Arch Daily |
- Santa Luzia Archeological Site Reception Building / Paula Santos
- Jan Boelen Appointed As Curator of the 2018 Istanbul Design Biennial
- Medieval Mile Museum Kilkenny Ireland / McCullough Mulvin Architects
- Culardoch Shieling / Moxon Architects
- Cest La Vie / Atelier Design N Domain
- Rose Museum / NEXT architects
- Home L / mnb design studio
- Manchon Hohojae / SMART ARCHITECTURE
- Box Office / Cox Architecture
- "Parthenon of Books" Constructed from 100,000 Banned Books Rises at Nazi Book Burning Site in Germany
- Loft L / jbmn architectes
- "Doors of Kathmandu" Captures the Vital Social Spaces of Nepal's Capital City
- MyL House / Estudio BaBo
- Gehry, Foster, Piano Lead Star-Studded Shortlist in London Centre for Music Competition
- Department of Mechanical & Manufacturing Engineering / Grafton Architects
- Kersten Geers of OFFICE KGDVS on the Role of Book-Making in Architectural Practice
- 7 Mistakes That Will Destroy A Successful Architecture Resume/CV
- Cabin at Longbranch / Olson Kundig
- Are Luis Barragán's Ashes More Important Than His Life's Work?
| Santa Luzia Archeological Site Reception Building / Paula Santos Posted: 10 Jul 2017 10:00 PM PDT  © Luís Ferreira Alves
 © Luís Ferreira Alves From the architect. Enclosed archeological remains, in circular structures, settlements, in dark granite stone meticulously cut and diagonally prepared, in circles cut into the landscape.  © Luís Ferreira Alves The idea of an enclosed space, of a new structure hewn towards the interior, provided the project with a closed longitudinal body, in textured concrete, with three inner courtyards which afford intervals among the programmatic spaces.  © Luís Ferreira Alves The higher reading of this volume translates this idea taken from the existing structures, now in a formal exercise and in a great stiffness of design.  © Luís Ferreira Alves  Floor Plans  © Luís Ferreira Alves The modular construction uses exposed concrete both indoors and in the exterior, with the inner surface which supports the building consisting of concrete poured in situ, and the outer surfaces consisting of prefabricated panels of textured concrete in large dimensions, as if they were great, moulded stones.  © Luís Ferreira Alves This posting includes an audio/video/photo media file: Download Now |
| Jan Boelen Appointed As Curator of the 2018 Istanbul Design Biennial Posted: 10 Jul 2017 09:00 PM PDT  3rd Istanbul Design Biennial (2016) – Galata Greek School. Image © Sahir Ugur Eren The Istanbul Foundation for Culture and Arts have announced that Jan Boelen has been appointed as Curator of the 4th Istanbul Design Biennale. This follows the 3rd—Are We Human?—which opened in September 2016 and was curated by Mark Wigley and Beatriz Colomina with a powerful, wide-reaching exploration of design and architecture in relation "the design of the species." Boelen is currently the Artistic Director of Z33 House for Contemporary Art in Hasselt, Belgium, and Artistic Director of atelier LUMA, an experimental laboratory for design in Arles, France. He is also Head of the Master Department of Social Design at Design Academy Eindhoven, The Netherlands.  Jan Boelen. Image Courtesy of IKSV The Biennale aims to use the city as "a dynamic space for projects, actions and interventions" by tackling "global design problems." Iterations seek to discuss the notion of design, "stimulating critical debate, foregrounding underexplored or overlooked aspects of society, and prompting further investigation into and exchange about emerging conditions of our world." The conceptual framework for the 4th Istanbul Design Biennial will be announced in the Autumn of this year. The event will take place between the September 22 and November 4, 2018. This posting includes an audio/video/photo media file: Download Now |
| Medieval Mile Museum Kilkenny Ireland / McCullough Mulvin Architects Posted: 10 Jul 2017 08:00 PM PDT  © Christian Richters
 © Christian Richters From the architect. St Mary's Hall, formerly St Mary's Church, High Street, Kilkenny was founded in the thirteenth century as the parish church of the City. In use as a Parish and Masonic Hall since the mid-20th century, it was purchased by Kilkenny Borough Council in 2010 with assistance from Kilkenny County Council and the Department of Environment, Heritage and Local Government.  © Christian Richters  Ground Floor Plan  © Christian Richters The building is a cruciform 13th century stone structure with a later tower at its Western end; it sits in a substantial walled graveyard to the rear of High Street. The graveyard has recently been opened as a garden to the public; it contains many important tombs and monuments from the Middle Ages to the 20th century.  © Christian Richters The church had acquired depth and complexity in monuments and nave aisles, elements which were later shorn off, the aisles removed, the chancel demolished- a shape expanding and contracting, already through a violent cycle of change. As found, the interior was cut up into separate rooms and levels to make a parish hall.  © Christian Richters  © Christian Richters The project intention was to restore the church as a museum, retaining some of the 20th century interventions, and to honour its medieval spatial complexity by re-constructing the North aisle and chancel to the original plan but a different internal section and materiality using the base of the original walls in an non-interventive way. The chancel room overlooks the town, re-establishing its dominant form in the urban landscape; the space beneath it becomes a tomb-filled undercroft. Both of the new gabled elements are finished in lead, with rooflights directed to levels of archaeology below.  © Christian Richters This posting includes an audio/video/photo media file: Download Now |
| Culardoch Shieling / Moxon Architects Posted: 10 Jul 2017 07:00 PM PDT .jpg?1499692801 "© Ben Addy") © Ben Addy
.jpg?1499692860 "© Ben Addy") © Ben Addy From the architect. As if in a world unto its own, this small hut sits alone in the vast, rugged and windswept landscape of the Cairngorms, invisible from many directions thanks to the undulating topography. Located at the foot of Culardoch ('the big back place'), and looking out across the remote expanse of upper Glen Gairn, it plays simultaneously off the informality and romanticism of a Scottish hill walkers' "howff", farmer's shieling or Swiss alpine shack, and the humanism and cleanliness of 20th century modernists such as Aalto. .jpg?1499692630 "© Ben Addy") © Ben Addy Like Le Corbusier's Notre Dame du Haut, its windows appear haphazardly placed – varying in size and orientation. But, they carefully let in the right amount of light and view while maintaining an enveloping sense of seclusion and security. Sitting at the end of the table the view through each window frames a specific aspect of the landscape; a bend in the River Gairn, the grassy flood plain, the water of Allt Bad a'Mhonaich tumbling down the side of Ben Avon, the massive granite tors on the summit plateau. Its exteriors and interiors both clad in wood, with the overhanging eaves of its cruck frame roof dipping low, and the roof itself covered in moss and stone.  Section A The hut was commissioned as an escape, for small gatherings or parties, lunches or dinners, fitting a very long and narrow table. It is both remarkably humble and a casual, but also precise, playful and sophisticated. .jpg?1499692936 "© Ben Addy") © Ben Addy This posting includes an audio/video/photo media file: Download Now |
| Cest La Vie / Atelier Design N Domain Posted: 10 Jul 2017 05:00 PM PDT  © Sebastian Zachariah
 © Sebastian Zachariah From the architect. Second homes are about creating an oasis from the hectic pace of urban city life. A site blessed with vegetation and seasonal lake provided the perfect setting for this project. At the entrance were a clump of trees that provided for a grand entry and also created just the necessary buffer for the house from the Main Street. The driveway snaked its way past the canopy of trees to the entrance/arrival court where you are received by a curved stone wall.  © Sebastian Zachariah Designing in tropics is about creating the right balance of open and closed spaces. The sun and other elements can be unforgiving in these conditions.  Section 2 The house has been designed in clusters of the program held together with a strong circulation spine with the most of the facilities addressing the pool in the center of the house. The living dining pavilion is a glass box which has a deck extension onto the pool on one side and private lawn on the other side bound by the arrival court curved stone wall. This court is further enhanced with a water body fed by a gargoyle that emerges from the curved wall.  © Sebastian Zachariah The guest pavilion opposite the living pavilion houses 4 bedrooms with their attached toilets. The pool bar and outdoor dining flank one end of the pool while three spouts edge the other end. Directly above the outdoor dining is the master bedroom with its attached bathroom. The plunge pool attached to this room is created as a getaway for the client and overlooks the lake.  © Sebastian Zachariah The children's room is designed as a concept of "box within a box" and is cantilevered. The wooden box sits inside the glass box.  Ground Floor Plan At the far end of the pool is the jacuzzi and sunken seating which overlooks the main lawn which has the tennis court at the end of the property. The games pavilion is adjacent to the jacuzzi area.  © Sebastian Zachariah The furniture has been kept aesthetically appealing but importantly practical and strong emphasis on needing less maintenance. Surfaces are kept to withstand the severity of the climate. The use of natural stone, natural wood, lighting which is led driven and abundance of landscape allows the bungalow to be endorsed as ecofriendly.  © Sebastian Zachariah Our design process is about creating moments...elemental and episodically unfolding. The circulation within the house and spaces between functions need to follow a sequence of actions. The volume of spaces is again defined by the function.  © Sebastian Zachariah The large open spaces, fluidity and transparency between spaces, the idea of natural landscape interspersed with built form are all metaphorical for the client's nature.  Section 5 This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Jul 2017 03:00 PM PDT  © Xiao Kaixiong
 © Xiao Kaixiong From the architect. The Beijing Rose Museum is the main venue for the 2016 World Rose Convention, in which over thirty countries participate. In this 100 hectare rose park over 2.000 species of roses will be exhibited.  Section Roses and floriculture are deeply rooted in Chinese Culture, dating back at least to the 11th century B.C.. To showcase this history and the rose culture in general, NEXT architects designed a large-scale, new museum building. The museum is covered by a soft, stainless steel façade of 300 meter long, 17 meter high that is perforated by a rose-shaped pattern. This detached skin creates four half open courtyards between the façade and the main museum building, where the rose pattern creates an ever changing play of light and shadow. The way in which these open spaces are embraced and enclosed by the building, strongly reminds of the traditional Chinese walled-off courtyards. At night the building inverts itself: the museum façade lights up and projects shadows of flowers outside the building.  © Xiao Kaixiong The design was selected in an international competition in 2014 for its capacity to combine tradition and innovation, inner- and outer spaces. Throughout the ages, the Chinese walled-off courtyard epitomized traditional Chinese architecture and culture; it became the "ideal model" to embody social hierarchies as well as the harmony between man, house and nature. This is especially true in Beijing, where the courtyard architectural model stands at the basis of common people's housing, but also more complex structures such as temples and palaces. The enclosed spaces of the courtyard offered privacy, protection, and marked the — spatial and ideological — boundary between "inside" and "outside."  Section NEXT architect's design for the Rose Museum takes this theme as its point of departure and plays with these oppositions by creating a new version of the historical Chinese courtyard. This time, the semi-transparent walls do engage with the surrounding space, in contrast to the solid heart of the museum building. John van de Water, partner at NEXT architects, tells that: "The main challenge with the Rose Museum was to find a modern Chinese identity for a building which significance is so deeply rooted into Chinese culture."  © Xiao Kaixiong This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Jul 2017 01:00 PM PDT  © Raven Leung
 © Raven Leung From the architect. This interior focus on space communications between the layers and details, the minimal style with unfinished feeling and concrete finishes. It has enhanced the art of structure, arising the sense of 'less is more'.  © Raven Leung We were asked to redefine the interior design and space in this home by two young artists; their apartment is in 780-square-feet located in Hong Kong. In our conversations, there were some interesting 'words' that inspired us in our design concept and elements: unfinished, nature and consistent.  Floor plan We reshaped the structure in unfinished style, which presents the feeling of simple and clean, making it look more natural. The living area with a clean, huge and multifunctional wooden texture wall with two sliding doors for the storage room and the kitchen. Like standing a partition without the final panel, the horizontal wooden strips are for decoration, while the vertical wooden strips are used to separate the zone and be the handle of door.  © Raven Leung What's more, we created a house-shape wooden frame for zoning the dining area. Such infinite nesting house is composed of a few simple wooden strips, separating the domain area while its total space still can be seen. A bench with concrete finishes located at the waist-height lines on the wall and the opposite are two natural oak nerd chairs. In the center, there is an unfold pendant light in grey designed by muuto.  © Raven Leung Simple and clean is the element to create a relaxing master bedroom. A one side sloping roof top with concrete paint finishes serves to hide the ceiling beam, with a double level step wooden texture platform bed aligning with the window bay, and the wall side storage is subtle, that has created a preventive, yet clean and warm private domain for the master. 'There must be a reason behind everything.' This is our signature for the interior design. The basin in the corner of the bathroom is just like a different zone; we even made the difference stronger ― when you enter to the bathroom, you feel like you are being welcome, then you go to wash your hands, keep yourself clean in this place.  © Raven Leung 'The tiles on the floor and half–height wall are interesting, looking like a piece of folding paper, that is suitable with the residence who are flavor in paper art.' the mnb design studio said. The guest bedroom is well presented with its optimized structure as well as the trendy style. This concept was under discussion with the owner, as Hong Kong residents almost believe that living under the structural beam would affect FENG SHUI, that's why many design projects nowadays contain a clean ceiling, however is this always the ideal way?  © Raven Leung 'Since some of the clients who do not believed in FENG SHUI, they allow us to make something different. So how about storing things on the ceiling, with a concept that combine a simple structure?' 'When we see a solid item around us, we will feel a sense of oppression; but when you see through the item then this feeling of oppression will not exist.' we created a ceiling with the modular system in 46 units of hollow box with flexibility to store and handing clothes instead of a huge wardrobe. This posting includes an audio/video/photo media file: Download Now |
| Manchon Hohojae / SMART ARCHITECTURE Posted: 10 Jul 2017 12:00 PM PDT _.jpg?1499430796 "© Yoon Dong-gyu") © Yoon Dong-gyu
_crop_%E2%98%85.jpg?1499431348 "© Yoon Dong-gyu") © Yoon Dong-gyu From the architect. The "HO(好)" from HO HO JAE((好好斎) has meaning of "good" in Chinese character. By using this word twice in a row, we hope that this house would be a perfect place to live.  Isometric Situation HO HO JAE is a urban detached house with three stories above ground and one underground level for a family of five, husband, wife and three children. The house has land area of 133.20㎡(40 pyeong), which is adjust to 8m-wide road to the south and 3m-wide dead-end road to the north. _%E2%98%85.jpg?1499431697 "© Yoon Dong-gyu") © Yoon Dong-gyu We hope and plan that this house is in plain mild and naturally assimilate very easily to the environment around house. _%E2%98%85.jpg?1499432002 "© Yoon Dong-gyu") © Yoon Dong-gyu _%E2%98%85.jpg?1499431859 "© Yoon Dong-gyu") © Yoon Dong-gyu The basement level for husband and wife's hobby room is bordered to 3m-wide dead-end road to the north. We secured a privacy of the room by planting bamboo to the road side. It also has enriched street scene.  Section The first floor consists of living room and kitchen. There is a small yard in front of living room in the east. _%E2%98%85.jpg?1499431051 "© Moon Jung-sik") © Moon Jung-sik The second floor consists of master bedroom and children's room. We partly use aluminium louver as appropriate for their privacy. _%E2%98%85.jpg?1499431123 "© Yoon Dong-gyu") © Yoon Dong-gyu The attic is designed for children's play room and is in front of wood deck on rooftop. When planning the attic, we keep our mind on interchange between attic floor and family room on the second floor by eye contact. This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Jul 2017 10:00 AM PDT  © David Yeow
 © Tommy Miller "How do we want to create?"  Sketch The project was undertaken as an opportunity to rethink the company's approach to 'design' and the process of creating contemporary architecture across a broad and masterful portfolio.  © David Yeow The process was driven by the following questions: How do we want to work together? How do we balance the needs of individuals and the desire to generate a more social, collective work experience? How can we create a workplace that enables individuals to develop professionally and extend their skills and knowledge? How can we create a 'learning organization' that is reflective and forward-thinking? How can we create a setting that values the input and participation of invited collaborators and occasional guests, and which also welcomes clients and visitors?  Longitudinal Section Like any design practice or business, Cox has fundamental accommodation needs and functional requirements to meet in relocating its staff of 75 into its new premises, as well as the ever present demands imposed by a project budget. Informed by Cox's active role in shaping progressive workplaces and public settings over a number of years, the critical issue was to strike a balance between dedicated, specialist functional areas - such as areas assigned for model-making, desktop publishing, administrative staff, IT support and formal meetings – and the need to create a sense of common, public space that could meet a mix of professional and personal needs.  © David Yeow A marked departure from the practice's previous premises, where discrete entrances over four levels meant that staff rarely enjoyed the chance meetings so beneficial to creative office environments, the entrance to the new office has been forged as a celebration, an arrival which immediately immerses staff and guests alike in the heart of office activities. Set within the practice's professional library to showcase past projects, the entrance then opens directly to the core hospitality and social spaces, giving staff and visitors an appreciation of the full office space from this single vantage point.  © David Yeow A feature of the project is the creation of a wide variety of settings in a relatively modest floor space in order to present individuals with options about where, and how, they work or socialize within the new workplace. Whilst staff are assigned an allocated workplace, there has already been much greater physical movement by individuals choosing to relocate according to need or preference across the course of a day or a working week than previously experienced.  Ground Floor Plan The ethos underpinning the project is best represented in the creation of a central 'events space' for key activity. Located in the centre of the plan, this open yet partially obscured space was created by cutting a large void in the upper floor and folding the new floor plate down to the lower level in a series of tiered platforms. This open 'box' creates an internal connection between floors and reflects the intention to promote curiosity and increase the opportunity for staff to come together. The 'events space' serves as a venue for major presentations, meetings and for social events. It also serves as a project space where groups of various sizes can choose to occupy the tiered seating and utilize the setting's IT and AV functionality. Informal seating options dot the perimeter of the events space, which can be used for smaller meetings or by staff seeking a more secluded zone in which to complete a task.  © David Yeow By creating this plethora of nooks and crannies that offer a variety of work and social settings, there has been a marked impact on the two open plan 'formal' work zones located at the rear of the floor on both levels. With staff able to relocate and exercise choice over their place across either floor, the open-plan work-desks, where a majority of the architects are situated, are much less frenetic for the absence of competing demands and distracting activity.  Cross Section A significant outcome of the project has similarly been the increase in communication across project teams and the heightened awareness of individuals about the full extent of activity being undertaken within the practice. Lunch and coffee breaks have become more social occasions due to the priority given to the creation of a communal café and dining setting adjacent to the entrance. Sited at the front of the building, this space offers attractive views over Flinders Lane and has become a focal point for discussion as well as a preferred place to convene impromptu work meetings and host clients. Conceived as a 'third space' and as an atypical workspace, this zone is characterized by the use of robust industrial materials and fittings.  © David Yeow Whether it's the 'public' library at the entrance, the beating heart of the tiered 'events space' or the thread of creative enterprise tying it all together, it is obvious that this is an environment focused on the act of creation and is exactly what the practice set out to achieve.  First Floor Plan and Section This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Jul 2017 09:45 AM PDT .jpg?1499719299 "<a href='https://www.instagram.com/p/BVz8SkYBdFe/'>Via Instagram</a>") <a href='https://www.instagram.com/p/BVz8SkYBdFe/'>Via Instagram</a> Argentine artist Marta Minujín has created a full-scale replica of one of the world's most famous structures, the Parthenon in Athens, constructed out of censored books as a symbol of resistance to political repression. Currently on display at the Documenta 14 art festival in Kassel, Germany, the 100,000 books that make up the monument have been sourced entirely from donations, allowing people from all over the world to contribute titles they feel a personal connection to. Collaborating with students from Kassel University, Minujín selected more than 170 titles banned in various countries across the world. These books were then strapped to the steel structure with plastic sheeting, protecting them from the elements and allowing sunlight to filter through the building. According to the artist, the shape of the Parthenon was chosen because it symbolizes "the aesthetic and political ideals of the world's first democracy." Its relevance extends also to the site, on Friedrichsplatz in Kassel, where some two thousand books were burned during the Nazi-led "Aktion wider den undeutschen Geist" (Campaign against the Un-German Spirit). The project was inspired by an earlier installation titled El Partenón de libros, which was constructed in 1983 after the collapse of the civilian-military dictatorship in Argentina. The installation aimed to celebrate the newfound intellectual and democratic freedom by presenting the very books that had been banned by the ruling junta. After five days of exhibition, the building was gently tipped to the side using two cranes, allowing visitors to remove the books and take them home. The contemporary interpretation in Germany will also recirculate its books following the end of Documenta 14. Learn more about The Parthenon of Books, here. H/T Bored Panda, DeMilked. This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Jul 2017 08:00 AM PDT  © Hermann Wendler
 © Hermann Wendler From the architect. The renovation of this apartment seeks to exploit the high height available in this former artist studio located on the top floor of a Parisian building built at the beginning of the 20th century. Two mezzanines are arranged and face each other around a large central void. Stairs made of metal and solid wood, arranged symmetrically, give access to the rooms thus created.  © Hermann Wendler  Sections  © Hermann Wendler Large balustrades in fishing nets delimit the living area of the staircase. With the opening / closing of large internal shutters, the rooms can open on the central void or on the contrary isolate themselves, allowing a flexibility of uses.  © Hermann Wendler This posting includes an audio/video/photo media file: Download Now |
| "Doors of Kathmandu" Captures the Vital Social Spaces of Nepal's Capital City Posted: 10 Jul 2017 07:10 AM PDT  "There is a tradition of offering prayers at the door every morning. The two red dots are the offerings to the 'Dwarpals' (security guards)". Image © Nipun Prabhakar In this series, architect and photographer Nipun Prabhakar captures the uniquely expressive doors of the city of Kathmandu, Nepal. More than just passageways between spaces, doorways in Kathmandu are used as social spaces where people regularly meet and as a physical representation of the building owner's interests. Prabhakar explains:
 © Nipun Prabhakar  Patan Darbar Square. Image © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  "This Artwork is done around the doors of the houses where the one of the owners have crossed the age of 77 while his/her better half is still alive". Image © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  Symbol of kukhri knife and the British crown. Image © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar  © Nipun Prabhakar You can view the ever-growing collection at Prabhakar's website here, or on the Doors of Kathmandu Instagram page, here.
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| Posted: 10 Jul 2017 06:00 AM PDT  © Daniela Mac Adden
 © Daniela Mac Adden From the architect. The Project of this single-family house is located on a plot of 1330 m2 in a low-density residential neighbourhood of Olivos, Vincente Lopez, Buenos Aires. The clients are a couple of young professionals and their two children. The presence in the family of a member with reduced mobility was also determinant. In the surrounding area, there is a strong presence of detached houses, from single to double story, with a wide variety of styles and morphological approach.  © Daniela Mac Adden On the other side of the Street, that gives access to the plot, there is a more homogenic style of houses (some of them can be dated back to the late 50s) while the lots next the one we are dealing with are more recent. The profusion of Green is quite generous, it looms between the edges of each lots. The trees have no sign of Project, although there are some aged trees of important dimensions. The site has a particular geometry: the access road draws a curve forcing the front edge to have a very tight arc of circumference. This forced us to do the Access from the Street. The size of the lot, its particular geometry, and the need to guarantee accessibility to all areas of housing led to the decision to articulate the whole program in a single plant.  Floor Plan Its extension (330 m2) and its asymmetric cross layout to define four different external areas (four gardens) linked to the different interior spaces.  © Daniela Mac Adden An accessible paved and public garden, gives access, on one hand to the service area, and on the other one to the main hub, between the two "L" that define the Project.  Axonometric On one side, we have the living area: one wing, is composed by the dining room and the living room; The other one contains the kitchen and all the associated service units.  © Daniela Mac Adden On the other side, we can see the master bedroom occupying one of the wings, all the other bedrooms and bathrooms they are located in it's perpendicular wing instead. To finish this last wing a quad area opens up to a semi-covered patio that links the main volume to a barbecue area, a dining room and an engine room. This patio also connects two of the four exterior gardens mentioned above: the main one where the pool is located, open, free, as a living-dining room, and a more intimate garden related to the rooms.The fourth outer space is treated as a productive garden and is associated with the kitchen and dining room.  © Daniela Mac Adden This four wings are sorted in two different roof width, one of 1.90m and the second one of 4.00m (they represent respectively the serving areas and the rooms themselves) made up of double wooden columns on their outer sides, arranged every 1.90m, and supporting walls in their shared inner side. These two roofs also have different heights, allowing the light pass from one side to the other one of the volume.  © Daniela Mac Adden The configuration of the volumes gives continuity to the whole Project and allows to ensure the correct illumination in all the spaces of the house. The wooden beams have all the same section, forming larger edges when necessary by overlapping several of them.  © Daniela Mac Adden For the materiality, the main concept was to divide the volume in layers of different materials. A reinforced concrete base, with 70 cm height was necessary to generate a sill compatible with the use of furniture associated with some facades, giving a relationship of the house with the zero level. The next layer, is a development of brick painted in white alternated to some carpentry piece to give a rhythm to the facade. Finally, and as last layer, the wooden roof as finishing and crowning.  © Daniela Mac Adden Another important element is the wooden Brise Soleil, as a light and visual filter for the exterior. This posting includes an audio/video/photo media file: Download Now |
| Gehry, Foster, Piano Lead Star-Studded Shortlist in London Centre for Music Competition Posted: 10 Jul 2017 05:25 AM PDT  Barbican Hall, the current home of the London Symphony Orchestra. Image © Wikimedia user FA2010. Image is in the public domain Six internationally-acclaimed teams have been selected as finalists in a competition to design a new home for London Symphony Orchestra and Guildhall School of Music & Drama to be known as the Centre for Music London. Planned to contain a world-class concert hall, education, training and digital spaces, top-grade facilities for audiences and performers, and a number of supporting commercial areas, the Centre for Music building will become a new landmark within the heart of London, aimed at becoming "a place of welcome, participation, discovery and learning fit for the digital age."  The existing Museum of London, the site of the future Centre for Music. Image © Flickr user ell-r-brown. Licensed under CC BY 2.0 Estimated to cost between £200-250m ($255-320 USD) ,The Centre for Music will located on the site of the existing Museum of London, who last year announced their own plans to move into a large and more accessible facility at London's Smithfield Market. The former museum building will be razed to make room for the new structure. The shortlisted architects include:
The shortlisted architects will now receive an Invitation to Tender requesting a detailed response to the design brief, the company's approach to delivering the project, details of the team that would work on the project and a fee proposal. The bids will then be assessed and scored based on their tender submission and an interview process with the assessment panel. In addition to the architect shortlist, shortlisted firms for both the Civil and Structural Engineer contract and the Building Services Engineer contract were announced: Civil and Structural Engineer
Building Services Engineer
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| Department of Mechanical & Manufacturing Engineering / Grafton Architects Posted: 10 Jul 2017 04:00 AM PDT  © Ros Kavanagh
 © Ros Kavanagh From the architect. This is the second extension we have completed to this Department, the first being in 1996, which addresses the campus and is attached to the existing Parsons building which houses the Department of Mechanical & Manufacturing Engineering. The site for this extension was wedged between an urban block and the 19th Century Parsons Building. It is also the primary route for services to make their way from the city to the campus – gas, electricity, IT, water etc. An existing electricity substation and transformer pits located on this site had to be maintained and so we were tip toeing around to find a place for the additional accommodation required. The site is at the junction of the brick urban block with the stone university buildings, both in terms of geometry and language. The brick gable of the Lincoln Place buildings, with the painted sign of Finns Hotel could not be interfered with because this sign signifies the hotel where, as every Dubliner knows, Nora Barnacle worked when she met James Joyce on Nassau Street. Also there was one important tree to be preserved.  © Ros Kavanagh The brief was to make sense of this confluence of disparate geometries and buildings and, in the process, to find a way of providing additional research and teaching spaces. There was also the requirement thatthe building had to be designed in such a way that it could be phased as funding became available. The building extends the existing Department, forms a space between this Department and the rear of the repaired urban block and upgrades the existing pedestrian gateway to Nassau St. An external lift is housed in a new 'gatehouse' element. This provides disabled access from the raised level of Nassau Street to the campus below. A podium houses extended basement levels used for research laboratories. This podium forms 'forecourt' and 'courtyard' type spaces forward of and between buildings. The preserved tree is anchored in this podium space and engenders a sense of communal life.  © Ros Kavanagh The upper level accommodation consists of smaller teaching spaces. A gap of 600mm is left between old and new. New is kept separate from old, but connected with half levels, quarter levels, multiple lift stops, multiple stair landings, allowing easy movement between new and old spaces. The podium level stretches, bends and folds to deal with the complex conditions of the site. It connects street with campus, forms new entrances and exits from existing departments, and forms a sunny communal space under the canopy of the preserved tree.  © Ros Kavanagh The small teaching block to the west cantilevers over the podium to form a new entrance to the Department. The granite wall is punctured by timber windows clad externally in stainless steel, finished flush with the granite. The granite cladding coursing is matched with the existing stone coursing of Parsons building and the stone is interlocked at the corners revealing a cladding condition as opposed to a solid form of construction. Two 'mute' brick elements, like chimneys, are attached to the Lincoln Place gable housings a new lift and toilets. The exterior in its form and language, mediates between city and campus. This posting includes an audio/video/photo media file: Download Now |
| Kersten Geers of OFFICE KGDVS on the Role of Book-Making in Architectural Practice Posted: 10 Jul 2017 03:30 AM PDT  Courtesy of OFFICE Kersten Geers David Van Severen In this episode of GSAPP Conversations, Kersten Geers—co-founder of OFFICE KGDVS—and Amale Andraos discuss their shared obsession with books, and the integral role that book-making plays in their professional offices and teaching. In this podcast, Geers echoes Aldo Rossi's call to evaluate architecture within a cultural context, positioning books as the best tool to create a place in which architectural work acquires value and meaning; a device to establish a context of ideas. 
GSAPP Conversations is a podcast series designed to offer a window onto the expanding field of contemporary architectural practice. Each episode pivots around discussions on current projects, research, and obsessions of a diverse group of invited guests at Columbia, from both emerging and well-established practices. Usually hosted by the Dean of the GSAPP, Amale Andraos, the conversations also feature the school's influential faculty and alumni and give students the opportunity to engage architects on issues of concern to the next generation. You can listen to every episode of GSAPP Conversations, here. This particular episode is available to listen to directly on Soundcloud and through the iTunes store and iOS Podcasts app, where you can also Subscribe. GSAPP Conversations is a podcast produced by Columbia GSAPP's Office of Communications and Events in collaboration with ArchDaily. This posting includes an audio/video/photo media file: Download Now |
| 7 Mistakes That Will Destroy A Successful Architecture Resume/CV Posted: 10 Jul 2017 02:30 AM PDT  Alex Rodríguez Santibáñez <a href='https://unsplash.com/@alexrds?utm_medium=referral&utm_campaign=photographer-credit&utm_content=creditBadge'>Via Unsplash</a> This article was originally published on Brandon Hubbard's blog, The Architect's Guide. I have the "benefit" of reading hundreds, if not thousands, of architecture resumes throughout the year. This gives me a unique opportunity to see a range of good and bad examples. Often the weaker samples come from younger candidates who haven't been in the job market for very long. If you are just starting out in your career the task of creating a resume can be daunting.
In a previous article, How To Write The Perfect Architecture Resume (CV), I covered all of the things you should do when preparing a successful resume. However, it is just as important to know the things you should avoid. Remember, you only get one chance at a good first impression. Even if you're qualified for the position, an innocent, simple mistake on your architecture resume can really kill your chances of getting an interview. I put this list together to help not only the job rookies but also the veterans that can make these same mistakes. So here are my top seven mistakes that will destroy a successful architecture resume (CV). Mistake #1: Not Explaining What YOU Have DoneOne of the biggest and most common mistakes I see with architecture resumes is the candidate does not clearly explain his or her experience. Often this comes in the form of a detailed project description instead of emphasizing individual contributions. For example, explaining a particular building feature without actually mentioning if you had anything to do with it. We become so involved with our projects we forget that outsiders have no idea what we have worked on. While it may be obvious to you that you designed a particular cladding detail, the hiring manager may not understand. Then, without even giving you a chance, dismiss your application for being irrelevant. Remember you are not trying to teach the hiring manager about a project you are trying to teach them about YOU. How to avoid this mistake:Use action verbs for each of your resume bullets, that clearly show how you got things done. Examples such as: Led, Created, Delivered, Managed, Implemented, Increased, Achieved, Organized, etc. Since obviously a building can't create or lead, these words will be a constant reminder to focus on your accomplishments and skills. Mistake #2: Too LongI once saw a job candidate with one year of experience submit a five-page resume. That is insane. Even if you have 50 years of experience your resume should be no longer than one page (maybe two pages under very special circumstances). Question: "But I have so much experience and won so many awards, how can it possibly be so short?" Answer: A resume is not a list of every single thing you have ever accomplished in your life. It is a concise checklist of the skills and experiences you have acquired that are relevant to the position you are applying. How to avoid this mistake:A successful architecture resume should just give a taste of your experience so that an employer will want to learn more in the form of an in-person interview. Leave out irrelevant or minute details that won't lift you up as a candidate. Describe your job duties in enough detail to give the employer a good idea of your general responsibilities. I am a big fan of bullet points to help the hiring manager focus on your accomplishments. Mistake #3: Including Irrelevant InformationYour resume should be focused, concise and emphasize achievements and skills that fit the job you're applying. Often this is a problem because candidates are trying to create a generic resume that can be sent to 300 architecture firms without having to create different versions. Unfortunately, the easy route is often the route to continued unemployment. There also seems to be some confusion on what work experience to include on a professional resume. Especially if you are just coming out of architecture school you feel obligated to put any job down on the page. However, the fact that you worked at a fast food restaurant is unlikely to help your job prospects. How to avoid this mistake:Do your best to customize your resume for each position. If you are applying based on a job posting, use the process I outline here to create a targeted resume for the role. The problem of unrelated previous jobs can be solved by being more creative with your past experience. Are there volunteer activities you took part in? Helped build something? Finished a project on time? Took part in a design competition? These types of "jobs" are much more likely to be relevant to an architecture firm than flipping burgers. Mistake #4: Using Too Many GraphicsThe topic of graphic resumes seems to be a particularly heated debate. Some candidates swear by them and claim they are the future. While graphic resumes may be the future, they are definitely not working in the present. Don't get me wrong, I think graphic resumes look cool but they often send the wrong message. Take this snippet below.  First of all, what does knowing 80% of Sketchup mean? Or 78% of Photography? How were these ratings determined? A. By yourself Answer: A & C I have yet to see an example of an infographic that doesn't just make the applicant look incompetent. Instead, it simply highlights all of your weak areas, the complete opposite of what you want to accomplish. How to avoid this mistake:If you insist on using graphics in your resume use them sparingly and avoid skills infographics like above. The successful examples often just use a single color to separate particular portions of the resume to make it easier to read and grab the reader's attention. Like this example:  And please, do me a favor and do not create a logo out of your name. Promise me. Mistake #5: Using Cheesy and/or Empty PhrasesAn old-school feature of a resume was to place your Objective at the top of the page. This has mostly been eliminated but I still see it pop up occasionally. Most of the time these sentences only waste the hiring manager's valuable eyeball time. The gist of the phrase is typically something meaningless: "My objective is to obtain a challenging position with a high growth company where I can enhance my skills and career." "Talented, self-motivated leader with a track record of success." Be sure to avoid flowery "archispeak" when discussing projects or your roles. The industry has its own jargon, but be careful not to confuse terms as it can make you look uninformed. For example, construction documents and construction drawings are not the same and should not be used interchangeably. **Bonus points for anyone who can point out the difference in the comments. How to avoid this mistake:If you insist on making some kind of declaration of how verbose you are, do it in your cover letter. Leave your resume for short, bullet responses highlighting your relevant skills for the position. Make sure you are being specific. For example taking the statement from above: "Talented, self-motivated leader with a track record of success." Instead, in your resume it should read something like:
See how specific it is? That is what you want to accomplish. Mistake #6: Poor GrammarThis is standard advice but I wouldn't be listing it here if it wasn't a problem. Despite the obvious importance of proper grammar, I still see many applications with typos and poor sentence structure. While applying for an architecture job may not be an extensive literary exercise, your application documents should be error free. How to avoid this mistake:Don't just rely on spell check. Common mistakes like "they're" versus "their" will not be picked up. Try using a free tool like Grammarly, which checks for contextual spelling and vocabulary. In addition, have a friend proofread everything before you send it out. This includes your portfolio, often it is overlooked because of the graphic emphasis. If you can't find someone to check it for you just read it to yourself out loud. This can help find mistakes you may have otherwise missed. Mistake #7: Not Highlighting Your Skills Relevant For The JobAs I describe in greater detail in, 7 Reasons Why Your Architecture Job Application Is Being Ignored, it is vital that you highlight your relevant job skills. You must clearly explain why your qualifications are a good fit for the job. There are many genres within the architecture profession so just because you came from a large scale commercial project does not necessarily mean you have the skills for small scale residential. The skills do not always transfer and if they do it is not always clear to the person reviewing your application. How to avoid this mistake:The best resource for dealing with this issue is having the job description for the role you want. Since this is available in almost all cases I am going to assume you will be able to use it. It is your job to go through this document line by line looking for the skills needed and how your past experience can be applied. Often you will have to be creative on how you can make the connection between your past and this future position. Taking the example from above of moving from large commercial to small scale residential you might emphasize your coordination and management skills which transfer regardless of the project typology. By tailoring your resume to fit the requirements of the role you will greatly improve your chances of landing an interview invite. I hope you found these tips helpful for preparing your next architecture resume. Good luck! To help you with your architecture job search, I've created a mega-pack of free resources that includes architecture resumes, cover letters, and an extensive collection of application documents. Click for a free download:
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| Cabin at Longbranch / Olson Kundig Posted: 10 Jul 2017 02:00 AM PDT  © Kevin Scott
From the architect. Jim Olson's reverence for nature and admiration of the site's beauty is expressed in the design of his cabin located on Puget Sound and nestled amidst the towering fir trees of an ancient forest. What began as a 200-square- foot bunkhouse built in 1959 has morphed through subsequent remodels (in 1981, 1997, 2003 and 2014) into a modest weekend house. Each successive addition and remodel has reused and integrated the previous structure rather than erasing it, revealing the history of the architecture and the process of its evolution.  © Kevin Scott In the 1980s, the retreat consisted of three tiny pavilions linked by wooden platforms. In 2003, the pavilions were connected by a unifying roof, creating a single form grounded nto the hillside and projecting out over the landscape. The living room's large wall of glass frames a view of the adjoining grassy field and Puget Sound, visually blending the indoors and outdoors. In 2014, a master bedroom and two guest rooms were added, creating a retreat of 2,400 square feet.  © Benjamin Benschneider  Main Level Floor Plan 2014  © Kevin Scott The cabin is intentionally subdued in color and texture, allowing the lush natural surroundings to take precedence. Simple, readily available materials are used: wood-framed walls are sheathed in plywood or recycled boards, inside and outside; doubled pairs of steel columns support beams that in turn support exposed roof structures. Interior spaces appear to flow seamlessly to the outside as materials continue from inside to out through invisible sheets of glass. Three mature fir trees have been accommodated within the design and allowed to grow through openings in the deck, one of them exiting through an opening in the roof.  © Kevin Scott This posting includes an audio/video/photo media file: Download Now |
| Are Luis Barragán's Ashes More Important Than His Life's Work? Posted: 09 Jul 2017 11:00 PM PDT  Una pieza de la exposición. Image Cortesía de Museo Universitario de Arte Contemporáneo In a somewhat poetic proposal, Jill Magid, the American artist, offered Federica Zano, owner, and archivist of the Barragan Foundation in Switzerland, a two-carat diamond ring containing ashes from Barragan’s cremation, in exchange for returning Barragan’s professional archive to Mexico. This gesture was the pinnacle of an art project that “posed fundamental questions about the consequences and implications of converting cultural legacy into private corporate property”. Magid’s work, titled “A Letter Always Arrives at its Destination”, held an exhibition at the University Museum of Contemporary Art at the UNAM. I recently visited the exhibition and bumped into an acquaintance in the second room. She was overwhelmed by the number of pieces in the exhibit but had not seen the famed and controversial ring, and asked me if I’d seen it. I responded that it was also my first time at the exhibit but that it would probably be in the last room. She left abruptly without saying goodbye. As is common with contemporary art, this piece had caused fierce debate; in this case, it was about its origin. The dispute surrounding the piece overshadowed its content, but someone has to say it: Luis Barragán´s ashes are not more important that his life´s work. When I arrived in the last room, I was pleased to see the ring mounted unpretentiously, similar to the other pieces surrounding it. To review again the topic that the project explores: “the consequences and implications of converting cultural legacy into private corporate property”, I ask myself, where is the indignation for the fact that this important part of Mexico´s architectural heritage is jealously guarded abroad?  Cena que organizó la artista con la familia de Luis Barragán. Image Cortesía de Museo Universitario de Arte Contemporáneo A lot has been spoken about the Barragán family, who, previously unaware of the project, were shocked to find out about the piece´s contents. But my intention is not to discuss them, or the ring, or the Catholic faith to which Barragán professed, which has made recent headlines. But rather, I want to focus on the Oak Castle House (Casa Robles Castillo in Spanish), his first formal piece of architecture that now is a taco stand, and the rest of his “lost” work in Guadalajara. The real scandal is that the Mexican government hasn't acquired and protected his work as architectural heritage and that his professional archive abroad by Zanco, has been rebranded as Luis Barragan (without the accent). It is worth asking while we discuss the ethics of converting ashes into diamonds, who should guarantee that we are not losing something more valuable? This posting includes an audio/video/photo media file: Download Now |
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