Arch Daily |
- Fortress House / CSO Arquitectura
- S|H Apartment / YAEL PERRY | INTERIOR DESIGNER
- Wynyard Walk / Woods Bagot
- Modelia Colors Wakamatsucho / Sasaki Architecture + Atelier O
- Falo / Mosaic Design Inc.
- Roca Beijing Gallery / MAD Architects
- Samuel Bravo Selected as the Winner of the 2017 Harvard GSD Wheelwright Prize
- A House with a View / Axelrod architects
- Happy National Donut Day! Here's 3 Donut-Shaped Buildings as Seen From Above
- Showvila La Pineda / Jaime Prous Architects
- Shigeru Ban Architects Reveals Designs for World’s Tallest Hybrid Timber Building in Vancouver
- Bałtyk / MVRDV
- Extension of the Lycée Français and Renovation of the Studio Molière / Dietmar Feichtinger Architectes
- A Virtual Look Inside the Case Study House #2 by Sumner Spaulding and John Rex
- Public Market of Florianópolis Roof Top / Aleph Zero
- How to Build a Modular Kitchen
- Spotlight: Carlo Scarpa
| Fortress House / CSO Arquitectura Posted: 02 Jun 2017 10:00 PM PDT  © Esaú Acosta
 © Raúl Olivares From the architect. The building is inspired by the traditional Casa-Patio (courtyard house). It is enclosed by a fenced wall as if it were a medieval wall generating an introspective space. Three courtyards (entrance, day area and sleeping area) organize the interior disposition of the building in the plot site in the shape of a T.  © Esaú Acosta The one-story building is organized in three zones, joined by a distributor in the central area of the T. One in the left longitudinal part with the day dependences, another one in the right longitudinal part where the office is and a third one in the transversal part for the sleeping places.  © Esaú Acosta  Ground Floor  © Esaú Acosta The constructive system is reflected in the exterior with a first layer of plastered walls, over which a structure of wooden beams and joists is supported; they open and compose the elevations. Over the wooden structure a garden roof is supported with low consuming covering plants that have both an aesthetic and energetic efficiency functions.  © Esaú Acosta This posting includes an audio/video/photo media file: Download Now |
| S|H Apartment / YAEL PERRY | INTERIOR DESIGNER Posted: 02 Jun 2017 07:00 PM PDT  Courtesy of Itay Benit
 Courtesy of Itay Benit From the architect. The 42 sqm skinny apartment, located in the heart of Tel Aviv, intended for a holiday home town for a family who likes to entertain guests has transformed by Interior designer Yael Perry into a minimalist white bright space. The apartment was renovated & include a bright living space, kitchen, one bedroom & a wide bathroom.  Courtesy of Itay Benit The apartment, is long and narrow – the public space measurements are 11 meters in length and 3.3 meters in width. Before renovation, there was no storage space, no wardrobe in the bedroom & a tiny bathroom; all factors that didn't suit its new occupiers.  Floor Plan The designer who wanted provide a sense of unique aesthetic & to make the space feel more spacious and bright, chose to design the apartment in one shade of color – WHITE. The apartment's floor was covered with a minimalistic white parquet, the walls were painted in white color and all carpentry & furniture items were designed in white as well.  Courtesy of Itay Benit The Bathroom: Before renovation, bathroom's door was located in front of the apartment entrance. All internal walls were destroyed & a new entryway leading to a new minimalist, bright & wide bathroom was created. A functional white closet was custom made for the new entryway & used for storage & a washing machine.  Courtesy of Itay Benit Modular living room: The new occupier requested to include some of their own furniture, including as Eero Aarnio's Parabel table and four Kite chairs designed by Karim Rashid. The uniqueness of the furniture affected the project's plan & the conceptual design of the project. The space was too narrow to accommodate a small living room and dining room furniture; therefore, the living room furniture is used for the dining area as well.  Courtesy of Itay Benit Kitchen: In order to create a functional kitchen with storage space in the tiny apartment, the kitchen was placed along the apartment & Integrated electric appliances were placed in the kitchen cabinets in order to keep the kitchen narrow & minimal.  Courtesy of Itay Benit Bedroom: An internal wall separating the living room from the bedroom was replaced with a custom-made closet that can be used for both spaces. On the living room side, it provides a mounting surface for a flat-screen TV, while on the bedroom side it is used as a wardrobe.  Courtesy of Itay Benit This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Jun 2017 03:00 PM PDT  © Trevor Mein
 © Trevor Mein From the architect. In the heart of Sydney sits Wynyard Walk: a fully accessible pedestrian link designed around the concept of 'flow'. The design challenges the perception of a transport interchange, shifting the emphasis from efficiency of travel to the quality of experience, with the forms optimised to capture the largest volume of space and ease pedestrian movements through its curved profiles, rounded corners and sinuous forms.  © Trevor Mein Providing a highly functional and practical connection, the design is focused on the quality of the customer journey – allowing pedestrians to travel from Wynyard Station to the Barangaroo waterfront in approximately six minutes by avoiding steep inclines and road crossings.  © Trevor Mein Linking Wynyard Station to the western corridor of Sydney's CBD, Wynyard Walk consists of a series of above and below ground urban interventions including a nine-metre wide pedestrian tunnel, bridge, plaza and a new civic building connecting the existing Wynyard Station.  Section The design concept of flow draws on the natural geology of the Sydney Basin, with its landscape of deep cliffs, gorges, beaches and estuaries carved by erosion. A metaphor for the fluid flow of pedestrians, the design references the movement of water as, like water, people follow the path of least resistance. The linearity of movement is reinforced through materials and detailing to enhance wayfinding and create a unified experience.  © Trevor Mein Earthen materials including concrete and stone ground the project, while lighter elements such as glass and metal provide diaphanous canopies filtering natural and artificial light. The form of Wynyard Walk harnesses human desire to create the most efficient route, imbuing the project with a unique character and identity.  Site Plan The western portal and glass canopy acts as the most visible landmarks of the project, increasing traffic capacity of the station to meet current and future demands. The shape of the canopy was parametrically modelled and tested in wind models to ensure weather protection while allowing fresh air and natural light into the tunnel.  © Trevor Mein The innovative form has geometric rationality, sculpted and cut from a cylindrical section and elliptical plan. Principles of sustainability drove the design solution, with consideration for maintenance over the project's 100- year life span.  © Trevor Mein A lifecycle costing analysis of the tunnel lighting reduced the carbon footprint, with natural daylight supplemented by the use of LED strip lighting throughout the project. Materials were selected for environmental performance.  © Trevor Mein Designed as a piece of socially sustainable infrastructure, Wynyard Walk enhances the experience of (projected) 20,000 commuters per hour via a timeless architectural form complemented with integrated digital art. Residing within the Clarence Street entrance of Wynyard Station, the 23 metre wide Wynscreen - named as a play on the word 'windscreen' due to its unusual curved shape - combines art, culture and technology to create a series of visual experiences.  © Trevor Mein Connecting one of Sydney's busiest transport interchanges to Barangaroo through architectural expression, Wynyard Walk has created a unified identity and civic presence, delivering a socially sustainable piece of infrastructure to Sydney's CBD.  © Trevor Mein This posting includes an audio/video/photo media file: Download Now |
| Modelia Colors Wakamatsucho / Sasaki Architecture + Atelier O Posted: 02 Jun 2017 01:00 PM PDT  © Takumi Ota
 © Takumi Ota From the architect. This project in the Wakamatsucho section of Tokyo's Shinjuku district transformed an office building into shared housing, where residents have private bedrooms but share common areas, kitchens, and bathrooms. Although the neighborhood is located near universities and busy shopping streets, it has a peaceful atmosphere all its own. When designing a shared house in this area, we gave particular consideration to the type of people who might gather and live there.  © Takumi Ota Shared housing has proliferated in Japan in recent years, primarily drawing residents who seek interaction with their co-inhabitants as opposed to the cheaper rents that typically attract people to shared living arrangements in Western countries. For a project in this particular type of neighborhood we envisioned a harmonious, cultured environment in which individuals with similar interests and tastes would gather and inspire one another. The forms and colors of the building are designed to create opportunities for this type of interaction.  © Takumi Ota The existing entryway was left almost unchanged, while the building's four levels were clearly divided according to function, with the first and second floors serving as private zones, the ground floor as a public zone, and the third rented out as offices independent of the shared house. The circulation plan allows residents to access their own rooms without passing through the public zone, which means that they are able to choose between spending quiet time individually or interacting with other residents even though they are living in a shared house.  © Takumi Ota The interior design employs basic geometric forms, with circular furnishings and light fixtures on the first floor and square ones on the second floor. On the first floor, which is close to the ground, green is the key color, while on the second, which is closer to the sky, it is blue. These differences, we hope, will allow potential residents to select a room near others who share similar tastes, loosely connecting them once they move in. However, in recognition of each residents' individuality, the colors of the bedroom interiors and doors vary slightly in intensity, representing the differences that exist between individuals despite their similar tastes.  © Takumi Ota The ground-floor lounge is designed around a theme of lines connecting one individual to another. It is composed of a kitchen, dining area, shower room, and other shared spaces that serve as sites for interaction. Vertical, linear lights hang from the center of a ceiling covered in metal mesh, symbolizing people gathered together. A large table where people can sit together, window-side counters, low tables, sofas, and a tatami mat area provide choice in how and where to sit within this public zone.  © Takumi Ota  Axonometric  © Takumi Ota This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Jun 2017 12:00 PM PDT  © Kazutaka Fujimoto
 © Kazutaka Fujimoto From the architect. This restaurant designed by Mosaic Design is a new type of Italian based restaurant mainly using fire grill in Daikanyama, Tokyo, Japan. The restaurant has only one big counter table surround the fire in the center of the dining space. The counter was deformed to let every seat face toward the fire and they could see the chef cooking the meat there. It creates a sense of unity in the restaurant and also provides diversity of conditions. Some seats are near the fire, some are close to the chef, corners are for the group and deformed counter creates also table space for 5-6 persons. Deforming the counter is not only for the guest but also for the kitchen, it provide appropriate distance from the guest to the cooking space, avoid having dead space inside the kitchen and create display space on the table as well.  Plan The ceiling is also designed and deformed towards the fire to lead the guest's attention naturally into the fire and it covers exhaust duct and machine inside the ceiling. Since the limitation of the building structure, it was not possible to create high ceiling height space for this restaurant but controlling the ceiling shape and floor height carefully makes the space confortable.  © Kazutaka Fujimoto  Section  © Kazutaka Fujimoto However only in the restroom, it was possible to make high ceiling space and the art piece was inserted above the restroom to create contrast of the space and small surprise for the guest.  © Kazutaka Fujimoto Using wood fiberboard for deformed low ceiling and the wall, it creates unique interior space like "wooden cave" as a specific character of the restaurant to represent this restaurant's original concept "Italian BBQ with the fire".  © Kazutaka Fujimoto This posting includes an audio/video/photo media file: Download Now |
| Roca Beijing Gallery / MAD Architects Posted: 02 Jun 2017 10:00 AM PDT 
 From the architect. MAD Architects has completed Roca's Beijing Gallery in Dongzhimen, near the Beijing East Second Ring Road. The project consists of an unobstructed gallery space that opens up to its urban environment; behind double-height glazing, the interior walls of both of the gallery's floors, finished with a screen of LEDs, become a new façade for the city.  "I hope that the Roca Beijing Gallery can become a positive, vivid corner of the urban community, connecting people and city in the simplest way," says Ma Yansong, MAD Architect's founding principal.  The multimedia surface is intended to provide spectators accessible, vibrant glimpses into projected realities that challenge their senses and their rectilinear environments -- creating an atmosphere that is a fluid mixture of light, movement, and people. The content of the screens, such as simulated depictions of people using the showrooms, seemingly unaware of their visitors or any observation, playfully connects the Roca Beijing Gallery's internal spaces. An intentional ambiguity of "interior" and "exterior" is perceptible for those passing the gallery, resulting from the movement of nearby pedestrians and the silhouettes of those inside, a movement further distorted by the LED screens.  The gallery also projects images of nature, simulating different weather conditions and seasons--such as the falling of rain, or the emulation of sunshine to address a smoggy day. Designed by art critic and curator Jérôme Sans, the installation changes with the passing of seconds, minutes, and days.  In designing the sixth of Roca's global galleries, MAD has joined a series of renowned designers, such as Zaha Hadid Architects and Charles Ferrater, who have designed galleries for Roca in the past.  This posting includes an audio/video/photo media file: Download Now |
| Samuel Bravo Selected as the Winner of the 2017 Harvard GSD Wheelwright Prize Posted: 02 Jun 2017 09:45 AM PDT  Ani Nii Shobo Lodge / Sandra Iturriaga + Samuel Bravo. Image © Samuel Bravo Chilean architect Samuel Bravo has been selected as the winner of the Harvard University Graduate School of Design 2017 Wheelwright Prize, a $100,000 travel grant established to support "investigative approaches to contemporary design." Bravo's research proposal, Projectless: Architecture of Informal Settlements, seeks to study the architecture of traditional and informal settlements, offering a contemporary revisiting of Bernard Rudofsky's "architecture without architects" exhibit at the Museum of Modern Art in 1964.  House in The Patagonia Fjords / Armando Montero + Samuel Bravo. Image © Samuel Bravo "Samuel Bravo is a sophisticated designer and a mature thinker, qualities that make him an ideal candidate for the Wheelwright Prize," said juror and Dean of Harvard GSD, Mohsen Mostafavi. "His work on its own is striking, and the participatory design-build process he has refined over time is additionally compelling. In resurrecting ideas about so-called 'non-pedigreed' architecture and expanding the scope of his research and practice internationally, Bravo's project opens up new and exciting paths for the next generation of architects." Bravo, who graduated with a BArch degree from the Pontifical Catholic University of Chile in 2009, was selected from a shortlist of four finalists originally selected from a pool of more than 200 applicants from over 45 countries. He had been previously named a finalist in 2016. Bravo now leads his own namesake practice, and has completed a number of projects in South America, namely organizing community-led rebuilding efforts in earthquake-damaged Tarapacá, Chile; designing and constructing a lodge/shamanic center and school for the Shipibo people of the Amazonian rain forest in Peru; and a number of private residences, including House in the Patagonia Fjords. Learn more about Bravo and this year's prize, here. News via Harvard GSD.
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| A House with a View / Axelrod architects Posted: 02 Jun 2017 08:00 AM PDT  © Bruce Damonte
 © Bruce Damonte From the architect. The Oakland Hills house was built originally in 1939, the house renovation aimed to update the property by creating a modern, spacious interior, without expanding its original footprint.  © Bruce Damonte The two-level house is perched on a hillside lot, overlooking Oakland and the San Francisco East Bay.  © Bruce Damonte The effect of opening the house up to light and views has an expansive effect. The interior was reconfigured by opening up the entire back elevation to the dramatic views of the bay, while keeping it's sloped ceiling and enhancing the symmetrical volume. The materials palette of contrasting dark wood flooring and white walls, and cabinetry throughout, creates a monochromatic and striking feel within the space.  © Bruce Damonte  Ground Floor Plan  © Bruce Damonte Indoor/outdoor living flows onto the large exterior decking. The firm matched the interior stained black oak wood flooring to the blackened cedar wood outdoor deck, which provides a place to take in the views. A louvered screen by the entrance separates the entry area from the living space, while providing a glimpse of the dramatic bay scenery beyond.  © Bruce Damonte Entrance of the house starts while entering the front yard. In order to reach the front door, the pathway, made of rectangular concrete slabs, with light balls in between, wraps around an 100 years old Redwood tree that was retained during the renovation process. Entering through the offset pivot door, the extra wide opening frames the view of a light, bright living space and a panorama of the bay. A large, ample dining and living space stretches across the entire back of the house, taking advantage of the views, day and night.  © Bruce Damonte An entry level bedroom with ensuite bathroom is tucked into the quiet space behind the stair and living areas. This dramatic staircase gives way to the lower level of the master bedroom, study and bathroom.  Section A-A'  Lower Floor Plan  Section B-B' This posting includes an audio/video/photo media file: Download Now |
| Happy National Donut Day! Here's 3 Donut-Shaped Buildings as Seen From Above Posted: 02 Jun 2017 07:00 AM PDT
Each year, on the first Friday in June, people in the US celebrate National Donut Day. The origins of this commemoration go back 100 years: soon after the US entrance into World War I in 1917, the Protestant Christian church and international charitable organization The Salvation Army sent a fact-finding mission to France. It was during that mission that volunteering women began serving free donuts to soldiers on the front lines with the aim to boost the troops' morale. These women, dubbed "Donut Lassies," are often credited with making donuts widely popular in the United States when troops returned home from war. To celebrate this day, the Earth Observation company Deimos Imaging has released three images of donut-shaped buildings taken from space. These constructions, already impressive if you're standing nearby, look even more astonishing when appreciated from space. Each of them is located in a different part of the world, but what they all have in common is their imposing proportions and innovative designs. Phoenix International Media Center / BIAD © Deimos Imaging The first building, the Phoenix International Media Center, is a spheroid torus formed by several curves that convolute and involute on a turning lattice of steel. Despite its curved structure, the building's design is simple: the torus functions as a shell that surrounds two conventionally structured buildings inside. Energy-saving and low-carbon concepts were also applied in the building design. The rainwater is collected by dropping naturally along the structural ribs into a collection tank located at the bottom of the building. After being filtered, it is recycled to water the artistic waterscape and irrigation for landscape. Moreover, the cone-shaped shared space generates a chimney effect that provides natural air ventilation to save energy during transitional seasons. Diamond Light Source / Crispin Wride Architectural Design Studio © Deimos Imaging The second building, the Diamond Light Source, is the United Kingdom's national synchrotron science facility, located at the Harwell Science and Innovation Campus, near Oxford. The Diamond's 561 meter-diameter ring, which gives the building its distinctive circular shape, covers an area in excess of 43,300 square meters. Diamond is one of the most advanced scientific facilities in the world. It works like a giant microscope, harnessing the power of electrons to produce bright light that scientists can use to study anything from fossils to jet engines to viruses and vaccines. Apple Park / Foster + Partners © Deimos Imaging Last but not least, the new Apple Park campus in Cupertino, California, is marked for being the world's largest piece of curved glass and for its awnings designed to prevent rain from dripping onto the building's glass facades. Moreover, Apple Park also features the world's largest naturally ventilated building and one of the most energy-efficient buildings in the world. It is expected to require no heating or air conditioning for nine months of the year and it will run entirely on renewable energy. Some of the energy will be produced on site as the building is outfitted with solar panels around its roof. Thanks to Deimos Imaging. Images and project descriptions provided by Deimos Imaging. This posting includes an audio/video/photo media file: Download Now |
| Showvila La Pineda / Jaime Prous Architects Posted: 02 Jun 2017 06:00 AM PDT  © Roger Casas
 © Roger Casas From the architect. Caldes de Malavella, Girona. February the 30th of 2017. Isolated from the hustle and bustle of the city and completely integrated in the natural surrounding of the region, we can find the Villas La Pineda: generously sized homes designed by Jaime Prous Architects for the PGA Catalonia Resport complex. This latest design is incorporated into an idyllic residential development that combines the well-being of a modern and Mediterranean lifestyle in harmony with the environment, with maximum comfort and privacy.  © Roger Casas Located in a privileged landscape dominated by a rich indigenous vegetation, the villas are immersed in the climate and nature of the region. Two main volumes connected through a glass vestibule form each house. The L-shaped plan generates a central patio that allows the landscape to penetrate inside.  © Roger Casas From the main entrance, you can appreciate the delicacy of local materials such as wood, autochthonous stone and white walls providing a feeling of warmth and comfort from the outset. The pergolas enlarge the size of the house fusing it with the landscape and sifting the sun creating an interplay of light and shade. The house is divided into three levels. The basement is dedicated to the technical areas like garage, laundry, storage and engine room. On the ground floor are the main master suite and the living-dining- kitchen, bathed by natural light thanks to sliding windows that disappear on the wall and expand the space towards the garden and pool. The first floor has three rooms of which a suite with privileged views over the golf course.  Lower Plan The outdoor space, characterized by its pergola flying above the pool integrated in the garden, is the ideal scenario for long days of leisure and relaxation at any time of the year.  © Roger Casas Jaime Prous Architects’ team presents this set of houses that through rules of aggregation achieve unique and exclusive villas within a harmonic ensemble where privacy and relation with nature are guaranteed.  © Roger Casas This posting includes an audio/video/photo media file: Download Now |
| Shigeru Ban Architects Reveals Designs for World’s Tallest Hybrid Timber Building in Vancouver Posted: 02 Jun 2017 05:00 AM PDT  Terrace House (behind) with the Evergreen Building in the foreground. Image Courtesy of PortLiving The design of the world's tallest hybrid timber building, by Shigeru Ban Architects, has been revealed by Vancouver-based developer PortLiving. Named "Terrace House," the project will be located in Vancouver's Coal Harbour neighborhood, adjacent to the landmark-listed Evergreen Building, designed by late architect Arthur Erickson. The design of the "Terrace House" pays tribute to its neighbor, picking up the architectural language of triangular shapes, natural materials, and an abundance of greenery.  Terrace House model. Image Courtesy of PortLiving "Shigeru Ban has tremendous respect for Arthur Erickson's work. It was the opportunity to design a building next to one of Erickson's masterpieces that initially drew him to this innovative project," said Dean Maltz, Managing Partner at Shigeru Ban Architects Americas.  The adjacent Evergreen Building, designed by Arthur Erickson. Image © Flickr user jmv. Licensed under CC BY 2.0  Arthur Erickson's Evergreen Building with the harbor beyond. Image © Flickr user lisa-parker. Licensed under CC BY-SA 2.0 The developers see the project as a prime example of Vancouver's commitment to sustainable, forward-thinking design, particularly in regards to the burgeoning trend of high-rise timber construction. The world's current tallest timber building, Brock Commons, is also located in the city. "We have brought together the best of the best – a team of true experts in creative collaboration, working together for the first time ever on a single project. The result is truly a once-in-a-lifetime project setting new standards in design and construction," said Macario (Tobi) Reyes, founder and CEO of PortLiving. "Every detail has been considered right down to the specific foliage on the terraces. It only made sense to bring on Cornelia Oberlander to continue her vision and create continuity between the Evergreen Building by Arthur Erickson and Terrace House by Shigeru Ban."  Terrace House. Image Courtesy of PortLiving More information on the project can be found here. Terrace House Project Team: Developer: PortLiving News via PortLiving.
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| Posted: 02 Jun 2017 04:50 AM PDT  © Ossip van Duivenbode
 © Ossip van Duivenbode From the architect. Bałtyk appears totally different depending on what side it is approached from. A linear building with a concrete, entirely glass-fronted façade and clearly exposed aggregate grain, sets it apart from its surroundings and is an example of a balanced combination of "old" and "new" architecture in the context of the neighbouring historic building of Concordia Design and the Haven.  © Ossip van Duivenbode Occupying 16 storeys with an irregular arrangement, and towering over the city centre of Poznań, the building changes its shape depending on the viewing angle. This 25,000m2 building is divided into 12,000m2 office space, 750m2 panorama restaurant with a one room hotel, 1350m2 retail in the plinth of the building and three levels of underground parking. The flexible office space is limited to a depth of seven metres allowing daylight to generously penetrate the workspaces. Bałtyk is also a multifunctional building with innovative interior solutions, and scenic terraces offering panoramic views all across the city. In addition to business-oriented functions, the building will house catering establishments, a fitness club, and an intimate jazz club on the 16th floor. Its close proximity to the reopened Concordia Taste restaurant and Haven square creates social functions that encourage meeting and integrating different communities.  © Ossip van Duivenbode This results in a form which appears completely different depending on the angle it is approached from. Towards the south, a slope of cascading patios offers outdoor spaces to the users of the building. The façade is floor-to-ceiling glass with vertical louvres of glass fibre concrete softening the impact of the sun without losing the vistas over the city and zoo.  © Ossip van Duivenbode This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Jun 2017 04:00 AM PDT  © Hertha Hurnaus
 © Hertha Hurnaus From the architect. The "theatre's" particular cultural function, location and organisation in a historical building and the identity of the new school building are central to the project.  © Hertha Hurnaus "Contrasts Attract Each Other" The attempt, in the 19th century, to open up the old riding school, is reflected in the new school building. It is reused and adapted in a contemporary current way. This use of contrasts - with different technologies, construction methods, materials and energy technologies - is also expressed through the reflection of the old building on the façade of the new school. This effect is reversed as soon as it gets dark, when the school building illuminates the old studio.  © Hertha Hurnaus Studio Molière Central functions such as the entrance, reception and the bookstore, are located on the Liechtensteinstrasse side, beside and under the room, and thus clearly pointing towards the public space. The new reception area is set back from the alignment of the buildings and "inserted" in the building volume to provide the visitor with an initial view in a covered courtyard space. It is an area where people stay and wait. By removing the two existing ceilings, this space acquires a generosity that already informs the visitor of the specific function.  © Hertha Hurnaus After going through the reception area, the visitor finds the same generosity in the lobby as announced in the building's configuration. The space is opened up to just under the roof, and the windows and their large exposed pointed arches flood the lobby with light during the day, especially in the afternoon and the evening before the start of performances. The 7.80 m high space also announces the room which is located behind. It is also a passage which provides access to the new school building and then to the old school building.  Section DD The room whose structural and material design remains unchanged for economic reasons ends this sequence of generous spaces and gradually leads into the intimacy of the theatre space.  © Hertha Hurnaus Work in the Existing Room The level of the backstage is adapted to that of the stage. The service rooms (catering room, backstage, room for storing technical equipment and scenery) are located in the immediate proximity of the lobby. The stage control room with the lighting and technical control room are accessed from the reception area near the entrance. The required service facilities (ventilation, toilet facilities, heating, electricity, sound system) have been renovated and upgraded to standards. A buffet in the lobby may be fitted out with a mobile bar via the "catering" room.  © Hertha Hurnaus The toilet facilities for visitors to the theatre remain in the same place. The reorganisation of the toilet facilities conceals from visitors the accesses to the existing heating room in the basement and to the ventilation plant located above. A new staircase connects the lodges of the upper floor to the stage and to the backstage. The caretaker's apartment is provided for in the attic, which will thus be partly fitted up. The through-room is also located here. Access to these two spaces is via the new staircase.  Second floor plan The School Respecting the Studio building and its façade, the new school building is located to the southwest, set back to provide a new free space.  © Hertha Hurnaus Its façade reflects the Studio's historical façade, lending the place its specific character. This characteristic is emphasised by the building's orientation and the functions it houses, by the reduced detail of the construction of its façade and by the luminous staging of this sunset atmosphere.  © Hertha Hurnaus The school is organised in a clear east-west facing building. The horizontal access to classrooms faces the Studio building and allows students to see it at different levels. The entrance is located directly in front of the existing Studio Molière exit. The exam room and the service rooms reserved for deliveries and evacuations are located to the north of the ground floor. An internal staircase interconnects these spaces. The toilet facilities are discreetly located behind the main vertical access in the direction of the various floors.  Section CC On the first floor there are 2 standard rooms and a depot. Near the main staircase is a relaxation area with a small outdoor loggia. The second floor houses 3 standard rooms and a depot. The plant room and the general room of the archives are located in the basement.  © Hertha Hurnaus Construction The new building is designed as a reinforced concrete building, with flat ceilings laid on shotcrete pillars and the reinforced concrete walls at the level of the vertical accesses. The building is supported on two levels: one on the southwest outer wall and the other in the separation wall between the corridor and the classrooms. The corridors are designed as protruding ceilings. This posting includes an audio/video/photo media file: Download Now |
| A Virtual Look Inside the Case Study House #2 by Sumner Spaulding and John Rex Posted: 02 Jun 2017 02:30 AM PDT The second house in Arts & Architecture magazine's Case Study Houses program shows the hallmarks of the series: an emphasis on light-soaked living areas, indoor-outdoor living, strong horizontal lines dominated by a flat roof, and so on. It is distinguished, though, by particularly creative details linking the indoor and outdoor areas, and by a strong awareness of function.
At first glance the house is deceptively straightforward: a row of square rooms all fronted with floor-to-ceiling glass (with some panels divided into louvered windows), along with that familiar flat roof, give it a blocky appearance. But the architects included plenty of elements to offset those severe lines—starting with the most dramatic feature, a waving wall extending right from the border of the property to the house, providing privacy for the southern terrace and garden.  © Archilogic This curving wall continues from the carport directly into the entrance hall. Not only that, but the flower bed which it shelters on the garden side extends to indoor planting. Similarly, on the opposite side of the living area, the line of the hearth extends right through the window wall to the outdoor terrace. (Those window walls ensure of course that these details cannot be missed—as is apparent when walking through Archilogic's 3D model.) Continuity of the color scheme (originally dark flooring and light ceilings, both inside and out) also furthered the aim of minimizing the separation between indoor and outdoor areas.  © Archilogic Another striking detail is the wedge shape used for cabinets and other features throughout the house. The living room has two of these cases—one continuous with the angled hearth, one dividing the entrance hall from the dining area—and they are echoed in the bathrooms, ensuring that even these mundane areas feel far from prosaic. Outdoors, too, the tapering terraces prevent any sense of rigidity. The house was designed for a family of four with a fondness for entertaining, and the practicalities were not overlooked. Both the entrance case and the pass-through kitchen countertop provide bar storage, while terraces on both north and south offer welcoming spaces in all weather (both a swimming pool and badminton court were also planned). Built-in cupboards in the bedrooms ensured ample storage, not to mention the extensive storage possibilities in the service yard, where a room with deep freeze allowed for quick offloading from the car.  © Archilogic Experiencing this house in 3D really brings home the effectiveness of the indoor-outdoor design—the full-length windows on both sides of the house create a sense of vast space and openness, with the continuous lines of the serpentine wall and the hearth pulling the outside in. Although intended to maximize space, the concept relies on a fairly high square footage, both indoors (since furniture must be arranged away from the outside walls) and out (given the loss of privacy). But given a certain minimum of space, all that glass and light serves to double it. Don't miss Archilogic's other models of Case Study Houses and seminal projects shared on ArchDaily—click here to see them all! This posting includes an audio/video/photo media file: Download Now |
| Public Market of Florianópolis Roof Top / Aleph Zero Posted: 02 Jun 2017 02:00 AM PDT  © Felipe Russo
 © Felipe Russo From the architect. There is, in the context where the project operates, a multiplicity of concurrent times, conducted in the last 160 years by the influx of users to Florianopolis Public Market, whose history includes demolitions, changes of location, several renovations, and the active participation of generations of consumers, sales people and different administrations. The new roof for the central span, then, appears as another element in this narrative, and as such should respect and add to the existing, without becoming irrelevant or being characterized as mere closure. A new scale is created, protected from the elements, in order to adequately support new additional stories: temporary exhibitions, cultural performances, festivals, screenings, parades, etc. “It is necessary to be as light as the bird not as the plume” VALÉRY,Paul (1930) apud CALVINO, Ítalo (1990) p. 28  Isometry Bearing in mind, that the architectural design consists essentially of a surface that rests above the existing context almost without touching it, the premise of lightness understood as precision and determination (CALVINO, I.), is critical. Lightness, thus perceived, is not linked merely to an absence of weight of the constructive system, but rather to a certain tension between the force of gravity and the suspended “V” shaped steel parts that hover steadily, slightly above the level of the existing roofs in order to create a void through where the air can freely circulate. To perform this composition, a system was sought that allows for the implementation of large spans with a minimum of components and whose arrangement is the result of a simple thought: the location of the two support points, 36 meters distant from each other, should take place over the central axis aligned with the existing pillars, so as to maintain the configuration of the previous space, and to prevent the new foundations from generating harmful interference to the basement of the historic building. Over the aforementioned pillars lays a main beam in rectangular profile to which intermediate “ribs” are connected, distanced from each other in spans of 11,4m and sloping towards the central gutter.  © Felipe Russo The uppermost layer consists of a lightweight and high strength membrane that could be retracted through an automated system in which beams slide within rails through the traction of motorized chains, which cause the fabric to roll wrapping over the roller positioned at the extremities. Such system should allow for the full retraction of the upper protective layer providing an unobstructed view of the sky and the existing building.  Detail Thus, a proposal is conformed in a way that seeks to deal respectfully with the multiplicity of the history of Florianopolis Public Market, remarking, that such action carried through accurately, can enhance the space as a democratic place for meeting and public coexistence.  © Felipe Russo This posting includes an audio/video/photo media file: Download Now |
| How to Build a Modular Kitchen Posted: 02 Jun 2017 01:00 AM PDT
Want a new home project to obsess over? We’ve got you covered. Stove, check. Fridge, check. Work surface, 3-4 inches below elbows - depending on what standards you use. The kitchen stands as one of the oldest typologies in mankind. From primitive fire pit to the sleek minimal surfaces we see cropping up online, it has gone through several overhauls in its long life. Nowadays its elements are consistent on an international level – so we can assemble them as quickly as possible, and even build them ourselves. In the search to rethink the kitchen space, sustainable wood manufacturer Arauco partnered up with Chilean architect Felipe Arriagada to create a simple and low-cost DIY proposal. The project is a series of a partnership between Arauco and leading designers to remodel and share ideas about relatable, down-to-earth design at home. Check out the drawings and steps below: We have listed all the materials you need for this easy DIY. ARRIAGADA'S KITCHENThe project consists of three modules, one of which has an island furniture, which can be used as a table.  Cortesía de Arauco  Cortesía de Arauco + Materials
+ Proposed DispositionThis may vary depending on the space available and the location of the artifacts.  Cortesía de Arauco  Cortesía de Arauco + Module 1 Cortesía de Arauco + Base Structure Joining detail of 'MSD' Strips / Screw Posture  Cortesía de Arauco  Cortesía de Arauco Pieces and Cuts of 'MSD Termination'  Cortesía de Arauco + Assembly of the Structure  Cortesía de Arauco Pieces and Cuts of 'MSD Termination'  Cortesía de Arauco + Top Cabinet with 2 Doors  Cortesía de Arauco Pieces and Cuts 'Melamine VESTO' and 'DUROLAC'  Cortesía de Arauco + Lower Cabinet with 2 Doors  Cortesía de Arauco Pieces and Cuts 'Melamine VESTO' and 'DUROLAC'  Cortesía de Arauco + Lower Cabinet with Drawers  Cortesía de Arauco  Cortesía de Arauco Pieces and Cuts 'Melamine VESTO' and 'DUROLAC'  Cortesía de Arauco + Assembly of the Drawers  Cortesía de Arauco + Module 2 Cortesía de Arauco + Base Structure Joining detail of 'MSD' Strips / Screw Posture  Cortesía de Arauco Pieces and Cuts of 'MSD Termination'  Cortesía de Arauco + Superior Cabinet with Door  Cortesía de Arauco Pieces and Cuts 'Melamine VESTO' and 'DUROLAC'  Cortesía de Arauco + Superior Cabinet Shelf  Cortesía de Arauco Pieces and Cuts 'Melamine VESTO' and 'DUROLAC'  Cortesía de Arauco + Lower Cabinet with Door and 2 Drawers  Cortesía de Arauco Pieces and Cuts 'Melamine VESTO' and 'DUROLAC'  Cortesía de Arauco + Assembly of the Drawers  Cortesía de Arauco + Lower Cabinet with Shelf  Cortesía de Arauco Pieces and Cuts 'Melamine VESTO' and 'DUROLAC'  Cortesía de Arauco + Module 3 Cortesía de Arauco + Base Structure Joining detail of 'MSD' Strips / Screw Posture  Cortesía de Arauco Pieces and Cuts of 'MSD Termination.  Cortesía de Arauco + Superior Cabinet with Door  Cortesía de Arauco Pieces and Cuts 'Melamine VESTO' and 'DUROLAC'  Cortesía de Arauco + Superior Cabinet with 2 Doors  Cortesía de Arauco Pieces and Cuts 'Melamine VESTO' and 'DUROLAC'  Cortesía de Arauco + Island Furniture  Cortesía de Arauco  Cortesía de Arauco Pieces and Cuts of 'MSD Termination'  Cortesía de Arauco Pieces and Cuts of 'MSD Termination'  Cortesía de Arauco + Assembly of the Cover and Sides of the Island Furniture  Cortesía de Arauco  Cortesía de Arauco  Cortesía de Arauco + Installation of Covers, Bottoms and Tray+ Module 1  Cortesía de Arauco Pieces and Cuts 'High Pressure Laminate' and 'Melamine VESTO'  Cortesía de Arauco + Module 2  Cortesía de Arauco Pieces and Cuts 'High Pressure Laminate' and 'Melamine VESTO'  Cortesía de Arauco + Module 3  Cortesía de Arauco Pieces and Cuts 'High Pressure Laminate' and 'Melamine VESTO'  Cortesía de Arauco This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Jun 2017 11:00 PM PDT  Museo Castelvecchio. Image © <a href='https://www.flickr.com/photos/andreaosti/4505639981/'>Flickr user andreaosti</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> One of the most enigmatic and underappreciated architects of the 20th century, Carlo Scarpa (June 2, 1906 – November 28, 1978) is best known for his instinctive approach to materials, combining time-honored crafts with modern manufacturing processes. In a 1996 documentary directed by Murray Grigor, Egle Trincanato, the President of the Fondazione Querini Stampalia for whom Scarpa renovated a Venetian palace in 1963, described how "above all, he was exceptionally skillful in knowing how to combine a base material with a precious one."  Carlo Scarpa studying drawings by Frank Lloyd Wright in 1954. Image © Mario De Biasi (public domain)  Museo Castelvecchio. Image © <a href='https://www.flickr.com/photos/leonl/6121652268/'>Flickr user leonl</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Born in Venice, Scarpa spent most of his early childhood in Vicenza, before his family moved back to Venice after the death of his mother in 1919. Scarpa studied architecture at the Royal Academy of Fine Arts in Venice, and from 1932 until 1947 he was director of the Venini Glassworks. It was here that he first displayed his appreciation for craft, often working with the Venini glassblowers late into the night to perfect new designs.  Central Pavilion in the Giardini at the Venice Biennale. Image © <a href='https://www.flickr.com/photos/dalbera/10160349164/'>Flickr user dalbera</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>  Garden at the Querini Stampalia. Image © <a href='https://www.flickr.com/photos/dalbera/8142985275'>Flickr user dalbera</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> It was not until after World War II that Scarpa began to be recognized internationally for his architecture. This recognition led to a series of commissions in and around Venice—many of them involving the renovation of existing buildings, which became something of a trademark for Scarpa. Perhaps most famously, Scarpa's renovation for the Museo Castelvecchio completed in 1964 carefully balanced new and old, revealing the history of the original building where appropriate. A revelation at the time, this approach has now become a common approach to renovation, perhaps most notably exhibited by David Chipperfield's Neues Museum.  Olivetti Showroom. Image © <a href='https://www.flickr.com/photos/dalbera/8068024216'>Flickr user dalbera</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>  Olivetti Showroom. Image © ORCH_chemollo Scarpa's attention to detail is almost unmatched among modern architects. His appreciation of craft often led him to revel in the smallest of details, for example the brass supports under the stairs at his Olivetti Showroom, or the "viewing device" at the Brion Tomb and Sanctuary, which focuses the user's gaze in the direction of the town of San Vito d'Altivole by means of a small metal element embedded in a vertical slit in the concrete wall.  Brion Tomb and Sanctuary. Image © <a href='https://www.flickr.com/photos/leonl/6106113845/'>Flickr user leonl</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>  Brion Tomb and Sanctuary. Image © <a href='https://www.flickr.com/photos/batintherain/8192243875'>Flickr user batintherain</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> AD Classics: Olivetti Showroom / Carlo Scarpa Carlo Scarpa. Venini 1932-1947 at Rooms for Glass / Selldorf Architects This Concrete Furniture Hardware is Inspired by Carlo Scarpa's Architecture References: "Carlo Scarpa," a 1996 documentary directed by Murray Grigor; Famous Architects website; Wikipedia. This posting includes an audio/video/photo media file: Download Now |
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