the apartment.abstraction in volumetric addition, balancing the composition. This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 May 2017 03:30 AM PDT  George W. Bush Presidential Center. Image © <a href='https://commons.wikimedia.org/wiki/File:George_W._Bush_Presidential_Center_July_2016_2.jpg'>Wikimedia user Michael Barera</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/4.0/deed.en'>CC BY-SA 4.0</a> As founder of Robert A.M. Stern Architects and former Dean of the Yale School of Architecture, Robert A.M. Stern is a self-proclaimed modern traditionalist – and no, in his eyes, that is not an oxymoron. When asked about the seeming contradiction in a PBS documentary, he replies by musing, "Can one speak the local languages of architecture in a fresh way?"  Robert A.M. Stern Unlike most, Stern sits on the fence between modernists and traditionalists. His work at both his firm and the Yale School of Architecture reflects his desire to connect these two polarized worlds. Often criticized for the "old-fashioned" nature of his work, he remains completely unfazed. He does not strive to stand out, but instead, to fit in, saying: "I don't believe buildings have to be 'me too' buildings, I think that one of the great responsibilities and pleasures in architecture is to extend the language of a place."  520 Park Avenue. Image © 2014 Zeckendorf Development LLC via 520parkavenue.com His most well-known project is likely the Master Plan for Walt Disney's made-from-scratch town in Celebration, Florida – fitting, due to Stern's fascination with suburbia. In 2013, Stern's book Paradise Planned: The Garden Suburb and the Modern City was published. The book is an encyclopedia at a whopping 1,072 pages, a cry from Stern to revisit what he considers the good planning aesthetics and social principles behind suburban developments. But this was not his first foray into writing. He has also authored a series of books on the architectural history of New York, including volumes for the 1880s, 1900s, 1930s, 1960s, and 2000s.  Tour Carpe Diem. Image © Peter Aaron / OTTO Check out the thumbnails below to see Robert A.M. Stern's Work featured on ArchDaily, and further coverage of Stern after those: Robert A.M. Stern Awarded the AIA's 2017 Topaz Medallion Robert A.M. Stern on His Latest Publication: The "Definitive Text" on Suburbia Video: Robert A.M. Stern on Designing Background Buildings and The Limestone Jesus Robert A.M. Stern Remembers Charles Moore Robert A.M. Stern Reportedly Set to Retire from Yale in 2016 This posting includes an audio/video/photo media file: Download Now |
| RCR Arquitectes' Pritzker Prize Acceptance Speech Posted: 23 May 2017 02:30 AM PDT  Ramon Vilalta, Carme Pigem and Rafael Aranda at the 2017 Pritzker Prize Ceremony. Image © The Hyatt Foundation / Pritzker Architecture Prize On Saturday, Rafael Aranda, Carme Pigem and Ramon Vilalta of RCR Arquitectes accepted the 2017 Pritzker Prize at a ceremony in the Akasaka Palace in Tokyo. ArchDaily is pleased to share, with the permission of The Hyatt Foundation and The Pritzker Architecture Prize, a transcript of the winners' acceptance speech, delivered by Carme Pigem on behalf of the trio. Your majesties, the Emperor and Empress of Japan; Deputy Prime Minister Taro Aso; your excellencies ambassadors and ministers; Tom and Margot Pritzker and members of the Pritzker family; ladies and gentlemen. Emotions, happiness, pride, humility, respect, responsibility, admiration for those who have gone before us and for those who will receive this award in the future: there is an infinite mixture of many overlapping feelings that we are experiencing now, but the strongest sensation is one of gratitude: To the Pritzker Family, who for years have been generously supporting and bringing attention to architecture, and we ask that they continue to do this.  Thomas Pritzker (left) with Ramon Vilalta, Carme Pigem and Rafael Aranda. Image © The Hyatt Foundation / Pritzker Architecture Prize To each and every member of the jury, to each and every one of our collaborators, to each and every one of our clients, and to each and every member of our families... to Montse. Being in this palace, in Japan, brings to the surface other feelings that were awakened when we began our professional career together as RCR. When, for the first time, we experienced this country and its culture, with its exquisite perfection and love for nature, that has accompanied us since then. We know that the best decision of our lives has been to share architecture together. The second best decision was to do this from our hometown, Olot. That we have been able to do this together for so many years together is an achievement. We recognize that we love to dream and we love to build.  Left to right: Ryue Nishizawa, Tadao Ando, Kazuyo Sejima, Rafael Aranda, Glenn Murcutt, Carme Pigem, Ramon Vilalta, Toyo Ito, and Shigeru Ban. Image © The Hyatt Foundation / Pritzker Architecture Prize For us, architecture is the art of materializing dreams throughout a long journey. And on this journey, we are pursuing architecture that contains the whole universe--just as the universe is comprised in the most delicate sheet of paper graced with the words of a poet, which help us understand it. Please allow me to recite a few words of the Buddhist poet Thích Nhất Hạnh: If you are a poet, you will see clearly that there is a cloud floating in this sheet of paper. Without a cloud, there will be no rain; without rain, the trees cannot grow; and without trees, we cannot make paper. The cloud is essential for the paper to exist. If we look into this sheet of paper even more deeply, we can see the sunshine in it. If the sunshine is not there, the forest cannot grow... And if we continue to look, we can see the logger who cut the tree and brought it to the mill to be transformed into paper. And we see the wheat. We know the logger cannot exist without his daily bread, and therefore the wheat that became his bread is also in this sheet of paper. And the logger's father and mother are in it too. When we look in this way, we see that without all of these things, this sheet of paper cannot exist. Suppose we try to return one of the elements to its source. Suppose we return the sunshine to the sun... Or if we return the logger to his mother, then we have no sheet of paper either. The fact is that this sheet of paper is made up only of "non-paper elements."... Without "non-paper elements," like mind, logger, sunshine and so on, there will be no paper. As thin as this sheet of paper is, it contains everything in the universe in it." We must admit that it may not be easy, but our commitment is to awaken emotions in the people who live in the spaces we create. To become conscious of their experience, to comprehend the true nature of things and to transcend the established, to arrive at new and unexpected results. Architecture is like music, but less ephemeral. It is like poetry, but more prosaic. All this is because we want to feel and make others feel. It is the part of our lives and we offer to others. And we want to continue to dream, to wake up again and again, and live this and other magical realities. With the granting of this prize, we are headed along this wonderful journey. Moltíssimes gràcies, gracias, thank you, domo arigatou gozaimasu! © The Hyatt Foundation / The Pritzker Architecture Prize
Ramon Vilalta of RCR Arquitectes Speaks of Pritzker Win and Post-Prize Ambitions Who Are RCR Arquitectes? 9 Things to Know About the New Pritzker Prize Winners This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 May 2017 02:00 AM PDT  © Naho Kubota
 © Naho Kubota From the architect. Lake Cottage is a reinterpretation of living in a tree house where nature is an integral part of the building. In a forest of birch and spruce trees along the Kawartha Lakes, the cottage is designed as a two storey, multi-uses space for a large family. The structure composed of a 7m high A-frame pitch roof covered in black steel and charred cedar siding. A deep cut in the building volume creates a cantilever overhang for a protected outdoor terrace with mirrors to further give the illusion of the building containing the forest inside.  © Naho Kubota  Ground Floor Plan  © Naho Kubota This mixture of feeling between nature and building continue into the interior. The main living space is design as a self-contained interior volume, while the peripheral rooms are treated as part of the building site. Fourteen openings into this grand living space reveal both inhabited spaces, skies and trees, equally treated and further articulated with edges finishes of interior panel kept raw to show the inherit nature of materials used. This abstract nature of the interior spaces allows imagination to flow, and those spaces that could be identified as a domestic interior can suddenly become play spaces. A solid timber staircase leads to a loft which has the feeling of ascending into tree canopies as sunlight softy falls on wall covered in fish-scaled shingle stained in light blue.  © Naho Kubota Using local materials and traditional construction methods, the cottage incorporated sustainable principles. The black wood cladding of exterior is a technique of charring cedar that acts as a natural agent against termite and fire. Thick walls and roof provide high insulation value, a central wood hearth provides heat and deep recessed windows and skylights provide natural ventilation and lighting.  © Naho Kubota  © Naho Kubota Lake Cottage is designed with interior and exterior spaces connected fluidly and repeat the experience of living within the branches of a tree.  © Naho Kubota This posting includes an audio/video/photo media file: Download Now |
| Timelapse of Herzog & de Meuron's Latest Completed NYC Skyscraper Takes us to New Heights Posted: 23 May 2017 01:00 AM PDT Herzog & de Meuron have completed construction of their latest project, a high-rise luxury residential skyscraper on 56 Leonard Street, New York City. Conceived as a stack of individual houses resembling a Jenga tower, the building is the tallest in its Tribeca neighborhood. With its tall and slender silhouette, 56 Leonard Street is the latest in a series of contemporary skyscrapers punctuating Manhattan's skyline. The approach to creating the tower's pixelated form was to design it from the inside-out. Herzog & de Meuron treated individual rooms as "pixels", grouping them together on a floor-by-floor basis. By "pixelating" rooms and parts of the program into groups, their arrangement came together to directly inform the final volume and outside shape of the tower. The assembling strategy also creates terraces and projecting balconies, and from the inside, the experience is said to be like stepping into a series of large bay windows. Local construction methods were considered to create shifting and varying floor-slabs to create corners, cantilevers, and balconies. The personalized nature of the exposed concrete slabs within the tower means that only 5 of the 145 apartments are repeated, with no two-floor plates being the same. Design and planning of 56 Leonard started in 2006, with construction starting in 2008. The project was delayed when its developer Alexico Group was hit by the recession and failed to cover the tower's costs. Work picked up again in 2012 and was anticipated to finalize by 2016. The pixelated form of the tower is the latest in a series of stacked iterations explored by various architecture firms around the world, also seen in works by Bjarke Ingels and Ole Scheeren. Video via: The Real Deal.
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| London to Follow in New York’s Footsteps With Camden High Line Posted: 22 May 2017 11:00 PM PDT  via Camden Town Unlimited The New York High Line is set to receive a new British sibling, in the form the Camden High Line – a conversion of the defunct railway line connecting Camden Town and King's Cross, into an elevated public space and commuting route. The invited competition for the project was won by London-based practices Studio Weave and Architecture 00, whose proposal is one of three international designs that have followed the success of the High Line in New York, with the other two situated in Bangkok and Mexico City. "We think the re-use of this railway line for the Camden High Line outweighs the benefits and costs of leaving it vacant," said Simon Pitkeathley, Chief Executive at Camden Town Unlimited. "This new transport link can reduce overcrowding and journey times on the existing, cycling and pedestrian routes nearby like Regent's Canal."  via Camden Town Unlimited Camden's High Line stretches 0.8km and sits 8 meters off the ground while crossing several similarly disused bridges in addition to 8 roads. The aim is to provide a direct link "between two of London's most diverse post-industrial districts", manifested as an attractive public park.  via Camden Town Unlimited  via Camden Town Unlimited Originally built as part of the North London Railway, now known as the North London Line, the abandoned railway line will feature a garden walk, a new park, and will expedite travel times for cyclists and other pedestrians, in an effort to improve the district of Camden. Given the railway line's prominent presence within the urban fabric, the success of the project is hoped to greatly impact the local residents and surrounding neighborhoods. News via: Camden Town Unlimited.
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| DE BAEDTS House / Architektuuburo Dirk Hulpia Posted: 22 May 2017 10:00 PM PDT  © Alejandro Rodríguez
 © Alejandro Rodríguez From the architect. The spacious plot is located in a rural and green area along a connecting road, characterized by a tall farm row. This is the access ofthe house at the front of the plot. The rear focuses on the beautiful landscape and forest. Logically the house opens to the underlying landscape and creates a freely closed facade on the street side to ensure the privacy of the residents.  © Alejandro Rodríguez  Floor Plan  © Alejandro Rodríguez In order to not disturb the front view, the carport is placed out of sight and integrated in the house with an interesting game of volumes. These three volumes contain the program. The front one, the storage and technical room. The back box, the main entrance and living room facing the garden and the upper one the sleeping rooms and the office.  © Alejandro Rodríguez To prevent the closure of the boxes, windows were placed strategically. The front window in the façade, which breaks the closed front façade, is so conceived that, like a lighthouse, it becomes a focus. It is functional too because the office is located there in the upper floor and due to the high position it avoids the street view. This particular window is deep behind the facade to provide protection against the heavy sunlight and, on the other hand, to increase the effect of a floodlight  Floor Plan Big openings are on the back, on the ground floor and on the top floor. Large glass pieces like a window on the underlying world with an accent on the sliding part.  © Alejandro Rodríguez This posting includes an audio/video/photo media file: Download Now |
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