Arch Daily |
- New Drone Footage Captures Finishing Touches Being Applied to Apple's "Steve Jobs Theater"
- Alpine Chapel Wirmboden / Innauer-Matt Architects
- House By The Forest / kaa-studio
- Museum of Contemporary Art of Yong Qing Mansion / gad
- House in Sukumo / Container Design
- Ying Gallery Renovation / Praxis d’Architecture
- Rocky House / Base Architecture
- Tadao Ando to Design Art Museum Inside Historic Domed Structure in Paris
- Inside the Flower Pavilion / LAVA
- See Inside AL_A's Now-Open London V&A Museum Addition
- Ron Rojas House / Rene Gonzalez Architect
- Jenny Sabin Studio's Light-Capturing "Lumen" Installation Debuts at MoMA PS1
- Lane 189 / UNStudio
- Richard and Su Rogers's Wimbledon House Photographed by Iwan Baan
- Why Are Alexander Calder Sculptures So Overused in Architecture Renders?
- Multifunctional Building and Infrastructure / bunq architectes
- ThyssenKrupp Brings Sideways-Moving Elevator Innovation To Reality
- Diamond Schmitt’s Mixed-Use Tower Will Be the Largest Urban Development in Canada
| New Drone Footage Captures Finishing Touches Being Applied to Apple's "Steve Jobs Theater" Posted: 28 Jun 2017 09:00 PM PDT New footage from drone videographer Duncan Sinfield reveals that finishing touches are being applied to one of the Apple Campus's more important outward-facing buildings, and perhaps its most 'public' – the "Steve Jobs Theater". Designed and constructed using similar elements to the nearby office 'ring'—including large convex glazed panels and precise, rounded cladding panels—the theater's main function will be to host the company's world-renowned keynote addresses, in which they present new products.
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| Alpine Chapel Wirmboden / Innauer-Matt Architects Posted: 28 Jun 2017 08:00 PM PDT  © Adolf Bereuter
 © Adolf Bereuter From the architect. In the Bregenzerwald, an alpine valley in Western Austria, transhumance is still the commonly practised form of farming: Livestock is driven to graze on mountain pastures in the warmer months. The lower ones of these pastures are called Vorsäß while the higher ones, used in the warmest summer months, are called Alpe.  © Adolf Bereuter Wirmboden is a Vorsäß at the foot of the steep north face of the valley's Kanisfluh mountain, owned and managed by a collective of farmers. Almost every Vorsäß has its own little chapel or at least some designated space for the celebration of masses and the traditional consecration of the farmers and their livestock.  © Adolf Bereuter For 32 years there was a little chapel at Wirmboden, but in 2012, the chapel and several huts were destroyed by an avalanche. While it was clear from the beginning that the huts would be rebuilt, it was more challenging to find a consensus on the construction of a new chapel. With the client being a collective of farmers, each with their own, differing opinion, the difficulties were not so much of architectural but rather of interpersonal nature. Finding a solution that would make everyone happy seemed impossible in the beginning.  © Adolf Bereuter  Axonometric  © Adolf Bereuter So what we see now at Wirmboden is a symbol for the collective spirit of this very diverse group of people. It was them who negotiated, conceived, planned, and eventually built this chapel over the course of three years – that's 6 months for every square meter of floor space in the building. Today, the mountain chapel complements the ensemble of alpine huts most naturally; it became the place where neighbours meet casually, where gatherings and celebrations are held, where people come to take a moment and pray.  © Adolf Bereuter The simple, basic outline of the new chapel refers to the most original form of sacred buildings and highlights the characteristics of this special place and its use. According to tradition, the walls are made from stones collected around the place and tamped concrete.  Constructive detail Rough split shingles cover the steep truss, and a narrow wooden entry leads into the small oratory.  © Adolf Bereuter With its simple and humble interior, the chapel is first and foremost a place of commemoration and reflection. Diffuse daylight falls through an opening in the roof ridge in blasted stainless steel to play with the light blue altar window, creating an ethereal, contemplative atmosphere. Memorial photo cards are placed in the narrow spaces between rafters, commemorating loved ones of the Wirmboden people. Entrance, truss and the bell space above the entrance are made from German spruce (sometimes called hazel spruce), a type of wood that is normally used for violins and guitars for its special acoustic qualities. Thanks to practical contributions by almost every single member of the Wirmboden collective, the new chapel was built without any help from third parties. Everyone's participation made possible what seemed impossible in the beginning - making (almost) everyone happy with the result: A gem in the mountains.  © Adolf Bereuter This posting includes an audio/video/photo media file: Download Now |
| House By The Forest / kaa-studio Posted: 28 Jun 2017 07:00 PM PDT  © BoysPlayNice
 © BoysPlayNice Circumstances The house is located at the outskirts of the village. The street consists of a row of family houses and the edge of the forest. The surrounding development is characterized by layering of various annexes and extensions to original houses. The designed house was preserved in almost original form and from this point of view it was exceptional.  © BoysPlayNice It is a simple house with a saddle roof, raised ground floor and semi-basement. The residential floor was organized so that the house was almost closed towards the garden, turned back. In front of the main entrance there was a plain vestibule; the entrance to the residential floor was overcomplicated. In the attic there was a typical loft and a small room. The house had small windows and gloomy rooms.  © BoysPlayNice Design  © BoysPlayNice The original vestibule was demolished. The house entrance was vigorously reorganized. Only the central supporting wall and the staircase were left on the ground floor; this allowed a more contemporary layout of the living space and connection to the main garden. The attic has been designed as an open space for now.  Section New openings appeared into the facades due to the change in the layout; the original ones were revised and locally adjusted. In the southern facade, a strip of window was made across the entire width of the object for more light and contact with the forest. The attic was brightened to the north by a strip of large roof windows, opening the space to the garden and views of the Lány horizon.  © BoysPlayNice The neighbourhood of the forest and two old spruces in the front garden are significant for the place where the house stands. We wanted the house to have the colour of the forest, so the facades are dark, grey-brown.  © BoysPlayNice The difference in height between the entrances to the main residential floor and the garden level is designed using field banks/green hills, reinforced with rough stone.  Ground Floor Plan In the reconstruction we used materials and craftsmanship corresponding to the context of the original house, i.e. the classical building materials - brick, plaster, stone, wood, ceramics and copper.  © BoysPlayNice In interior design we wanted ordinariness, rural simplicity and functionality. In addition to chairs, we also designed almost all wooden furniture.  © BoysPlayNice This posting includes an audio/video/photo media file: Download Now |
| Museum of Contemporary Art of Yong Qing Mansion / gad Posted: 28 Jun 2017 03:00 PM PDT  Courtesy of gad
 Courtesy of gad From the architect. Museum of contemporary art of Yong Qing mansion is located at the intersection of the two vertical roads, facing the arterial roads, and the surrounding is bustling and noisy, which is the irregular corner land along the street. It seems that the two are hard to integrate when the elegant and cold Art Museum meets the prosperous city. The design acts in a diametrically opposite way, applying blue-gray cool as the keynote in contrast to the noisy city interface, with a "dramatic" way to reversely reflect the cold peculiarity of a museum of contemporary art.  Diagram As an important exhibition knot of the city, we first set an "L" shape and cut the shape with the volume of 45 degree at the corner, forming a main front space and important display panel. By using shallow water surface to moderately isolate the negative urban interface, the overall urban interface presents a cold but not harsh peculiarity.  Courtesy of gad The wall is undoubtedly the protagonist of the whole building, and the backing wall in our sight gradually extends to the both sides. At the same time isolating the negative place factors, it defines the functional space of the building itself. Glass boxes intercross with the large pieces of Iran blue eyes stone, which make the inner space penetrate into the city interface. The twolayer of white glazed glass box forms a semi-implicit and semi-transparent light effect in the night sky.  Courtesy of gad  First Floor Plan  Courtesy of gad  Second Floor Plan It perfectly applies architectural skills to the building by stitching a variety of materials and processing the fine details. The gap approach of 15mm between the wall and the stone emphasizes the sense of purity of façade, and emphasizes the sense of rhythm and ductility of the wall itself. Taking the 20mm thick stainless steel rib as the pillar and combining with the ultra white glass hidden frame curtain wall, it can highlight the light sense of the glass box.  Courtesy of gad As a museum of contemporary art with no good geographical position, we abandon the "fighting" stance and behave a "conceding" posture. Taking the wall as the main line and connecting with the modern architectural language, with the elaborate but not extravagant detail handling, modest and no sparse gesture, and "dramatic" contrast aesthetic principle, to achieve the dialogue between architecture and the city, and applying the positive design strategy to resolve the negative spatial factors, which can get another chance for Gad to explore the architecture and urban space.  Courtesy of gad This posting includes an audio/video/photo media file: Download Now |
| House in Sukumo / Container Design Posted: 28 Jun 2017 01:00 PM PDT  © Eiji Tomita
 © Eiji Tomita From the architect. Located in Sukumo city, Kochi Prefecture. This House planed in a calm residential area on a small hill. The clients wanted a bright and open house.They like good designed things, and they request to keep value of building materials. Also, they wanted a workspace in the house based on their plan that the client's wife will work at home in the future.  © Eiji Tomita  © Eiji Tomita At first, typhoons frequently occur around this area, so we needed to take that into account beforehand on this designing.I placed a courtyard in the house to make it open and windows larger.Because they want to use any space for works and sometimes hold a home party, we planned that the first floor where everyone can easily come like an outdoor space and the second floor for their private space.I placed two rooms that are the same size on the both sides of the courtyard on each floor. I didn't set up a specific usage of these rooms and plannned that these rooms can respond diversely even if the way of use will be changed in the future.However, the open space works against wind and rain.So I opened a square aperture in the roof of the courtyard to let wind escape well.The wind hitting the building is drawn into the courtyard by the chimney effect, and passes through to the upper part of the building.And I slanted the outer wall of the south side of the second floor. This wall like a roof also expected to have effect of letting the wind blowing from the south escape.It protrudes up to 1.8 meters from the first floor and works as a roof over the open space of the first floor. And the space became a place to take shelter from the rain like the 'engawa' which is a one of traditional style of Japanese house.  Floor Plans  Sections First floor is like an outdoor space, so I chosen natural stones for the finishing material of the floor. And also, I chosen wood for the wall and ceiling.Second floor is a private space for the client's family, so I think that cedar boards are suitable for the finishing material of the floor and expect to be brought warmth to the house.  © Eiji Tomita By using different materials for the first floor and the second floor, some changes occur in daily life. Additionally, we set up an athletic net as a fall prevention measure in the upper part of the courtyard. The courtyard which is placed for getting an open space also unable to get further connection in the spaces.  © Eiji Tomita I hope that the four spaces and the courtyard enrich their daily life, and they live peacefully. Also, we believe this house can be a place to explore various possibilities for the family in the future.  © Eiji Tomita This posting includes an audio/video/photo media file: Download Now |
| Ying Gallery Renovation / Praxis d’Architecture Posted: 28 Jun 2017 12:00 PM PDT  © Xia Zhi
 © Xia Zhi From the architect. Ying Galley's new location is inside a yard surrounded by two story buildings. Between the yard wall and the buildings there is an ally (28m * 3-3.6m). The ally was for outside maintenance, the landlord added a roof to it and closed it with a door at each end to yield more rental spaces.  © Xia Zhi Cao Chang Di is an art zone near 798 art factory. A mixture of studios, galleries, shops and restaurants is settled here in a combined texture of masonry buildings and light steel glass additions.  © Xia Zhi The lease of the space is five years. The art district located at city periphery such as Cao Chang Di is under constant transformation as a result of fast paced Chinese urbanization. Many galleries and studios have to change their spaces several years due to rental increase or demolition of buildings when land use policy changes. Under such conditions, the construction cost to be limited around 1000 RMB/㎡.  © Xia Zhi The design intended to make a place where art and people interact, a bridge that links art and life. Instead of remaining inside the yard, the gallery volume was brought out to the street. Since the yard wall must be kept intact, it was sandwiched with interior wall and an exterior layer of poly-carbonate panels that is lightweight and economical. To increase its durability and achieve the desired visual quality, reflective membrane was applied to poly-carbonate panels at back, giving the front surface a metallic look in distance. The same panels continue into other exterior surfaces of the gallery inside yard, so that a new volume grows out of the existing physical context yet also forms contrast to it.  © Praxis d'Architecture  First Floor Plan  © Praxis d'Architecture Due to restriction in adding height to existing structures, only a 5m long section of the roof was permitted to raise by 1.5m, which determined the spatial layout of the gallery. The exhibition space consists four show rooms, three at 3.6m high on the ground floor and one at 2.3m high on the mezzanine. Underneath the mezzanine the space narrows into 1m wide and 2.4m high to accommodate a few niches on the wall to draw people's attention to small items displayed in it. A bathroom, a kitchen, a storage and a stair are integrated into a compacted functional zone behind.  © Xia Zhi A full height window facing the street is placed on the mezzanine level. The window links the street and the exhibition space, provides a corner for contemplation and brings natural light into the functional zone underneath.  © Xia Zhi As the most private interior space, the bathroom is applied with the same poly-carbonate panel as that of the exterior wall to blur the boundary between inside and outside. The DIY ceiling lamp is composed of more than 30 "flowers" handmade from non woven fabrics, filtering blue or red light into the space. The design intended Ying galley to be like a flower, temporary and transient as it might be, however, to exude freshness and energy , in hope of contributing to a better surrounding.
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| Rocky House / Base Architecture Posted: 28 Jun 2017 10:00 AM PDT  © Christopher Frederick Jones
 © Christopher Frederick Jones From the architect. Initially the brief was for a unique family home that focused on a clean simple design, with a close connection to outdoor spaces. The desire was for a home that was bright and open, with generous rooms that naturally flowed into each other and into the landscape. This brief was predominantly communicated by the client through images of mid-century modernist buildings.  © Christopher Frederick Jones The client also expected to be able to see that every detail of every space in the house had been given consideration, which is a reflection on his own passion for creating at a 1:1 scale. Different spaces throughout the design all needed to tell a different story, yet the design needed to feel consistent throughout. At times, the house should feel grand, expansive, lively, and relaxing yet quiet and calming depending on the space the user is inhabiting.  © Christopher Frederick Jones Perched on top of a hill exposed to some strong prevailing winds, an L-shaped plan pushes living spaces out to the extremities to sit within the view while bedrooms are flanked along the crest of the hill to shelter a northern courtyard. Given the expansive site and location of the house, each elevation needed to be understood as a having its own character without there being a 'back of house' to hide away. While there are so many longer vistas to take in around the site, there also needed to be key connections within the dwelling itself and to the immediate outdoor spaces.  © Christopher Frederick Jones  Ground Level Plan  © Christopher Frederick Jones Monolithic bluestone spine walls rise up out of the ground, only to be intersected by floating concrete planes. All that separates the hovering plane and the Carrara marble clad floor are full height timber framed glazing which provides minimal delineation between inside and out, while white rendered walls fade into the background. The material palette is simple and consistent both inside and out. The only variation to this is the bedroom wing of the house, where the shift in colours, materials and even the openness of the design is a cue to the change in the level of privacy inside.  © Christopher Frederick Jones The home was always considered as a long term family home, which dictated several planning considerations. For the current family with young children, the bedrooms are all on one level. As the family matures, the parents will be able to retreat upstairs, leaving a guest bedroom with two way ensuite for future flexibility. A rumpus space for the kids will also evolve soon into a space for home schooling. Due to the client being heavily involved in a booming business it also needed to have the functionality of a home office without that space feeling like it takes anything away from the feeling of a family home. The response to this was to sneak a study behind a heavy stone door, so visitors are hidden from this dual purpose.  © Christopher Frederick Jones This posting includes an audio/video/photo media file: Download Now |
| Tadao Ando to Design Art Museum Inside Historic Domed Structure in Paris Posted: 28 Jun 2017 09:15 AM PDT  Courtesy of Collection Pinault Paris Renowned art collector François Pinault has revealed plans for a "completely circular museum" that will be located within a 19th century, domed structure that once housed the Parisian Stock Exchange. To accomplish this, Pinault has enlisted the services of Pritzker Prize-winning architect Tadao Ando, whose design calls for the construction of a giant concrete cylinder located directly below the building's soaring rotunda.  Courtesy of Collection Pinault Paris Ando's scheme comprises five floors, including three levels of gallery spaces, a black-box theater, a restaurant and a below-ground auditorium within the concrete structure, spaced away from the existing walls to create a circulation corridor. Approximately 9,800 square feet of new gallery spaces will house pieces from Pinault's vast contemporary art collection, including works by Mark Rothko and Damien Hirst.  Courtesy of Collection Pinault Paris  Courtesy of Collection Pinault Paris Plans also include restoration of the building's exterior and historically landmarked interiors, including internal walls, skylights and frescos. Further preserving the building's historic integrity, all changes made to the building must be reversible, according to a deal made been Pinault and Paris mayor Anne Hidalgo.  Courtesy of Collection Pinault Paris The museum is expected to cost about $121 million to complete, with opening anticipated for 2019. Learn more about the project at The Guardian and Vogue.
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| Inside the Flower Pavilion / LAVA Posted: 28 Jun 2017 08:00 AM PDT  © Leslie Ranzoni
 © Michael Geßner From the architect. A membrane pavilion showcases a new installation, 'Inside the Flower', an experiential medicinal garden by Australian artist Janet Laurence at the International Garden Exposition (IGA) Berlin.  © Leslie Ranzoni LAVA collaborated with Janet Laurence to materialise her laboratory-like space of discovery, an exhibition of medicinal plants, showcasing the diversity and ambivalence of botany.  Diagram Tobias Wallisser, LAVA director, said: "LAVA was thrilled to work with Janet Laurence to realise her 'wanderkammer', commissioned by Katja Assmann at the IGA. Taking Laurence's concept design we created the sculptural pavilion based on the geometric structure of a medicinal plant, a fabricated cellular environment inspired by plant anatomy."  © Leslie Ranzoni "Laurence's mixed-media installations explore nature-related themes, and our concepts are similar – the shapes and structures from the natural world are the inspiration for LAVA's designs. The connection between nature and technology underpins our approach."  © Michael Geßner Janet Laurence said: "It was a wonderful experience to work with like-minded creatives, LAVA and urban farming collective Cityplot. Understanding the 'being of a plant' - its biochemical intelligence, its place in nature and the relationships it forms - is a view we share, especially in this time of ecological fragility".  © Michael Geßner A transparent mesh membrane made of natural cotton is wrapped around the outside of the pavilion structure. The cupola (4.5m wide and 3.5m high) is entirely made of 8mm thin elements of stainless steel. Twelve ribs support a central ring, which holds up two industrial perspex skylights forming a lens. This inflated translucent water bubble connects with tubes and hanging vials of plant fluids contributing to the alchemical, scientific, and laboratory language of the space. A stem of tubes and vials, emulating the movement of fluids and biological processes, represents the xylem and phloem of plants.  Plan / Sections Five rings of irregularly cut curvy shelves house cellular clusters to display the plants. Surrounding the exterior of the pavilion is a delicate laboratory-type garden of medicinal plants, planted in custom-made transparent containers.  © Michael Geßner Visitors explore the plant world from the inside – its healing power and poison, its beauty and curiosity, its biological diversity and ecological instability. They can eat and drink the edible flowers and plant extracts.  © Michael Geßner The installation is both a botanical display, with references to Germany's botanical history, and a performative space. The floor is made of metal mesh, creating an industrial and minimalist feel, whilst the pavilion is placed on an organic wooden platform. Weighing two tons the pavilion was assembled in two days by exhibition designers Archimedes.  © Michael Geßner The pavilion design grew from LAVA's experiments in form finding and membranes in such projects as Green Void and UTS Reskin.  © Michael Geßner Chris Bosse, LAVA director Asia Pacific, who worked with Laurence on the concept, added: "We love the energy of cross-disciplinary collaboration between art and architecture, and over continents - it started in Sydney and went on to Berlin". This posting includes an audio/video/photo media file: Download Now |
| See Inside AL_A's Now-Open London V&A Museum Addition Posted: 28 Jun 2017 07:10 AM PDT
In this video from CNN Style, director Matthew Donaldson takes us inside the just completed courtyard entrance and extension of London's V&A Museum, the world's largest museum of decorative arts and design. Designed by AL_A, the newly completed space features 11,840 square feet of flexible gallery space and the world's first public courtyard constructed entirely of porcelain, paved with 11,000 tiles in 15 different patterns handcrafted by Koninklijke Tichelaar Makkum, the Netherlands' oldest registered company. Featuring narration by Amanda Levete, founder of AL_A, the video offers an intimate look at the project's above- and below-ground spaces, including the entry pavilion, sleek new stair and skylight-lit galleries.  The Sackler Courtyard, V&A Exhibition Road Quarter. Image © Hufton + Crow  The Sackler Courtyard and Cafe, V&A Exhibition Road Quarter. Image © Hufton + Crow  V&A Exhibition Road Quarter. Image © Hufton + Crow  Descending staircase, the V&A Exhibition Road Quarter. Image © Hufton + Crow  The Sainsbury Gallery, The V&A Exhibition Road Quarter. Image © Hufton + Crow  Courtesy of CNN Style  Courtesy of CNN Style  Courtesy of CNN Style  Courtesy of CNN Style  Courtesy of CNN Style  Courtesy of CNN Style  Courtesy of CNN Style  Courtesy of CNN Style News and images via V&A; news, video and stills via CNN. This posting includes an audio/video/photo media file: Download Now |
| Ron Rojas House / Rene Gonzalez Architect Posted: 28 Jun 2017 06:00 AM PDT  © Michael Stavaridis
 © Michael Stavaridis From the architect. The Key Biscayne Residence developed in response to its sub-tropical island environment. Pools are the principle, and ever-present, organizing elements of the series of living spaces, providing a feeling of coolness in the bright Miami light. Moving through the house, the experiences shift from being outdoors in a vertical space that is enveloped with walls of clay louvers, to entering a horizontally organized living area surrounded by glass doors that can entirely open to breezeways and pools.  © Michael Stavaridis The Key Biscayne Residence is depictive of the Latin cultural environment that surrounds it, including the client for whom it was designed. The south Florida community has many Latin American residents and the intent was to design a contemporary, comfortable house within a condition inclusive of many Mediterranean-style homes that are imbedded in these cultural conditions. As a result, many architectural elements are utilized that are inherent to the Latin tradition including patios, portales (porches), and persianas (louvered screens).  Ground Floor Plan  Section  First Floor Plan The use of materials and overall layout present a series of spatial experiences defined by light and shadow and permeable connections between interior and exterior. Implicitly interpreting the persianas, which filter light as well as mitigate heat, terracotta brick louver systems were selected in three types: a more traditional and regular horizontal pattern, pivoting vertical panels, and textural, more solid bricks.  © Michael Stavaridis The house itself is a series of interlocking and overlapping volumes with voids, allowing for spatial complexity and spaces that snake through the house. Because the floor level is elevated to be free from flooding, one must ascend to enter. The reflecting pools at the entry and visible pool at the rear of the house contribute to the sensory, floating quality of this private home.  © Michael Stavaridis This posting includes an audio/video/photo media file: Download Now |
| Jenny Sabin Studio's Light-Capturing "Lumen" Installation Debuts at MoMA PS1 Posted: 28 Jun 2017 05:00 AM PDT  Lumen by Jenny Sabin Studio for The Museum of Modern Art and MoMA PS1's Young Architects Program 2017, on view at MoMA PS1 from June 29 to September 4, 2017. Image courtesy MoMA PS1. Photo by Pablo Enriquez. Jenny Sabin Studio's "Lumen," winner of the Museum of Modern Art's 2017 Young Architects Program, has made its debut in the MoMA PS1 Courtyard in New York City, where it will play host to the 20th season of Warm Up, MoMA PS1's pioneering outdoor music series. Constructed from more than 1,000,000 yards of "digitally knitted and robotically woven fiber," this year's structure features 250 hanging tubular structures designed to capture and display the ever-changing color of sunlight over the course of the day.  Lumen by Jenny Sabin Studio for The Museum of Modern Art and MoMA PS1's Young Architects Program 2017, on view at MoMA PS1 from June 29 to September 4, 2017. Image courtesy MoMA PS1. Photo by Pablo Enriquez. "Socially and environmentally responsive, Lumen's adaptive architecture is inspired by collective levity, play, and interaction as the structure transforms throughout the day and night, responding to the density of bodies, heat, and sunlight," explains MoMA PS1. "The result of collaboration across disciplines, Lumen applies insights and theories from biology, materials science, mathematics, and engineering—integrating high-performing, formfitting, and adaptive materials into a structure where code, pattern, human interaction, environment, geometry, and matter operate together."  Lumen by Jenny Sabin Studio for The Museum of Modern Art and MoMA PS1's Young Architects Program 2017, on view at MoMA PS1 from June 29 to September 4, 2017. Image courtesy MoMA PS1. Photo by Pablo Enriquez.  Lumen by Jenny Sabin Studio for The Museum of Modern Art and MoMA PS1's Young Architects Program 2017, on view at MoMA PS1 from June 29 to September 4, 2017. Image courtesy MoMA PS1. Photo by Pablo Enriquez. Beneath the canopy, 100 robotically woven recycled spool stools and a motion-detecting misting system will allow visitors to relax and cool off out of the heat of the hot New York summer. "Jenny Sabin's catalytic environment, Lumen, captured the jury's attention for imaginatively merging radical materials with unique spaces," said Sean Anderson, Associate Curator in MoMA's Department of Architecture and Design. "With innovative construction and design processes borne from a critical merging of technology and nature to precise attention to detail at every scale, Lumen will no doubt engage visitors from day to night in a series of graduated environments and experiences."  Lumen by Jenny Sabin Studio for The Museum of Modern Art and MoMA PS1's Young Architects Program 2017, on view at MoMA PS1 from June 29 to September 4, 2017. Image courtesy MoMA PS1. Photo by Pablo Enriquez.  Lumen by Jenny Sabin Studio for The Museum of Modern Art and MoMA PS1's Young Architects Program 2017, on view at MoMA PS1 from June 29 to September 4, 2017. Image courtesy MoMA PS1. Photo by Pablo Enriquez.  Lumen by Jenny Sabin Studio for The Museum of Modern Art and MoMA PS1's Young Architects Program 2017, on view at MoMA PS1 from June 29 to September 4, 2017. Image courtesy MoMA PS1. Photo by Pablo Enriquez. "Now in its 18th iteration, this annual competition offered jointly by the Architecture and Design Department at MoMA and MoMA PS1 continues to take risks and encourage experimentation among architects," added Klaus Biesenbach, MoMA PS1 Director and MoMA Chief Curator at Large. "Jenny Sabin's Lumen is a socially and environmentally responsive structure that spans practices and disciplines in its exploratory approach to new materials. Held in tension within the walls of MoMA PS1's courtyard, Lumen turns visitors into participants who interact through its responsiveness to temperature, sunlight, and movement."  Lumen by Jenny Sabin Studio for The Museum of Modern Art and MoMA PS1's Young Architects Program 2017, on view at MoMA PS1 from June 29 to September 4, 2017. Image courtesy MoMA PS1. Photo by Pablo Enriquez.  Lumen by Jenny Sabin Studio for The Museum of Modern Art and MoMA PS1's Young Architects Program 2017, on view at MoMA PS1 from June 29 to September 4, 2017. Image courtesy MoMA PS1. Photo by Pablo Enriquez. The other finalists for the 2017 MoMA PS1 Young Architects Program were Bureau Spectacular (Jimenez Lai and Joanna Grant), Ania Jaworska, Office of III (Sean Canty, Ryan Golenberg, and Stephanie Lin), and SCHAUM/SHIEH (Rosalyne Shieh and Troy Schaum). An exhibition of all 5 proposals will be on display through the summer at The Museum of Modern Art. Previous winners of the Young Architects Program include Escobedo Soliz Studio's Weaving the Courtyard (2016), Andrés Jaque / Office for Political Innovation's COSMO (2015), The Living / David Benjamin's Hy-Fi (2014), CODA / Caroline O'Donnell's Party Wall (2013), HWKN's Wendy (2012), Interboro Parners' Holding Pattern (2011), SO-IL's Pole Dance (2010), MOS' Afterparty (2009) and Work AC's Public Farm 1 (2008). News via MoMA PS1.
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| Posted: 28 Jun 2017 04:00 AM PDT  © Eric Jap
 © Hufton + Crow From the architect. Lane 189, located in the Putuo district in central Shanghai - opposite Chang Shou Park and close to the Jade Buddha Temple - is designed to provide a lifestyle destination for Shanghai's young professionals. Lane189 combines retail, restaurant and office spaces in an organisation that rearranges the typical mall into a vertical city centre and provides opportunities for shopping, strolling, eating, gathering and relaxing. The design incorporates elements of 'old Shanghai' through geometry, pattern and materialisation and combines these with a contemporary urban experience, thereby creating a destination with a distinctly Shanghai feel.  Micro Site Analysis The existing qualities of the immediate urban surroundings, which include small-scale restaurants and boutique stores, are reflected in the building where they are stacked vertically to populate the envelope with programmatic destinations that can be seen from street level.  © Hufton + Crow Inside, elements of street life are mixed with lifestyle retail features and are distributed throughout the building. The organisation of the building encourages the visitor to stroll through and explore the different levels of the complex, where retail spaces follow an open layout and are punctuated with small kiosks.  © Hufton + Crow Programmed Facade The facade is designed to support the overall design concept of a programmed facade and to create depth for the building envelope. The use of multi-layered components enables a variety of views towards the surroundings, whilst simultaneously providing functional transparency in specifically located areas.  © Hufton + Crow Based on a hexagonal grid, the facade components follow the articulated geometry of the building and provide constantly changing perspectives.  Diagram: Facade Tesselation A gradient transition from bigger to smaller facade components regulates the exposure of the inside to the outside and enhances the main entrance of the building. The facade therefore becomes an integrated active layer that can be programmed as display windows, vista points or balconies.  © Hufton + Crow On the lower facade a hexagonal grid consists of diamond shaped panels that are tied between pins forming a tensioned cladding system. Here the arrangement of the components can change across the facade from single layer to triple layer, up to a depth of 400mm. Constructed from different materials and lit by RGB LEDs these panels create different visual effects: transparent or opaque, colourful or monochrome, reflective or matt.  Diagram: Triple Layer Urban eyes Large double-height facade openings present the interior programme to the outside world. These 'urban eyes' simultaneously create large display platforms for products whilst providing balconies with views to the surroundings.  Diagram: Urban Eye South Interior The interior of Lane 189 derives its character from a central void which cuts through the volume from base to top and is punctuated by a series of rounded plateaus. When seen from below the rounded plateaus resemble a cohesive layered organic structure, however when looking down from above the programmes of the plateaus are revealed.  © Hufton + Crow These smaller pockets, positioned in a rotational manner, create intimate plazas and are visually connected to the urban eyes of the facade.  Diagram: Programmed Void Plateaus The central void further organises vertical circulation and orientation, creates view across the different levels and facilitates a clear view column from the second basement level up to the skylight art installation.  © Hufton + Crow This posting includes an audio/video/photo media file: Download Now |
| Richard and Su Rogers's Wimbledon House Photographed by Iwan Baan Posted: 28 Jun 2017 03:15 AM PDT  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan Following extensive renovations led by Philip Gumuchdjian and landscape architect Todd Longstaffe-Gowan, 'Wimbledon House'—formerly known as the Rogers House or '22 Parkside'—has reopened as the Harvard GSD's primary residence and London venue for the Richard Rogers Fellowship.  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan The house, which was designed by Lord Rogers and his former wife Su Rogers for his parents in the late 1960s, was gifted to the US school by Lord and Lady Rogers in 2015 to "ensure the Heritage-listed property's continued use as a residence, and to provide a unique research opportunity." The house has now been protected for future generations of architecture professionals and scholars whose work is focused on the built environment. Gumuchdjian, who has led the two year-long renovation, said:
 Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan  Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan
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| Why Are Alexander Calder Sculptures So Overused in Architecture Renders? Posted: 28 Jun 2017 02:30 AM PDT  OMA, Park Grove Condos, Miami, featuring Calder's Flamingo, 1973. The work is actually installed in Federal Plaza in Chicago. Image Courtesy of OMA This article was originally published by The Architect's Newspaper as "Rendering LOL: How architects are absurdly using Calder sculptures." Why do so many architects use Alexander Calder sculptures in their renderings, even when the works have nothing to do with the institution or project depicted? The Calder Foundation has been tracking this phenomenon, and the results are featured in the images for this article. A new exhibition at the Whitney Museum in New York explores mobiles—kinetic sculptures in which carefully balanced components reveal their own unique systems of movement—created by American sculptor Alexander Calder from 1930 until 1968, eight years before his death.
 Ateliers Jean Nouvel, 53 W. 53rd Street, New York, featuring Calder's Sumac, 1961. It is part of a Private Collection. Image Courtesy of Ateliers Jean Nouvel Running through October 23, the exhibition features almost 40 sculptures, including three that served as models for possible architectural commissions. In addition, Alexander S C Rower, who is the sculptor's grandson and head of the Calder Foundation, will bring one of three motorized maquettes Calder created as proposals for the 1939 New York World's Fair to the Whitney later this summer for a temporary viewing and activation.  Bjarke Ingels Group (BIG), Middle East Media Headquarters, featuring Calder's La Grande vitesse, 1969. The monumental sculpture this model is based on is actually installed in Calder Plaza in Grand Rapids, Michigan. Image Courtesy of BIG Other Calder works on display that were designed for architectural projects include Octopus and The Helices, both made in 1944 as part of a series of bronze works Calder envisioned as 40-foot monuments and created for an International Style architectural project proposed by Wallace K Harrison. Interestingly, more recently, many well-established architects have used Calder's works to illustrate renderings of their own designs, often without the Calder Foundation's permission.  OMA, OLIN, 11th Street Bridge Park, Washington, D.C., featuring Calder's Flamingo, 1973. The work is actually installed in Federal Plaza in Chicago. Image Courtesy of OMA OMA in particular apparently finds Calder's sculptures perfect for its projects: It used his 1973 Crinkly with a Red Disc, actually in the collection of the Kunstmuseum Stuttgart, in Germany, in its rendering of the Garage Center for Contemporary Culture in Moscow. The rendering for the firm's Park Grove condos in Miami pilfered Calder's 1973 Flamingo, which actually sits in Federal Plaza in Chicago, while the rendering for 11th Street Bridge Park in Washington, DC, by OMA and OLIN, features the same sculpture.  Ateliers Jean Nouvel, R4 Plastic and Visual Arts Portal, Paris, featuring Calder's Flamingo, 1973. The work is actually installed in Federal Plaza in Chicago. Image Courtesy of Ateliers Jean Nouvel Other architectural firms that favor Calder's works in their renderings include Ateliers Jean Nouvel, whose 53 W 53rd Street project in Manhattan features Calder's 1961 Sumac, actually in a private collection. Shigeru Ban Architects used Calder's 1971 The Eagle, now at the Seattle Art Museum, and his 1972 Trepied rouge et noir in renderings for, respectively, the Tainan Museum of Fine Arts in Taiwan and Mt. Fuji Shizuoka Airport in Japan. Renzo Piano Building Workshop (which designed The Whitney's current home in Manhattan's meatpacking district), Diller Scofidio + Renfro, SOM, and Studio Libeskind also find the display of Calder's works an attractive way to promote their concepts.  Renzo Piano Building Workshop, 565 Broome Street Soho Tower, New York, featuring Calder's Black Tail Crescent, 1959. It is part of a Private Collection. Image Courtesy of Renzo Piano Building Workshop Calder's works reside today in some major venues: In addition to the sculptures in Federal Plaza in Chicago and at the Seattle Art Museum, the home of his Five Swords is Storm King Art Center in New Windsor, NY.  Skidmore, Owings & Merrill LLP (SOM), Godrej BKC, Mumbai, featuring Calder's La Grande vitesse, 1969 (The monumental sculpture this model is based on is actually installed in Calder Plaza in Grand Rapids, Michigan). Image Courtesy of SOM Asked about contemporary architects' practice of borrowing—to put it politely—images of Calder's works to illustrate their designs, Rower said that during the artist's lifetime, Calder was friendly with Mies van der Rohe, Josep Lluís Sert, Le Corbusier, Marcel Breuer and Wallace K Harrison, and "frenemies" with Frank Lloyd Wright. As the first artist commissioned to make a public sculpture by the General Services Administration, he said Calder was "the obvious go-to for architects designing new buildings or plazas. Given this history, it comes as no surprise to me that, even today, he is the most prolific artist depicted in architectural renderings. His iconic vocabulary is instantly recognizable; thus, contemporary architects use his imagery to suggest the superior qualities of their projects."  Flamingo, 1973, installed at the Federal Center Plaza, Chicago. Image © Samuel Ludwig "The genius of Calder's work," Rower added, "is that it transforms space—and our experience of it—in real time. While his great invention, the mobile, does this in an overt way—performing in front of us and literally embodying movement—Calder's stabiles (stationary sculptures) imply movement and affect how we encounter surrounding plazas, facades or even natural landscapes. Architects intuitively understand that effect, and are excited by the prospect of how a Calder sculpture can deepen the experience of whatever space they are designing."  Studio Libeskind, Mizner on the Green, Boca Raton, featuring Calder's Five Swords, 1976. In the collection of the Calder Foundation; the work is actually installed at Storm King Art Center, New Windsor, NY. Image Courtesy of Studio Libeskind "As long as it's done in a respectful way," Rower admitted that rendering actual Calder works that have not been manipulated "is gratifying. I'm interested in Calder's works in architectural mock-ups—allowing me to imagine his sculptures in many different settings and contexts. And it's rewarding that Calder remains a favorite amongst architects." This posting includes an audio/video/photo media file: Download Now |
| Multifunctional Building and Infrastructure / bunq architectes Posted: 28 Jun 2017 02:00 AM PDT  © Thomas Jantscher
 © Thomas Jantscher From the architect. The multifunctional building for the town of Gland combines halls, garages, workshops, council offices and rooms for local societies all under a single roof. The programme is similar to a multi-tenant building as the rooms can be adapted to different types of use.  © Thomas Jantscher The position on the edge of the property gives it a valuable reserve of land for future development. The rooms are also organised in a way that enables functional connections to the existing buildings. The building entrance is on the same level as the car park, while the halls and garages are connected to the road maintenance and cleaning services.  © Thomas Jantscher The building presents a rather elongated, narrow volume with a folding roof and two translucent facades through which one can sense the respective activities taking place behind them.  Ground Floor Plan  © Thomas Jantscher  Section In the conference rooms, a large southern window provides a panorama view of the Geneva Lake and the Alps. The load-bearing structure consists of floor slabs and reinforced concrete walls in the section for society rooms and council offices. In the hall area, pillars and beams made of prefabricated concrete assume the load-bearing task. The roof construction is built with wooden girders attached to two sheets of plywood, with cellulose insulation injected inside. The roof is covered with sheets of pre-weathered zinc. The side facades are covered with corrugated polycarbonate attached to a timber construction. The structure of the facades depends on the level of comfort required in the relevant rooms. For instance, the facade around the unheated hall only has one layer of corrugated polycarbonate, while the tempered storage rooms are insulated by an inner layer of honeycomb-shaped polycarbonate. The insulation is more important for the heated rooms, where either a thicker layer of honeycomb polycarbonate or layers of rock wool insulation on a wall of concrete blocks is used.  © Thomas Jantscher This posting includes an audio/video/photo media file: Download Now |
| ThyssenKrupp Brings Sideways-Moving Elevator Innovation To Reality Posted: 28 Jun 2017 01:00 AM PDT
In their latest press release, elevator manufacturer ThyssenKrupp announced new information about their cable-free system that rethinks the movement of the 1853 invention. Allowing for both horizontal and vertical transportation, "MULTI" has the capacity to innovate tall building design through its elimination of architectural constraints such as vertical alignment and elevator shaft dimensions. First unveiled as a concept in 2014, MULTI reported this month that the elevator has been installed into a test building and is soon to be implemented publicly into new developments.
In MULTI, ThyssenKrupp strays away from standard elevator schematics by opting against cables and favoring linear mobile technology. The elevator offers several cabins that work in a loop, similar to the circulation of public transit that moves many cars at once. Using a multi-level brake system, wireless data, and energy management systems, the operation cuts down drastically on user wait time and is environmentally conscious.
The elevator continues to be tested at ThyssenKrupp's innovation tower in Rottweil, Germany where the inaugural run took place. The 246-meter tower houses 12 shafts that allow engineers to test the efficiency of the elevators, with three specifically dedicated to the MULTI system. ThyssenKrupp also uses the facility to test their range of elevator inventions such as cars that reach speeds of up to 18 meters per second.
The video below provides a graphic explanation of the project and an insight into its experiential qualities. Additionally, ThyssenKrupp revealed that the first public building to feature MULTI will be East Tower, OVG Real Estate's new addition to the Berlin Skyline. Situated next to works such as the Mercedes-Benz Arena, East Tower will be completed later this year. As technologies such as the MULTI elevator move out of their prototype phase and begin to be installed in built works, architecture will respond to the ever-changing digital possibilities of the 21st-century. News via: ThyssenKrupp Elevator AG.
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| Diamond Schmitt’s Mixed-Use Tower Will Be the Largest Urban Development in Canada Posted: 27 Jun 2017 11:00 PM PDT  Courtesy of Diamond Schmitt Architects Ground has been broken on a key component of Canada's largest urban development undertaking, in the form of a 236,000 square foot mixed-use tower in the City of Vaughan, designed by Toronto-based firm Diamond Schmitt Architects. Situated at the core of SmartCentres Place with easy access to nearby retail and commercial spots, the tower will serve as the new home of PwC Canada, in combination with a 100,000-square-foot YMCA, a 20,000-square-foot public library, 10,000-square-foot community space and 3000 square feet of retail.
 Courtesy of Diamond Schmitt Architects Rising eight stories in total, the tower is located adjacent to the firm's designed SmartCentres Place Bus Terminal and at the future junction of the extended Spadina subway line, as part of the Toronto Transit Commission's expansion. The terminal is operated by the York Region Rapid Transit Corporation, and both transit points will be fully functional later this year, placing the tower at a key commuting zone.  The Great Hall, a two-storey interior galleria, forms a community social space while also "connecting the transit hub to the future residential neighborhoods." In addition to this, the interlocking form of the building is wrapped in gold anodized aluminum fins and incorporates a number of community roof terraces while unifying the mixed programs within.  Courtesy of Diamond Schmitt Architects Developers SmartREIT and Mitchell Goldbar are working in conjunction with the architects on the 100-acre masterplan that is intended to combine 17 million square feet of residential, retail and commercial space, revolving around a nine-acre central park.
This is Diamond Schmitt Architects' second commercial project at SmartCentres Place, after the KPMG Tower's successful opening in 2016. Construction on the PwC-YMCA Tower is expected to be completed by 2020. Check out the video above for more on the project. News via: Diamond Schmitt Architects.
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