Arch Daily |
- Rüthi / Schneider Türtscher
- Spotlight: Frei Otto
- Museum of the Second World War / Studio Architektoniczne Kwadrat
- Villa Ypsilon / LASSA architects
- Axis Pramiti / The Purple Ink Studio
- Mercedes-Benz Thailand Headquarters / Progressive Building Management
- TRIM / APOLLO Architects & Associates
- Casa Jalapita / DAFdf arquitectura Y urbanismo
- SHoP’s First Domino Sugar Residential Building Gets New Renderings as Construction Marches Forward
- L'Architecture est dans le Pré / Claas architectes
- This Device Attaches to Your Smartphone to Let You See Through Walls
- Garden House / CONNATURAL
- EMBT Wins Competition for Undulating Biodiversity Center on German-Czech Border
- Sewage Treatment Plant of San Claudio / padilla nicás arquitectos
- The Best Architecture Portfolio Designs
- Holmberg House / Estudio Borrachia
- The Confidence Meter of an Architecture Student
- Lit Up: 16 Projects Illuminated by Skylights
- AD Classics: Himeji Castle / Ikeda Terumasa
| Posted: 30 May 2017 10:00 PM PDT  © Johanna Muther
 © Johanna Muther From the architect. An ensemble of two houses with a connecting portico is embedded on the edge of a historically agricultural, today heterogeneously cultivated village in the Rhine Valley of Switzerland. The core idea of the project is based on the urban void. Two parallel set apartment buildings, a portico and a former farmhouse create a clearly composed courtyard.  © Johanna Muther Both houses can host up to three different units because of a hierarchically formulated structure which allows a simple and variable floor plan. They allow different ways of living or working. Like a backbone, a solid in-situ concrete core connects the staircase and the main entrance with a solid loggia. This core hosts all serving rooms and functions as a storage-mass in the centre of a timber structure.  Sketch Raised from the courtyard level, on a concrete plinth, the prefabricated timber facade is constructed and also formally treated, as a multilayered gown. It forms the autonomous surface of the buildings.  © Johanna Muther The outside appearance of the ensemble is characterised by its composite treatment of different materials and surfaces, as well as a contradictory nature in structure and form. Against the expression of the local timber „Veranda", an almost independent in-situ concrete-structure forms the main facade facing west towards the district road. Set transversely to the main alignment of the two volumes, the open structure indicates the end of the ensemble but also of the rhythmical perforated, nearly industrial expression of the eave-walls. Based on simple means, like horizontal slabs and pillars, the loggia expresses a pictorial quality through its anti-tectonic indications that mark the border between the private and public space. As a counterpart to this structure, the portico on the east side defines a facade to the courtyard. It connects the two houses physically and provides a sheltered space.  Ground Floor To reinterpret relationships between the various raw and directly used materials of the main construction, paint and pigment are used. Literally thin and economical in means, these treatments implement an architectonical, not merely technical approach, without losing the haptic qualities of the surface below  © Johanna Muther This posting includes an audio/video/photo media file: Download Now |
| Posted: 30 May 2017 09:00 PM PDT  Munich Olympic Stadium. Image © Atelier Frei Otto Warmbronn German architect and structural engineer Frei Otto (31 May 1925 – 9 March 2015) was well known for his pioneering innovations in lightweight and tensile structures. Shortly before his death in 2015 he was awarded the Pritzker Prize and prior to that he was awarded the RIBA Royal Gold Medal in 2006. Much of his research in lightweight structures is as relevant today as when he first proposed them over 60 years ago, and his work continues to inform architects and engineers to this day.  © Ingenhoven und Partner Architekten, Düsseldorf In many ways, Otto was far ahead of his time and sought new methods to use the least amount of material and energy to create space, embracing principles of sustainability long before the term was coined in architecture. His interest in going beyond the discipline of architecture is evident in his fascination with experimentation as he spoke of the need to understand the "physical, biological and technical processes which give rise to objects." One can see his interests in natural phenomena such as bird skulls, soap bubbles, and spiders' webs as they are translated into man-made forms that appear incredibly delicate and elegant.  Aviary at the Munich Zoo. Image © Atelier Frei Otto Warmbronn An important turning point in Otto's career was marked by the design of his German Pavilion at the 1967 World's Fair in Montreal, Quebec. This work demonstrated the increasing importance of technology, pre-fabrication, and mass production in architecture and brought worldwide attention to his innovations in tensile structures for the first time. However, his interests in tensile structures began long before this when he attempted to build lightweight tents for his fellow prisoners of war in WWII. These experiences made him aware of the importance of developing architecture capable of operating under great material and economic constraints, and inspired what would become a life-long career.  Diplomatic Club Heart Tent. Image © Atelier Frei Otto Warmbronn Perhaps his best known work, the 1972 Munich Olympic Stadium, is another striking example of how Otto gracefully applied the many lessons he learned in tensile structures. The sweeping and flowing structure, which stood in considerable contrast to the strict, authoritarian stadium that was its predecessor, was meant to present a different, more compassionate face of Germany. Almost 40 years after its completion, the tent-like structure remains intact and inspires visitors just as it did during the 1972 Olympics.  Institute for Lightweight Structures. Image © Atelier Frei Otto Warmbronn Frei Otto is remembered most recently for working alongside Pritzker prize winner Shigeru Ban on the Japanese Pavilion at Expo 2000 and almost always collaborated with other professionals in multidisciplinary teams. Perhaps most importantly, he has contributed to a wealth of structural and technical knowledge that will continue to inspire future generations of builders.  Japan Pavilion, Expo 2000. Image © Atelier Frei Otto Warmbronn Click the thumbnails below to see Frei Otto's works featured on ArchDaily, and further coverage of him via the links below those: Frei Otto Posthumously Named 2015 Pritzker Laureate Twitter Critics React to Frei Otto's Posthumous Pritzker Architects' Reactions to Frei Otto's Pritzker Prize Win 12 Things You Didn't Know About Pritzker Laureate Frei Otto Frei Otto and the Importance of Experimentation in Architecture Video: Frei Otto Experimenting with Soap Bubbles Spanning the Future: A Documentary About the Life and Work of Frei Otto Video: Olympiapark München / Frei Otto Video: Frei Otto's German Pavilion at Expo 67 Frei Otto's Drawings and Models Showcased With Exhibition Design by FAR frohn&rojas This posting includes an audio/video/photo media file: Download Now |
| Museum of the Second World War / Studio Architektoniczne Kwadrat Posted: 30 May 2017 08:00 PM PDT  © Pawel Paniczko
 © Pawel Paniczko From the architect. The Museum of the Second World War is built on a lot at Władysław Bartoszewski Square near the centre of the city. It is located in a symbolic architectural space, which is also a space of memory, 200 metres from the historic Polish Post Office in Gdańsk and 3 kilometres across the water from Westerplatte Peninsula, both of which were attacked in September 1939.  Ground Plan The 1,700-square-metre lot set aside for the museum touches the Radunia Canal to the west, while its south side opens onto a wide panorama of the Motława River. Today, these are the outskirts of Old Gdańsk but, soon, it will be the core of the modern section of the city that will replace its shipyard.  © Pawel Paniczko Jurors of the competition for the museum's architectural plan have described it as "a new symbol of Gdańsk", "a new icon" and a "sculptural design". Daniel Libeskind, the jury's chairman and one of the world's best-known architects, designer of the Jewish Museum Berlin, justified the selection of the project as "Using the language of architecture, the selected project narrates the tragedy of the past, the vitality of the present, and opens the horizons of the future. The rising, dynamic form symbolizes the museum below, while giving a panoramic and spectacular orientation to the historic city and its future. Echoing the iconic skyline of Gdańsk, with its shipyard cranes and church towers, the building ties together traditional urban spaces, scales, materials, and colours of the city with a 21st-century museum".  © Pawel Paniczko Its authors, Kwadrat studio, have called their project a silent design, intended to evoke powerful emotions and deep reflection. The museum's spatial division into three areas symbolizes the relationships between the wartime past, the present and the future: the past is hidden on the building's underground levels, the present appears in the open space around the building and the future is expressed by its rising protrusion, which includes a viewing platform.  Sections The building has about 23,000 square metres of floor area, of which the space reserved for the permanent exhibition covers around 5,000 square metres. The exhibition uses the most modern methods to present the Second World War from the perspective of big-power politics but, primarily, through the fates of ordinary people. It is not limited to the experiences of Poles, but recount those of other nations. Apart from the main exhibition space, 1,000 square metres are devoted to temporary shows. The museum's mission is also to serve as a centre of education, culture and research.  © Pawel Paniczko Studio Architektoniczne Kwadrat Statement "Entering the Museum of The World War II competition in Gdansk we were fully aware of the problems that may occur during the design process as well as its interaction with the environment and very complicated functionality.  © Pawel Paniczko To fit in the historic part of the city, and creating a form that may become its icon at the same time, we had to make a compromise between its forma and monumentality, being careful with its impudence and aggressiveness. We wanted the architecture to be a delicate suggestion rather than strong quotation for the World War II tragedy. That is how the idea of dynamic, expressive form had been brought to live, tearing apart the symbolic and dramatic shell covering the world, created by the war. The design of the form is to be undefined by one literally meaning. It may be discovered in many ways by each and every individual viewer.  © Pawel Paniczko  © Pawel Paniczko Following the design process, we have agreed to leave most of the site as an open public space, so we moved some part of an exhibition underground. Entering the subterranean levels is to be a mood setting process. Starting from being unconcern and full of everyday thoughts, to be hanged in the balance and clear minded, to finally fell the horror, frightens and even pain by a strong relation with the exhibition. The underground part of the museum is a path through hell of war, a time travel experience. The "back to reality" begins with the ground level and the public space surrounding the museum, the place to think, to gather the experience from the underground. But that's not the end, the past is a creator of the future, so as the viewer climbs the tower to the very top, he sees hope and freedom, he sees an old and young town of Gdansk. He sees it having thoughts of the past he had just experienced."  © Pawel Paniczko This posting includes an audio/video/photo media file: Download Now |
| Villa Ypsilon / LASSA architects Posted: 30 May 2017 07:00 PM PDT  © NAARO
 © NAARO From the architect. Located in an olive grove in southern Peloponnese, this summer residence is characterized by an Ypsilon shaped green roof that acts as both an accessible extension of the terrain, while framing the most significant views from the inside out. The project was designed by London and Brussels based architects Theo Sarantoglou Lalis and Dora Sweijd from LASSA architects (lassa-architects.com). The roof's bifurcating pathways define three courtyards that form distinct hemispheres with specific occupancy depending on the course of the sun.  Diagrams The house is located on the top of a hill which provides vistas towards the bay of Schiza and Sapientza as well as mountain views towards the east. "The height of the house is limited to the tip of the olive trees to enable its integration with the surrounding landscape." Theo Sarantoglou Lalis The interior spaces are organized in two main parts: A more private area containing three bedrooms and two bathrooms with views towards the east and a more common area towards the south containing the kitchen area and the living room which provide continuous access to all three courtyards. The circulation through, around and on top of the house forms a continuous promenade comprising indoor and outdoor activities. The form of the concrete shell coupled with the planted roof and cross ventilation strategy provides an environmental response which prevents the need for mechanical cooling systems.  © NAARO  Floor Plan  © NAARO The remote location of the project in combination with the limited budget and non-standard geometry induced a construction strategy that called for a large amount of off-site prefabrication and self-assembly which allowed to reduce the construction time to 7 months without compromising anything in terms of quality or exceeding the budget. "We decided to buy a CNC machine that allowed for extensive prototyping and the production of non-standard elements. This included the concrete shell formwork, the livingroom lost formwork/acoustic ceiling, custom window frames, interior furniture and partition systems as well as landscape and pool formers." Theo Sarantoglou Lalis This 'hands-on' approach allowed for a minimal use of commercial 'off-the-shelf' products while instead favoring locally sourced materials such as concrete, terrazzo and marble.  © NAARO This posting includes an audio/video/photo media file: Download Now |
| Axis Pramiti / The Purple Ink Studio Posted: 30 May 2017 03:00 PM PDT  © Shamanth Patil J
 © Shamanth Patil J From the architect. The programmatic values of the school believe in breaking away from the standard scholastic teaching system. The design embraces the creative enterprise of 'flexible learning' to cater to the needs of a heterogeneous group of learners. The site is a land with steep sloping natural topography and several existing trees making it an ideal setting for imparting educating in a green environment. The premise is designed to be safe and close knit yet completely flexible creating an encouraging and interactive environ.  © Shamanth Patil J The administrative hierarchy is conventional for ease in functioning while, the learning spaces and the activity or extracurricular areas encourage interpersonal contact between the students. Each learning space is organized around an outdoor court which enables the extension of the indoor space into the outdoors either for additional activities or to accommodate more students at a time within the same space. Each of the classrooms which are occupied through most part of the day is climatically oriented and houses a tree in the outdoor court making spaces comfortable to inhabit through the year through passive ventilation.  © Shamanth Patil J The lower administrative floors and the facilities for additional activities like the Laboratories, AV rooms and art classes on the upper floors are connected with a series of inner courts that are extendable into outdoor learning areas, blend to become a green corridor where the students can interact in a natural environment.  © Shamanth Patil J The entire feel is organic with natural light washing the exposed walls and ceilings with a spectacular play of light and shadows. The spaces are further held together with a strong design language of exposed Cement finishes, Pigmented Walls and Brick Jaali openings which merge the interior and exteriors, quite literally. The flooring in all the main rooms is planned in Kota stones and the common corridors are planned with IPS.  First Floor Plan The interpersonal contact between the students is an important factor in the design, which is achieved through various hierarchies of interaction spaces. The premise is designed to be safe and close knit yet completely flexible creating an encouraging and interactive environ.  © Shamanth Patil J The landscape is set to create a natural and productive environment where the learning can be extended to the outdoors making the students sensitive to ecological factors by maintaining the biodiversity of the campus. The structure also responds to the climate, reducing the dependency on mechanical sources for ventilation making it an energy efficient building.  © Shamanth Patil J This posting includes an audio/video/photo media file: Download Now |
| Mercedes-Benz Thailand Headquarters / Progressive Building Management Posted: 30 May 2017 01:00 PM PDT  © W Workspace
 © W Workspace From the architect. The new headquarters office of Mercedes-Benz Thailand is designed by inspiration from one of their founders, Mr. Gottlieb Daimler. He sent a postcard to his wife (with a three-pointed star marking the location of his house) writing that this star would one day shine over his own factory to symbolize prosperity. We captured the concept of stars to create the movement and the connection in the new working space. Function rooms such as meeting rooms, coffee corners, utility rooms, were planned across the entire floors which increase chances for staff to meet each others and make them easier to collaborate throughout the day. The connection stair between its 2-storey offices was also designed as a grandstand for the town hall where a hundred of staff can gather around for the company's events. Above this space, we placed the symbolic with imported shining crystal chandelier to enhance our concept of the star and bring fabulous lighting to the property. Along the corridor, we intentionally place lighting in different size and difference direction to mimic the star in the sky.  © W Workspace  © W Workspace With the concern of health and environment, we layout every work seating in the location that all staff can see the outside view and connect directly with natural light by planning most of office rooms and function rooms at the building core. All material was carefully selected based on their environmental support. Plants were also included in our design. Those selected plants help to clean up the air by capturing CO2 in the office area and were designed to reduce the heat from the sun along the windows, especially along the west edge where we put our vertical garden to decrease the afternoon sunlight heat.  19th Floor Plan  © W Workspace  20th Floor Plan  © W Workspace Mercedes-Benz corporate design colour scheme was used to relate the staff with the company culture. Although black is their main colour, there are also many colours in the shades that staff hadn't seen before. To put these shades into the space, we used the concept of the sky colour changes and matched them into function zones. These brought the mix of difference feeling into the space and bring out the most of energy into the working environment.  © W Workspace This posting includes an audio/video/photo media file: Download Now |
| TRIM / APOLLO Architects & Associates Posted: 30 May 2017 12:00 PM PDT  © Masao Nishikawa
 © Masao Nishikawa From the architect. After inheriting the house that his father had built, the client originally considered tearing it down and rebuilding. However, the thirty-some-year-old building had an authentic beauty to it, and its reinforced concrete structure was sound, so he decided to work with the existing framework. The renovation focused on interiors and appliances, while the exterior was left nearly untouched aside from the approach, windows, and doors.  © Masao Nishikawa In order to retain the atmosphere and design approach of the previous generation, the client requested design solutions that would meet the needs of a contemporary family's lifestyle but involve as few changes as possible. In contrast to the distinctive wood interior of the existing structure, the renovation uses an abundance of hard, sharp materials such as marble, border tiles, and glass to create a simple, stylish space whose keynote color is white. In the center of the public space where the family gathers is a large kitchen with a countertop workspace and eating areacounters. The dining and living rooms are on either side of this kitchen. Ceiling height was maximized by turning an attic space into a void topped by a skylight. These three spaces are loosely partitioned by portal-like frames that utilize existing beams and columns; as one moves between them, views of the interior and exterior change markedlyone encounters different scenes of daily life. The frames also add a distinctive sense of depth to the space, which is further deepened by the light and shadow created by natural light.  Plan 1  Plan 2 Overall, this renovation did not aim to change the space as much as possible, but instead to sharpen the space by re-trimming unchanged scenes.  © Masao Nishikawa This posting includes an audio/video/photo media file: Download Now |
| Casa Jalapita / DAFdf arquitectura Y urbanismo Posted: 30 May 2017 10:00 AM PDT  © Marina Pineda
 © Marina Pineda From the architect. Casa Jalapita is a touristic place in the coast of Tabasco that can be used for cultural events, gastronomy and astronomy, recreative events, yoga, meditation, team building, wellness and mindfulness. It is one of the destinations to visit on the new eco-tourism map that is being developed for the coastal area between Paraíso and Frontera.  © Marina Pineda  General Plan  © Marina Pineda Recognition and Alienation  © Marina Pineda The theme of the design is the encounter between these two poles "FAR" and "NEAR", between regionalism and globalization, Jalapita as a small place on the Tabasco coast and at the same time as part of the world. Although the location is immersed in a rural, isolated and underdeveloped area, the goal is to create a house of international exchange, culture and humanism.  © Marina Pineda Cross Roads  Axonometric. Image Courtesy of DAFDF In this place for gourmet experience the connective element is the food; The ingredients, the flavours, the combinations, the preparation. Everything is different all over the world, but at the same time it is very recognizable to all and preparing food appeals to the emotional world of all. Therefore, the principal place of the project is the kitchen. The kitchen represents the creative, universal and recreational part. It is the machine of communication, of cooperation and sharing.  Concept. Image Courtesy of DAFDF The Gardens  © Marina Pineda This posting includes an audio/video/photo media file: Download Now |
| SHoP’s First Domino Sugar Residential Building Gets New Renderings as Construction Marches Forward Posted: 30 May 2017 09:10 AM PDT  © Aether Development on the site of the former Domino Sugar factory in Williamsburg, Brooklyn is moving straight along, with today marking the launch of leasing at 325 Kent, the first building to open as part of the mega-development. Designed by SHoP Architects, the doughnut-shaped building will offer up 16-stories of modern apartment units arranged around an elevated courtyard featuring uninterrupted views of the East River and the Manhattan skyline.  © Aether "325 Kent is the first building to open on the Domino Sugar site and with that we are delivering on our promise to bring striking architecture, affordable housing to local residents, and local Brooklyn retailers to the Williamsburg waterfront. The building features incredible outdoor space for residents to enjoy, that will complement the spectacular new waterfront public park coming to the neighborhood next summer," said Jed Walentas, principal of Two Trees Management, the developer of the Domino site.  © www.mir.no  © www.mir.no  © Aether 325 Kent will feature a total of 522 studio, one-bedroom, one-bedroom with home office, and two-bedroom units apartments, 104 of which will be marked as affordable for low-income residents. Communal spaces have been given prominence in the scheme, with over 11,300 square feet of outdoor and amenity spaces, including a 7,000-square-foot roof deck overlooking the iconic New York City bridges, and an additional 2,000-square-foot courtyard on the fourth floor. Other facilities include a health club, bike storage, a residents' lounge, billiards, a fireplace, and a chef's kitchen for catering. On the ground floor, Brooklyn-staple Mekelburg's store, bar and restaurant will occupy a 4,000-square-foot retail space. More retailers are expected to be announced later this year.  © Aether "Standing 16 stories, the sole upland parcel at the Domino Sugar site features residential floors that step up, gradually forming a visual connection between the existing neighborhood, the landmarked Refinery building, and the taller waterfront buildings slated for future construction," explain the developers. "The striking architectural opening is capped by a three-story bridge which contains the building's core amenities. Clad with a copper façade on lower floors and a zinc façade on upper floors, the curtain wall is perforated in a variety of patterns to create light-filled homes."  © www.mir.no 325 Kent is part of the larger 11-acre Domino development which will contain a total of 2,800 rental apartments across four residential buildings, 500,000 square feet of office space, and a 6-acre waterfront park (expected to open in 2018). See more of ArchDaily's coverage of the development below. News via Two Trees Management.
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| L'Architecture est dans le Pré / Claas architectes Posted: 30 May 2017 08:00 AM PDT  © Myriam Héaulmé
 © Myriam Héaulmé From the architect. Some projects are more particular than others, so when my brother asked me to design his house, the personal stakes were great. As a young farmer his financial supports are limited, but he has regular opportunities to build and maintain buildings on the farm. In most cases, they are made of metal fabrics delivered in kit. This know-how combined with its working time flexibility allowed to conceive the project in self-construction.  © Myriam Héaulmé The project implements its know-how (framework, cladding, roofing, etc.), while controlling the budget and the general architectural qualities.  Model 003 The idea was to take up this idea of the kit, both to ensure a good implementation, and also to reduce the time of work onsite which is always delicate in self-construction. The kit is divided into two parts, the first one is made of three traditional wooden frames. They form a large covered volume which is able to accommodate two housing floors. This enclosure is covered with white corrugated metal sheets and polycarbonate to provide shade, light, a view to the farm and privacy with neighbors. It allows to anticipate a future floor in case of the family enlargement without modifying the exterior aspect of the construction.  © Myriam Héaulmé  Ground Floor Plan  © Myriam Héaulmé A small box, inside this first enclosure, is the heated volume, also made of prefab balloon frame. This minimum single storey living area does not lie at the center of the first perimeter. On the contrary, the two nested boxes expand or get closer giving to the covered areas a programmatic orientation.  Model 005  © Myriam Héaulmé Heated spaces and buffer spaces complement each other, in summer the house expands towards the exterior overflowing to the garden, during the mid season the buffer spaces act as a privilege outdoor space and during winter the house folds inside the walls. The house morphology is changing with the seasons, a climate geography of housing that replace the simple geometry of the plan.  Section This posting includes an audio/video/photo media file: Download Now |
| This Device Attaches to Your Smartphone to Let You See Through Walls Posted: 30 May 2017 07:20 AM PDT Looking to mount something or make alternations to a wall, but worried about hitting something inside? A new device, the Walabot DIY, will end those fears forever by giving you the real-life equivalent of Superman's X-ray vision. Unlike a traditional stud finder, the Walabot is able to detect a variety of different materials and objects, including but not limited to pipes, wires, conduit, studs and even living creatures like mice. Additionally, the device can even find objects that aren't directly touching the outer sheetrock or concrete surface, up to 4 inches deep. To use the Walabot, just snap the device to your smartphone using the provided magnet, download the app, and calibrate the device on the wall. Then run it along the wall just like you would with any stud finder. But instead of giving off an ambiguous beep, as you run your phone over the wall, it will show you exactly what lies beneath. The device is manufactured by 3D-imaging company Vayyar Imaging, who offer a variety of services that allow customers to see through objects. The DIY-version makes the process easy, with quick set-up and a simple user interface, but for more advanced makers, they also offer additional kits that offer even more sophisticated features, including 3D sensing. The device is currently available exclusively for Android devices, but is in the process of developing an iOS-compatible version. Check it out for yourself, here. This posting includes an audio/video/photo media file: Download Now |
| Posted: 30 May 2017 06:00 AM PDT  © Isaac Ramírez Marín
 © Isaac Ramírez Marín From the architect. For the conception of the house, an enclosure of a central patio is used, which is surrounded by the domestic program: Common areas, studies and bedrooms are determined by the idea of nature inscribed in the patio.  Section  Section The perimeter of the program is in its turn formed by native gardens composing the rhythm that structures the space.  © Isaac Ramírez Marín  Isometry  © Isaac Ramírez Marín The garden house brings us closer to an idea of a domestic life where the limit between culture and nature is dissolved.  © Isaac Ramírez Marín This posting includes an audio/video/photo media file: Download Now |
| EMBT Wins Competition for Undulating Biodiversity Center on German-Czech Border Posted: 30 May 2017 05:10 AM PDT  Courtesy of EMBT Miralles Tagliabue EMBT has been announced as the winner of a competition for the design of Artenoah, a biodiversity center in Rehau, Germany that will chronicle and serve that species-rich green belt along the border of Germany and the Czech Republic. Built into the forested highlands of the Neuhausen district, the masterplan consists of a series of thematic outdoors spaces and a central pavilion with an undulating form that allows it to blend into the surrounding landscape.  Courtesy of EMBT The building has been designed for ecological optimization, following the passive efficiencies strategies outlined by Socrates' 2000-year-old 'Sun House' scheme. The compact structure is south-oriented and features a green roof that both integrates the building into the site and invites visitors to "climb up and discover the sculptural approach of the building."  Courtesy of EMBT "On a site visit, we watched the birds directed by group intelligence, collecting a flock and overflowing the plateau of the site. We projected the lines of the birds' movements on the agricultural site of the Wagnersberg and redrew them in our proposal," explain the architects. "Starting with these lines developments a complete concept of a building with outdoor spaces and achieve a complete integration into the landscape."  Courtesy of EMBT  Courtesy of EMBT  Courtesy of EMBT Circulation through the site is described as a series of vignettes: "After climbing up the hill, you will first meet the restaurant with the famous Franconian food, which offers views to the nature park Fictelgebirge from its terrace. From the foyer of the building, you will enter the exhibition area by crossing a kaleidoscope, introducing the visitors into a world of biodiversity."  Courtesy of EMBT  Courtesy of EMBT Supported by the city council and environmental institutions including the Federal Nature Conservation Agency, the project is expected to attract more than 80,000 visitors per year. Construction is planned to begin in 2018. News via EMBT  Courtesy of EMBT  Courtesy of EMBT  Courtesy of EMBT
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| Sewage Treatment Plant of San Claudio / padilla nicás arquitectos Posted: 30 May 2017 04:00 AM PDT  © Mariela Apollonio
 © Mariela Apollonio From the architect. The project consists of the volumetric and material definition for the new buildings to be realized in the Extension of the Sewage Treatment Plant of San Claudio, near Oviedo; New buildings whose position and function to perform within the Station are established by the Engineering and Hydraulics Project for water treatment.  © Mariela Apollonio  Axonometric  © Mariela Apollonio Being therefore fixed the positions of each element and being known the needs of free heights in the different parts of each building (according to hoists, crane bridges, vertical pumps opening or accesses of machinery and spare parts) our objective is to provide the new Buildings of volumes that respect the rural environment in which they are located that meet the needs of use and heights demanded, using materials of low cost and simple maintenance.  © Mariela Apollonio We can distinguish two types of new constructions: Small sized chests that serve as an access point to underground pipelines. They are three and are made in colored concrete to facilitate their identification inside the station.Buildings made in metal structure supported on the large concrete vats in situ through which circulates and is treated the water. There are two, Pretreatment and Reagents.  © Mariela Apollonio  Pretreatment Section  © Mariela Apollonio These buildings of notable size are covered with embossed aluminum with the intention of dematerializing their volume reducing their impact.The broken silhouette of the proposal is related to those of the hamlet around it and the change of material in the fronts reduces its scale. Block of concrete plaster and translucent polycarbonate allow its integration and natural lighting.The square holes of uncertain size due to their lack of detail confuse the viewer about the true size of the main building.The whole is a cocktail of different buildings forced to understand each other in a green and privileged rural environment.  © Mariela Apollonio This posting includes an audio/video/photo media file: Download Now |
| The Best Architecture Portfolio Designs Posted: 30 May 2017 02:30 AM PDT .jpg?1496179855) When applying for an architecture job, you need to make sure you have the perfect portfolio. While a clever and attractive business card might help you initially get a firm's attention, and a well-considered résumé or CV might help you prove your value, in most cases it will be your portfolio that makes or breaks your application. It's your portfolio that practices will use to measure your design sensibilities against the office's own style and to judge whether you match up to the talents claimed in your résumé. That's why in March, we launched a call for our readers to send us their own portfolios so that we could share the best design ideas with the ArchDaily community. Our selection below shows the best of the nearly 200 submissions we received, which were judged not on the quality of the architectural design they showed (though much of it was excellent) but instead the design quality of the portfolio itself. In making the selection, we were looking for attractive graphics, a clear presentation of the work itself, the formulation of a visual identity which permeated both the architectural designs and the portfolio design, and of course that elusive and much-prized attribute: "creativity." Before we get started, we thought we would take this opportunity to present our top tips for designing your own portfolio:
Gregory Barber Submitted by Gregory Barber About the design: "I aim to make it as simple and immersive as possible with many axon drawings and full bleed model perspective photos that allow me to tell a story in just one glance." - Gregory  Submitted by Gregory Barber  Submitted by Gregory Barber Vingan Razvan Submitted by Vingan Razvan Why we like it: Each design in this portfolio is presented with a full set of design images: plans at a number of scales, sections, elevations, and diagrams. Neatly and consistently laid out, this one really lets the architecture speak for itself.  Submitted by Vingan Razvan  Submitted by Vingan Razvan Wilmer Coronado Castillo Submitted by Wilmer Coronado Castillo About the design: "You know that much of the time, curiosity dominates our lives. As long as you decide to open the box, you will find scribbles that ended up being part of my best ideas... Starting from an intriguing-looking box that includes a few projects, they immediately make recognizable a working style." - Wilmer  Submitted by Wilmer Coronado Castillo  Submitted by Wilmer Coronado Castillo Derek Pirozzi Submitted by Derek Pirozzi About the design: "The intent of this portfolio was to keep all information direct and cohesive. Each portfolio spread seeks to create separate comprehensive spreads which are geared towards 1 proposal per spread." - Derek  Submitted by Derek Pirozzi  Submitted by Derek Pirozzi Rina Ben Shimol Submitted by Rina Ben Shimol About the design: "White on white." - Rina Cristóbal Riffo Submitted by Cristóbal Riffo Why we like it: The layout of this portfolio is incredibly strict: in almost all cases, there is exactly one image per page. Any auxiliary information, such as page numbers and project titles, is shown at an absolutely minimal size to bring out the strength of the work. The portfolio is simple, clean, and striking.  Submitted by Cristóbal Riffo  Submitted by Cristóbal Riffo Miguel Roig Burgal Submitted by Miguel Roig Burgal About the design: "I wanted to show my way of seeing and doing architecture, that's why I consider my portfolio very minimalistic, without too much information and drawings, only the ones I consider enough to explain the projects. From the typography to the position of the images and schemes, the whole portfolio is very light and elegant which its an accurate reflection of me." - Miguel  Submitted by Miguel Roig Burgal  Submitted by Miguel Roig Burgal Li Dai Submitted by Li Dai Why we like it: This portfolio shows the full extent of Li Dai's range, including diagrams, graphs and even comics in addition to the usual renders and drawings. Importantly, each new project is announced with a strict and consistent title page layout, giving structure to what would otherwise be a cacophony of different presentation styles.  Submitted by Li Dai  Submitted by Li Dai Maël Barbe Submitted by Maël Barbe About the design: "Through this approach the character of the projects is intensified and releases the essence of the desired atmosphere. It reveals a sensory and radical architecture by the play of a strong contrast." - Maël  Submitted by Maël Barbe  Submitted by Maël Barbe Benjamin Wichman Submitted by Benjamin Wichman About the design: "This portfolio layout blends the flat design of large geometric typefaces and full bleeds with the skeuomorphism of tactile imagery, championing handcraft and the narrative of process." - Benjamin  Submitted by Benjamin Wichman  Submitted by Benjamin Wichman  Submitted by Benjamin Wichman Eytan Levi Submitted by Eytan Levi About the design: "After a few portfolio trials, I found out that having a lot of white space enhances and strengthens pictures and drawings. This is the main guideline I used while creating this portfolio. The circle image at the beginning of each project reminds the reader he is looking at something new." - Eytan  Submitted by Eytan Levi  Submitted by Eytan Levi  Submitted by Eytan Levi Aayush Jindal Submitted by Aayush Jindal Why we like it: The key to this portfolio is image selection: Aayush's flair for dramatic renders is put in the spotlight thanks to large images that take up at least half of an entire spread.  Submitted by Aayush Jindal  Submitted by Aayush Jindal Lazar Belic Submitted by Lazar Belic About the design: "My portfolio contains only one project, explaining the design methodology behind it. The project starts with the textual description of concept and context, accompanied with the general info, keywords and the visualization. There is hierarchical organization of the presentation: introduction to site, general massing, structure, space organization, interiors and details. In this way, one project covers different scales and topics." - Lazar  Submitted by Lazar Belic  Submitted by Lazar Belic Thea Mihu Submitted by Thea Mihu About the design: "I worked with a A4 page size layout and had a templet layout drawn in InDesign, which I used for most spreads, for example focusing the main subject into a square. As for graphics, I like to use colour to emphasise the main features of the exposed renders/plans/diagrams/technical details." - Thea  Submitted by Thea Mihu  Submitted by Thea Mihu Bastian Marzoli Submitted by Bastian Marzoli About the design: "In an age when portfolios are to be seen mainly on a screen, the more logical way for me was to design mine in the shape of a simple and playful website. The use of one unique letter for each category of my portfolio allowed me to keep the navigation menu very simple while adding a sense of mystery to the website... This idea of a new place that you have to discover almost by wandering around was important to me, and I designed the different menus and animations in order to create a journey full of surprises, thus entertaining the visitor while letting him discover my work." - Bastian  Submitted by Bastian Marzoli  Submitted by Bastian Marzoli  Submitted by Bastian Marzoli Keyhan Khaki Submitted by Keyhan Khaki Why we like it: While each image fills the space that it is given, the simple four-way split used on each spread ensures that the space doesn't feel over-full. The design of the portfolio complements the architecture itself to give the whole document a strong, brooding feel.  Submitted by Keyhan Khaki  Submitted by Keyhan Khaki Pilar Ribot Reus Submitted by Pilar Ribot Reus About the design: "Based on simplicity, where only strong and representative images are shown. The blank of the page becomes part of these images." - Pilar  Submitted by Pilar Ribot Reus  Submitted by Pilar Ribot Reus This posting includes an audio/video/photo media file: Download Now |
| Holmberg House / Estudio Borrachia Posted: 30 May 2017 02:00 AM PDT  © Fernando Schapochnik
 © Fernando Schapochnik From the architect. The Holmberg house is a detached house, located in one of the central districts of the city of Buenos Aires; Designed for a family of four, a young couple with two young children, its main feature consists of a perimetral integral skin through which circulates hot and cold water, and that allows thermal conditioning, transforming it into a kind of large radiator.  © Fernando Schapochnik In a land between of ten meters of front by seventeen of bottom, and with a retirement of three meters of the municipal line, this house of three floors, like a prism of metallic structure and of dry construction, appears of the floor Low Between patios, specifically between three gardens; One toward the street and the west that functions as access; A lateral and towards the northwest border, that serves as pond or patio humid to control the climate; And finally a backyard with pool that unifies its green space with the apple lung.  © Fernando Schapochnik With a flexible floor plan and no divisions, all rooms (living room, kitchen, dining room and three bedrooms on the upper floors) overlook several patios through large windows, creating cross ventilation in all rooms. The directions and connecting all the time together visually, thus making use of the terrain from end to end and exploiting to the maximum its dimensioned dimensions.  Exploded Axonometry As for technology, in addition to its metal structure and "steel roof" slabs, the whole house is designed as a large water circulation system that can by means of tubes or perimeter pipes to the prism of the upper floors, Water for hot, depending on whether it is winter or summer, between two ponds, one in the shade on the ground floor and supposed to be cold, and the other hot on the top floor, which covers or closes the house in its fifth Facade Above the master bedroom.  © Fernando Schapochnik This last pond will also be connected to a heating device by Thermopanels which in winter will generate a "hot mattress" that surrounds the house to limit heat loss and save energy.  © Fernando Schapochnik All this system, thought as external skin, generates the final image of the house, so all the pipes that transport the water and surround the building, whether for irrigation or heating, prudently separated from each other, also function as umbrellas AND As a support For a wide variety of species, plants, birds and insects, transforming the facade into a kind of garden or vertical ecosystem.
As a study we are very interested in these issues and we have set out to measure the distance between the desired effect of the project and what actually happens with the use of the works that we are finalizing. We include in this report some notions generated by this survey:  © Fernando Schapochnik Although they have spent relatively little time in their occupation and have not yet activated all their systems, the number of species that have proliferated in their gardens, thanks to the work of its occupants and the microclimate created by the project, in relation to the use Of the land and its general water circulation or for irrigation, is astonishing.  © Fernando Schapochnik Every visit, the house welcomes us with a new species and the vegetation is covering the traces of architecture;  © Fernando Schapochnik Fish, toads, crickets, dragonflies, butterflies, creepers, trees, orchids, roses and as if that were not enough, aromatic plants, tomatoes, courgettes, aubergines,  Diagram everything grows as if this space had transformed into a small oasis in the center from the city.  © Fernando Schapochnik Cross-ventilation systems, umbrellas and insulation of the joints work perfectly, allowing the connection of artificial air conditioning systems, and the solar panels heat the water without any contribution from the grid and all the electrical connections are disconnected.  © Fernando Schapochnik The pond, thanks to having generated a small life cycle between fish, plants and water recirculation has stabilized as a crystalline water ecosystem and is today, with its sound, flora and fauna, the center of attention of all The house and the humidifier by nature From the ground floor. We believe that the ultimate interest in this work lies in its capacity to group its inhabitants, its flora and fauna with architecture, and that if all this works, the success of this house will not be based on any of the dominant preconceptions about Beauty or other issues directly related to our discipline.  Section Concept of housing "HABITAT" developed by the study  © Fernando Schapochnik The contemporary world raises the reconceptualization of some subjects in relation to the architecture and all that it entails.  Section Today we can not refer to a house from a unidirectional look, like the container that houses and consoles the man, as well as we can not think of a site, separating the architecture from its  © Fernando Schapochnik This posting includes an audio/video/photo media file: Download Now |
| The Confidence Meter of an Architecture Student Posted: 30 May 2017 01:00 AM PDT  Courtesy of The Leewardists Confidence. It's a journey, isn't it? But when you're in architecture school that journey turns into a high speed roller coaster, complete with the double loop. And that would make sense, as the sheer amount of knowledge, variety and level of information that gets absorbed at us year by year only increases with each new group entering the mysterious and complex world of "the studio". As we've gone up that long and winding path that is our education, our emotions go through it with us. From sheer bewilderment in first year (WTF is a 2-point perspective???) to the pride when handing in that final dissertation (tears of joy), to the fear of jumping off that deep end after graduation (real world?!), we go through it all.
Though each journey is a personal one, we've found a mapping of how our confidence takes that roller coaster ride with us below – check it out:  Courtesy of The Leewardists  Courtesy of The Leewardists  Courtesy of The Leewardists  Courtesy of The Leewardists  Courtesy of The Leewardists Centuries of civilizations built on structures designed by architects and yet, their voice is lost among the countless stories of rulers and armies and sometimes wondrous monsters. The Leewardists are rewriting the contemporary history of our civilization through the voice of this elusive being, The Architect. For more of The Architect Comic Series follow them on Facebook, Instagram, or visit their website. This posting includes an audio/video/photo media file: Download Now |
| Lit Up: 16 Projects Illuminated by Skylights Posted: 29 May 2017 11:00 PM PDT  North light, south light, warm light and cool light – the diversity of skylights mean they can illuminate any space. Both a window and a ceiling, the hybrid nature of a skylight enables it to be a key element used in architectural spaces. The cool light of a north skylight is instrumental in creating a space to focus and work, while its south-facing counterpart lights up a space with that golden glow. Through its flexibility also come opportunities for expression, from its shape to its angle. Is a skylight a ribbon weaving through a roof panel? Or is it a series of dotted openings creating a mosaic of daylight on the floor? Check out these 16 examples of contemporary spaces lit by this key element below: 184 Shepherd's Bush Road / ColladoCollins Architects © Eugene Codjoe  © Eugene Codjoe  Section Waterside Buddist Shrine / ARCHSTUDIO Courtesy of ARCHSTUDIO  Courtesy of ARCHSTUDIO  Section House in Kohoku / Torafu © Daici Ano  © Daici Ano  Section Light Cannon House / Carterwilliamson Architects © Katherine Lu  © Katherine Lu  Section CAP / AAVP Architecture © Luc Boegly  © Luc Boegly  Section The Courtyard House / De Rosee Sa © Alexander James Photography  © Alexander James Photography  Section Green House / Sean Godsell Architects © Earl Carter  © Earl Carter  Sketch Shitang Village Internet Conference Center / AZL Architects © Hou Bowen  © Hou Bowen  Section Converted Warehouse in Fitzroy / Andrew Simpson Architects © Shannon McGrath  © Shannon McGrath  Section The Kite / Architecture Architecture © Peter Bennetts  © Peter Bennetts  Sections Rosebridge House / Nick Bell D&A © Simon Whitbread Photo  © Simon Whitbread Photo  Sections Wheat House / Damian Rogers Architecture © Alessandro Cerutti  © Alessandro Cerutti  Section Shengdetang Ruins Gallery / CHCC of Tsinghua University © Jin Dongjun  © Jin Dongjun  Section Sangdong Charcoal Village / studio_suspicion © Ryu In Keun  © Ryu In Keun  Section Louverwall / AND © Kyungsub Shin  © Kyungsub Shin  Section Light Folds / WY-TO Architects © Svend Andersen  © Svend Andersen  Section
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| AD Classics: Himeji Castle / Ikeda Terumasa Posted: 29 May 2017 09:00 PM PDT With its gleaming white walls and elegantly terraced roofs, it is easy to forget that Himeji Castle was built as a fortress . Standing on two hilltops in the city of Himeji, the old fortress, also known as Himeji-jo, is the greatest surviving example of Japanese castle architecture from the early years of the Shogunate, which governed the island nation from the late 1500s to the 19th Century. Although never tested in battle, the castle's elaborate defensive measures represent the best strategic design the period produced. While these measures have since been rendered obsolete, the same cannot be said for the castle's soaring, pristine aesthetic, which earned it the nickname Shirasagi-jo – "Castle of the White Heron."  From the towers of the Hommaru, one can see the Hishi Gate and, further out, the trees and lawns of the Nishi-no-Maru. ImageCourtesy of Wikimedia user Oren Rozen (licensed under CC BY-SA 4.0) Much of Japanese history vacillated between periods of factional and unified Imperial rule. During the 16th Century, the daimyo Oda Nobunaga began to conquer and consolidate the disparate shogunates of the archipelago into a single state, a process continued by his successor, Toyotomo Hideyoshi. Hideyoshi was as shrewd as Nobunaga was tactical, and by 1590, all of Japan was united under his nominal authority; however, without a sufficient political structure to truly hold sway over the islands, many regions were entrusted to the direct control of the local daimyo.[1]  This map from the Himeji City Castle Laboratory Collection depicts the concentric lines of defense surrounding Himeji Castle. ImageCourtesy of Wikimedia user ブレイズマン (Public Domain) Under Nobunaga and Hideyoshi's reigns, Japan entered its Azuchi-Momoyama period, named for two castles built respectively by the two leaders. It was a time of sumptuously gilded wall paintings, elaborate folding screens, and the rise of the Japanese tea ceremony. The spread of castles across the Japanese archipelago between 1580 and 1630 remains one of the most prominent remnants of this cultural epoch, with many of the cities that formed around evolving into provincial capitals. When Hideyoshi died in 1598, rule over Japan passed not to his son, but to rival daimyo Tokugawa Ieyasu, who subsequently appointed his brother-in-law Ikeda Terumasa as governor of the western provinces. It was in 1609, at the height of the Azuchi-Momoyama period, that Terumasa chose Himeji as his seat of power – and set about creating a castle worthy of the city's newfound status.[2,3]  Courtesy of Wikimedia user Oren Rozen (licensed under CC BY-SA 2.0) The first iteration of Himeji Castle was built in 1346 by Akamatsu Sadanori, who sought a bastion against other daimyo during a previous period of political instability. Oda Nobunaga later gave the fortress to Hideyoshi in the 1570s, upon which it was expanded and formed into a proper castle. This was not enough for Terumasa, however, who patterned his renovations after Nobunaga's castle at Azuchi. The grandiosity of his vision was matched by the sheer effort necessary to bring it into being: over 2,500,000 man days of labor went into the construction of Terumasa's new Himeji Castle.[4]  A period image depicts the labor needed to construct Ikeda Terumasa's grand new Himeji Castle. ImageCourtesy of Wikimedia user ブレイズマン (Public Domain) The complex built by Terumasa between 1601 and 1609 stretched far beyond the central donjon (fortified tower): like many European castles, Himeji sat within a series of concentric moats and compounds, some of which encircled and protected parts of the city beyond the castle itself. Passage from the outer compound, the Sannomaru, to the inner Ninnomaru compound is achieved through the Hishi Gate, the only portal in the outer wall. Despite its enclosure, the Ninnomaru is elegant and spacious, with a large rectangular pool known as the Sangoku Moat and a wide, verdant garden space called the Nishi-no-Maru ("West Bailey"), from which one has an excellent view of the castle's main tower.[5.6]  A cutaway model of the main keep reveals not only the pair of structural columns that run the full height of the building, but the network of living quarters and defensive galleries that make up the tower. ImageCourtesy of Wikimedia user Corpse Reviver (licensed under CC BY-SA 3.0) Secluded behind another, higher wall, the innermost compound—the Hommaru—is made almost inaccessible by narrow, twisting paths leading to a second set of gates. Inside the Hommaru stand the central keep, the Daitenshu, flanked by three smaller towers.[7] Whereas Hideyoshi's original keep had been three stories high, Terumasa's rose five stories, housing six floors and a basement level. The heavy stone basement provided storage for food and armaments, and also protected a well; the floors above comprised living spaces and vantage points from which defenders could shoot arrows out the narrowly-slitted windows that helped to shield them from their attackers. A pair of wooden columns rise from the foundations to the roof, providing extra structural support to the entire tower.[8,9]  Courtesy of Wikimedia user Corpse Reviver (licensed under CC BY-SA 3.0) Himeji Castle is known as much for its beauty as it is for its defensive ingenuity, and it is fitting that many features meant to improve the latter are also responsible for the former. (This is not to say that its attractiveness was a fortunate accident; given that castles like Himeji-jo were highly visible from the surrounding urban fabric, Terumasa and other daimyo spared no expense in adorning their fortress homes with the finest craftwork and ornamentation.)[10] The winding path through the Ninnomaru, while picturesque with its cherry trees and changing vistas, was meant to confuse and slow invaders. Small openings in the walls lining the path would allow defenders to bombard their enemies with anything from boiling water to deadly projectiles. The gates, including the lavish Hishi Gate, were built with narrow openings to impede the progress of large groups.[11] Even the pristine white walls were a defensive measure: coating the wooden structure in plaster helped to protect the building and its occupants against fire, as did the ceramic roof tiles. With this combination of tactical circulation and defensive materials, Himeji Castle was not only an elegant palace – it was an almost impregnable fortress.[12]  Although the choice of ceramic roofs was a practical form of defense against fire, it also allowed for the daimyo's seal to be emblazoned on the end of each tile. ImageCourtesy of Wikimedia user Corpse Reviver (licensed under CC BY-SA 3.0) Although Himeji Castle was perhaps the climax of Japanese castle design, it was never to see battle or conflict. The establishment of the Tokugawa Shogunate precipitated a long period of relative peace within Japan, obviating the need for a fortress to defend against other daimyo.[13] The shogun's 1615 edict that there should be only one castle per province resulted in the destruction of many similar buildings throughout Japan; Himeji Castle remained one of the approximately 170 to survive and, like its counterparts in other provinces, served as the administrative and commercial center of the region.[14] The castle flourished in this role for three centuries, until the end of the Shogunate and the rise of a new national government in 1868. Having never been attacked, Himeji Castle remains largely as it did upon its completion in 1609; although a fire destroyed the daimyo's living quarters in 1882, subsequent preservation efforts since 1934 have meticulously restored what remains of the complex.[15] Relatively unspoiled by time, the shining white Himeji-jo continues to dominate the hilltops of Kansai Province, a reminder of Japan's tumultuous past.  Courtesy of Flickr user Ben Kubota (licensed under CC BY 2.0) References
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