ArchDaily

Arch Daily

2 Arper Pavilions / MAIO
FR-EE's Museo Soumaya Photographed by Laurian Ghinitoiu
Skissernas Museum / Elding Oscarson
HM Residence / CUBYC architects
Meat Restaurant "Sazha" / YOD design lab
ICRIER / vir.mueller architects
Town Folktales / FON STUDIO
2017 RIBA Stirling Prize Shortlist Announced for UK’s Best New Building
Villa in Chennai / Inventarchitects
Wallan Veterinary Hospital / Crosshatch
Little-Known Floating Concert Hall Designed by Louis Kahn Faces Demolition
Campus Markenhage / Natrufied Architecture
House with a Tree / Sauter von Moos
SO-IL + laisné roussel Win Competition for Innovative Riverfront Development in Paris
Apartement Vazio / AR Arquitetos
Chicago Architecture Biennial Special Projects To Inhabit a Series of Architectural Landmarks
A Virtual Look Inside the Case Study House #3 by William W Wurster & Theodore Bernardi
House Near El Cerro De Chipinque / Surber Barber Choate + Hertlein Architects
Johnston Marklee Explain What Matters For This Year's Chicago Architecture Biennial

Posted: 19 Jul 2017 10:00 PM PDT

Architects: MAIO
Location: Foro Buonaparte, 65, 20121 Milano MI, Italia
Area: 1080.0 m2
Project Year: 2017
Photographs: Jose Hevia

Author Architects: Maria Charneco, Alfredo Lérida, Guillermo López, Anna Puigjaner
Creative Direction: Studio Altherr
Styling: Studio Bakker
Lighting Design: Cook & Associates
Colaboradores: Miguel Bernat, Núria Ortigosa, Mariona Mayol
Ing Estructural: Oriol Palou

From the architect. MAIO’s spatial concept for Arper is defined by a set of geometric elements that can be freely assembled and recombined. A set of simple geometric frames allows an infinity of possibilities and spatial reconfigurations as well as using different finishings, textures and colors. The system, consisting of 5 basic elements, allows to create reusable, self-supporting and simple-to-build structures.

TWO APPLICATIONS AT MILANO SALONE INTERNAZIONALE DEL MOBILE 2017

ARPER’S MAIN BOOTH

In the first application of the system, a series of spaces enclosing a piazza have been created. The central space is surrounded by a set of interconnected rooms where furniture is shown.

Each room has been designed as a space related to its specific content and styling. The walls and the ceiling of each room change in order to provide a unique character to each one. The spaces become domestic while adapted to the big scale of the fair, forming a sort of a city-within-a-city while the promenade among them shows a changing environment. In this particular application, the frames have been covered with wood and painted in the interior of the rooms.

EIMU BOOTH

In the second application of the system, the booth is conceived as a continuous space containing the furniture. The basic elements are covered with a double fabric finishing forming a translucent box material that allows to play with shadows and transparency. The continuity of the box is only interrupted by some openings resulting of the circular and triangular basic frames.

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FR-EE's Museo Soumaya Photographed by Laurian Ghinitoiu

Posted: 19 Jul 2017 09:00 PM PDT

The Museo Soumaya, which opened to the public in 2011, is one of the more striking cultural landmarks on the skyline of Mexico City. Designed by FR-EE / Fernando Romero Enterprise, the space accommodates and displays a private art collection of nearly 70,000 works spanning the 15th to the mid-20th Centuries, including the world's largest private collection of Auguste Rodin sculptures. In this photo-essay, photographer Laurian Ghinitoiu has turned his lens to this – a rotated rhomboid clad in a skin of 16,000 hexagonal mirrored-steel panels.

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Skissernas Museum / Elding Oscarson

Posted: 19 Jul 2017 08:00 PM PDT

Architects: Elding Oscarson
Location: Lund, Sweden
Lead Architects: Jonas Elding, Johan Oscarson, Tristan Zelic
Project Year: 2017
Photographs: Åke E:son Lindman

User Financier: Skissernas Museum / Museum of Artistic Process and Public Art
Custom Furniture Production: Källemo, Amorim
Client: Statens Fastighetsverk

From the architect. Since Art Historian Ragnar Josephson started to gather an archive documenting the artistic process, about 80 years ago, Skissernas Musuem, Museum of Artistic Process and Public Art, has gradually grown to a large cluster of buildings that, apart from housing the world's largest collection of sketches, is an important carrier of the identity of the Museum. This is the first extension in the museum's history that solely addresses its interface, with foyer, restaurant, shop and a multi-purpose hall.

The new addition of slightly bent volumes is projecting itself into the existing sculpture park, releasing it's grip of the street grid and instead latching on to the diagonal approach through the park. This is the axis of entrance that the large extension by architect Hans Westman dated 1959 was designed for. The new foyer space is very tall to take in both this existing board formed concrete volume and the grown trees of the park, but also to be able to stand up next to the rather massive existing museum volumes. The new restaurant, however, is due to respect for a more recent addition by architect Johan Celsing, dated 2005, kept low to not intervene with the previous extension's large window facing the park. The original entrance volume from 1959 becomes integrated as a volume fitting shop and reception.

The cor-ten steel, favored by sculptors ever since the material was invented, handles the adjacent historic red brick architecture as well as the rough materiality of the existing concrete volume, yet contrasts to these with the potential of sharp detailing inherent of a panel material. The free arrangement of the facades is composed carefully to get particular views from, into, and through the added building volumes – to reach a transparency without an actual large surface of glass.

For the multi-function hall in the existing inner courtyard of the museum, a great variation in height of the surrounding buildings and a problem to carry loads in the underlying structure, as well as an ambition not to disturb the existing facades around the courtyard, urged for a solution with a roof soaring high, resting on four columns, and surrounded by clerestorial light. The roof is spanning 27 meters and its ceiling is a hovering plate of mirroring aluminum, all purposed to achieve a spatial experience which is not clearly indoor, but is keeping some of the character of an open inner courtyard.

The furniture of the restaurant, foyer, and shop are all designed by Elding Oscarson, and are deliberately transmitting the unfinished character of a sketch, or prototype. As a total, the intention is for the new addition is to add a valuable experience of architecture within the park, as the Museum gets an updated interface, becoming a more functional place for people to meet.

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HM Residence / CUBYC architects

Posted: 19 Jul 2017 07:00 PM PDT

Architects: CUBYC architects
Location: Belgium
Area: 525.0 m2
Project Year: 2015
Photographs: Cafeïne – Thomas De Bruyne

From the architect. Situated in sight of the beach, in a typical urban mesh of the Belgian coast, this seaside residence offers unexpected spaces overlooking the surrounding houses with both seaside views and views over the green hinterland.

Inside, all functions have been reversed in relation to the ordinary organization of a house. The bedrooms are on the ground floor, a "belle étage", while the living areas are comfortable on the first floor.

This first floor living area benefits from the open view and the adjacent terrace creates a certain intimacy with respect to the passage of the street. The living room, entirely glazed, enjoys the magnificent sunset over the sea. At the rooftop there is a terrace, comfortably perched on the flat roof, ryad-style, an ideal place for a sundeck.

The white front façade distinguished by white lacquered aluminium louver is very dynamic. These louver blades serve as a guardrail for the upstairs terrace and solar shading for the rooms on the ground floor. They also protect the privacy of the street side bedrooms.

The ground floor is 1,5 m elevated above the road and the garage is located in a semi-buried volume, 1.5 m below the level of the road. A passage under the house allows access to the garden. Under this passage you can park a few cars or use the covered space to organize a party or a barbecue. A kitchenette overlooks this flexible space and also acts as a space for beach accessories.

Inside, a sober and clear color palette echoes the beach. These neutral colors evoke the "beachy" atmosphere and create a great coherence between the different spaces, In the mean time they allow improvisation with personal touches. The integrated cabinets are covered in black oak veneer, previously scraped and sanded to obtain a depth effect.

Thought as a relaxing place, this four bedroom house is open, comfortable and easy going.

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Meat Restaurant "Sazha" / YOD design lab

Posted: 19 Jul 2017 05:00 PM PDT

Architects: YOD design lab
Location: Kharkivs'ka St, 9, Sumy, Sums'ka oblast, Ukraine
Architects In Charge: Maxim Netreba, Dmitro Chukhleb, Sergiy Andriyenko
Area: 330.0 m2
Project Year: 2017
Photographs: Andriy Avdeenko

From the architect. Sazha - it's a meat restaurant in Sumy, focused on developing the culture of consumption of steaks in the city.

The restaurant's building, like the whole architectural ensemble of the street where it is located, is an example of Soviet constructivism. Therefore, in our opinion, it was the quite logical decision to realize the interior of restaurant in a modern style, departing from the principle of the classic steakhouse. A picturesque Ukrainian name "Sazha" (soot - is a black powder mass that is deposited in the furnaces, chimneys owing to incomplete combustion of fuel) became both a starting point for creating the atmosphere of the restaurant, and bright reflection of its overall concept.

The restaurant's interior is realized in black and gray tones with blotches of bright copper color in the decoration and blue in the furniture. Such color gamma, enhanced by the play of light and shadow, creates the impression of flicker of fire. Also in the design of the restaurant used materials that have undergone heat treatment similar to the way that meat goes: granite and dry oak tree are heat treated; hot rolled metal with scales, visually resembling meat in the cut of fiber, is burned; and on the glass thermal printing is used.

The anchor element of the interior is a large screen with X-ray images of various animals. It passes along the entire reataurant and zone it into two parts. On these pictures are depicted the skeletons of animals, and through the prism of X-rays it's possible to see their inherent beauty. Another highlight of the restaurant is the pendant tables, which also are the movable sections. It is possible to link them among themselves depending on the number of people in the company. The line of the pendant tables symbolizes a conveyor for carcasses in the meat department.

Meat and concomitant processes of its preparation are the key elements, around which the whole concept of the institution is tied. That's why at implementation of this project we tried to reflect fully the entire aesthetics of backstage processes in the culture of meat consumption.

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ICRIER / vir.mueller architects

Posted: 19 Jul 2017 03:00 PM PDT

Architects: vir.mueller architects
Location: New Delhi, Delhi, India
Lead Architects: Christine Mueller, Pankaj Vir Gupta
Area: 1972.0 m2
Project Year: 2017
Photographs: Andre J. Fanthome

Project Team: Saurabh Jain, Mansi Maheshwari Puja Pillai , Laura Blosser Priyam Ballav Goswami Prashant Singh Hada Avneet Kaur, Hillary Collins, Harsh Vardhan Jain
Structural: Himanshu Parikh Consulting Engineers
Landscape: Shaheer Associates
Hvac: Gupta Consultants
Electrical: Electro Consultants
Plumbing: Vinod Sharma

From the architect. This office building for the Indian Council for Research on International Economic Relations (ICRIER) has a built-up area of 1,972 square meters including a basement, parking level and office blocks comprising one research wing and one administrative wing.

The connection between these two sections is a naturally ventilated gallery and a central stair that also serves as the informal social space. This stair is protected from glare by vertical sandstone louvers. The building is designed as a series of parallel reinforced concrete shear walls with the services and circulation located on the west – creating an insulating buffer from the western sun. The north-south orientation allows natural light to penetrate deep into the building, reducing the energy consumption attributed to artificial lighting.

The courtyard anchors the interior by creating a transparent space visible to all inhabitants, enabling informal gathering within a lush, landscaped micro-climate. The vocabulary of the building confronts New Delhi's harsh extremes of climate, by employing robust and resilient material surfaces. The building may be washed clean by the monsoon rains and illuminated with dramatic shadows playing on the sandstone louvers in the summer sun.

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Town Folktales / FON STUDIO

Posted: 19 Jul 2017 01:00 PM PDT

Architects: FON STUDIO
Location: Dushan County ,Guizhou Province, China
Architect In Charge: Jin Boan
Design Team: Li Hongzhen, Luo Shuanghua
Area: 480.0 m2
Project Year: 2017

From the architect. The tide of "Reentering to Little Town" – a story about a project taking place in a corner of Qiannan Autonomous Prefecture in Guizhou Province – has brought opportunities of venture to the young people. Several entrepreneurs who were congenial to each other have found a Movable-type Printing plant which was built in the 1950s in Dushan County. After the communication and negotiation with local governors, they decided to keep these plant buildings in the original street blocks.

Meanwhile, they invited FON STUDIO, by the introduction of design, to activate the surviving "old buildings" from the process of high-speed housing removal movement, and to remodel those buildings into a diverse forms of space – including dining space, reading space, public activity space, all of which helps provide high-quality service for the local people and those who come from afar.

There are 6 buildings around the original plant area, which are planned to be reconstructed by different stages. Depot A and Depot B to be reconstructed in the first phase are located in the core areas, which serve as spaces for reception, dining, reading as well as painting.

Depot A: Comprehensive Service Space

As the first visual focus caught people's eyes in the process of entering into Depot A, the main door which present an elongated rectangular structural opening would lead visitors into the interior space. At first, on the premise of keeping its original brick-wood structure texture the main space was intended to be designed in an orderly interweaving way considering both space and function. As for the integration and separation among different space forms, the designer attempted to create an open sense of ventilation and light penetration so that visitors could enjoy the refined lighting condition indoors and see the tranquil scenery outdoors. The story between these old buildings and the people begins as they sojourn here.

Old bricks, wood texture, cement, and black steel are dancing together in the flowing space, along the "white box", merging together under the immense wood structural roof. Partial interlayer extends functions of the ground floor , and simultaneously unfolds the longitudinal space order. The wooden steps in "book bar" area, along with the movable display racks, can be combined and arranged freely and ideally to satisfy different functions.

Depot B: Picture Gallery of Nature

The flexibility of inner penetration of light structural arc and cascaded structural opening in Depot B establishes a children's activity space mainly for reading and painting. Entering into the space, visitors will see a bright castle into which blocks rising one after another juxtapose with arches of various sizes. The fluid traffic flow in the space which presents an image of innocent children runs back and forth, adding various interests of using experience. The color of interior texture is wood grain combined with pure white, offering a bright and hospitable experiencing environment which is sharply different from the crude neighborhood so that people can stay here leisurely and enjoyably.

The enclosure of semi-open space and the reservation of open space on both sides of the "flow curve" provide a platform for children to communicate and play. Children's precious curiosity and innocent words are colliding over the little and lovely place, sowing the seeds of ideas and thoughts. The pictures offers a world which can deliver and spread myriad imaginations and impressions, and the design team hopes that after reconstruction of the space, all the adults and children can get into the space, experiencing more possibilities.

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2017 RIBA Stirling Prize Shortlist Announced for UK’s Best New Building

Posted: 19 Jul 2017 12:01 PM PDT

The Royal Institute of British Architects (RIBA) has announced the shortlist of six projects will competing for the 2017 Stirling Prize, the UK's most prestigious award for architecture, given to the building "that has made the biggest contribution to the evolution of architecture in a given year." Selected from the list of national award winners, the finalist buildings range from an elegantly detailed photographer's studio in west London, to an immense new campus for the City of Glasgow College.

"This year's shortlisted schemes show exceptionally creative, beautifully considered and carefully detailed buildings that have made every single penny count," said RIBA President Jane Duncan. "Commissioned at the end of the recession, they are an accolade to a creative profession at the top of its game. Each of these outstanding projects has transformed their local area and delights those who are lucky enough to visit, live, study or work in them.

"This year's shortlist typifies everything that is special about UK architecture: this is not just a collection of exceptionally well designed buildings but spaces and places of pure beauty, surprise and delight."

The winner of the Stirling Prize will be announced on October 31st.

Barrett's Grove / Groupwork + Amin Taha

The judges said: "Barrett's Grove is a characterful building in a disjointed urban street. Its adjacency to a primary school is a fitting location for a house built with the fairy-tale materials of brick, wood and straw. Inside, the building holds a series of generously proportioned, well-lit apartments; each with a wicker basket balcony that sticks out proud and far, like a salute to passers-by.

The staggered hit-and-miss brick skin of the façade makes a larger-than-usual pattern, which fits the tallness of the overall building. Wrapping the skin up and over the roof, emphasizes the simplicity of the building's form.

Inside, the feeling is of a large house split into many homes; a refreshing change from the cheap finishes and convoluted corridors of many apartment blocks. The apartments are double aspect and each room is a good proportion. Space is used wisely and left over space is exploited, for example a strip of workspace overlooks the living room in the top maisonette making a small strip of space a delight to inhabit."

British Museum World Conservation and Exhibitions Centre / Rogers Stirk Harbour + Partners

The judges said: "The WCEC building is located on the north-west corner of the British Museum site in Bloomsbury. It consists of five vertically linked pavilions (one of which is located entirely underground), and houses a new exhibition gallery, laboratories and conservation studios, storage, and facilities to support the Museum' logistical requirements and loans programme.

This building is the realisation of an extremely complicated brief in terms of spatial challenges, technical requirements, and engineering technologies. Its achievement derives from the elegant and simple way these challenges are met, while maintaining a clear and coherent diagram and a refined and rational building enclosure.

The spaces provided for exhibition allow objects of a size and height which would not be possible to exhibit elsewhere in the museum. Objects can be delivered at street level in lorries which are then taken to lower floors by a platform lift that sinks into the ground without disturbing the landscape.

The jury felt that the substantial accommodation for curation activities, with demanding constraints on direct light, thermal control and pest prevention, are seamlessly threaded into the overriding diagram and structure, with an admirable rigour and clarity.

Grander public spaces are accommodated in the main museum, while the new extension provides simple circulation through glass lifts, bridges and glazed lobbies, making the journey through the building clean and enjoyable.

A system of fritted glazed horizontal panels allow controlled light into the building while insuring protection for the exhibits either on display or within the workshops. This allows curation of precious artefacts to occur in an environment that maintains access to natural light.

The jury appreciated the way the architects had overcome planning and heritage concerns in relation to the building for new offices which are sunk below ground but grouped around an attractive glass-roofed central space.

Generally the jury admired the skill and control the architects had demonstrated in realising the client's enormously complicated and demanding brief while maintaining a rigorous and disciplined plan and an elegant external cladding system."

Command of the Oceans / Baynes and Mitchell Architects

The judges said: "This project is a champion for progressive conservation, inventive re-use and adaptation of existing fabric. The importance of the historic fabric has been clearly understood, which has allowed freedom in other areas to change the circulation and the reading of the buildings to give the whole complex of buildings a new lease of life.

The striking new visitor entrance, clad in black zinc, knits together the historic fabric to either side. The decision to use black cladding rather than a white structure which would match existing, and the decision not to mimic the pitch of the existing roofs, was a bold move in conservation terms and very successful. The modest entrance is immediately obvious to the visitor on arrival in the large car park, which sits above the old mast pond; and yet in certain lights it seems to disappear and becomes very much subservient to the adjacent listed structures. This inventive solution to create a raised entrance with associated ramp won Baynes and Mitchell the architectural competition, and unlocks the whole plan.

The cathedral-like quality of the entrance hall, with its focus on the end view over the dockyard, is very successful. The museum element of the scheme which tells the history of the dockyard is designed around a route which ultimately leads to the hidden timbers of the unknown ship beneath the floorboards. This sense of discovery and the decision to leave the timbers in situ is a very powerful move.

The project is academically rigorous in terms of repairs, reversibility and selection of new materials and is a delightful new addition to the historic dockyard. The project exhibits careful and critical use of appropriate repairs. Successful engagement with specialist craftsmen and sensitive repairs, such as the scarfing of the main timbers in the mast house, adds to the beauty of the refurbished spaces.

Internally, the existing buildings were assessed in terms of their significance and this informed the hierarchy and extent of the new interventions. Baynes and Mitchell have also fully engaged with the impact of the proposals in terms of the archaeology of the site and an appropriate means of responding to the concept of 'as found' presentation.

The palette of black metal, blue limestone, board-marked concrete and composite timber has been carefully chosen in response to the strong, industrial language of the historic buildings and landscape.

This project has benefited greatly from an enlightened client who is committed to making the story of the dockyard accessible to the visitor. This deep understanding of the historical significance of this group of buildings has been fully understood by the architect and interpreted in a way to reveal significant features of the historic landscape. This is a Heritage Lottery Funded project and Historic England was closely involved in a very collaborative way."

City of Glasgow College - City Campus / Reiach & Hall Architects and Michael Laird Architects

The judges said: "The merger of Glasgow's central, metropolitan and nautical colleges created a super college bringing together facilities and teaching previously housed in 11 separate buildings across the city within two new central campuses. City Campus, more than 60,000m2 in size, is the second of these large new buildings. It brings together six major faculties in 300 high-tech classrooms, multi-purpose lecture theatres and specialist teaching facilities.

While the initial impression of this building is as something of immense scale which also signals its presence as an important place of learning, its internal spaces are designed to encourage both the formal teaching processes which it contains and informal, more chance encounters. The materials palette and form of the building are deliberately restrained to generate something of skill, clarity and elegance, on the grandest scale.

There is an astonishing scale and complexity to the brief for this project and considerable architectural skill is demonstrated in its realisation; not just in resolving the brief, but in the contribution to the city – in massing, composition and the generosity of the public route through the grand stepped atrium space. This architectural skill extends beyond the cityscape through to the detailed care taken in the organisation of student spaces, encouraging social interaction across disciplines, to the considered approach to materials and detailing."

Hastings Pier / dRMM Architects

The judges said: "It has taken a seven-year heroic collaboration to turn a smouldering pier in disrepair and decline into a vibrant public space with a palpable sense of ownership. This collaboration has been between the community, the Council, the engineers and the architect and it is the architect's vision which has been vital throughout to steer the process. After extensive stakeholder consultation, it was clear to dRMM that the pier would be expected to host many different populist scenarios.

Predictably enough, it transpired that it had to be everything to everybody, with an absent owner not responding to the increasingly Dangerous Structure repair requirements, and no rebuild budget available in a run-down seaside town. Lateral thinking was required to make a structurally and socially sustainable project actually happen. The architects had to write the brief and help raise the budget before redesigning the pier.

Their 'master-move' and response to this brief was to design a strong, community led/owned serviced platform which could accommodate a whole host of uses, from music concerts, to international markets. 'In homage to conceptualist Cedric Price, users bring their own architecture to plug in and play.' This concept is really working in practice and should be commended.

The decision not to place any building at the end of the pier, which is possibly the obvious position to site a building, is an extremely powerful move. The large open space provides a sense of calmness and delight, with a strong connection to the sea and the seafront. The experience of free space and 'walking on water' is heightened by the optics of a very beautiful, louvred balustrade design and quality timber deck.

The new visitor centre replacing the weakest section of the damaged pier is a relatively simple CLT structure clad in reclaimed timber which was salvaged from the original fire-damaged pier. This helps to create a strong feeling of place and belonging. It boosts an elevated, rooftop belvedere where locals go for a coffee or cup of soup. It offers adaptable space for events, exhibitions and education. Reclaimed timber deck furniture was designed by dRMM and Hastings & Bexhill Wood Recycling as part of a local employment initiative.

The new pier is not a lonely pier: rather, it is extremely welcoming in its design, with free, open entry to the public. It offers flexibility, material and functional sustainability, and an uninterrupted vista of the natural and built surroundings. This is a Heritage Lottery Funded project and it has become a catalyst for urban regeneration.

From a conservation perspective, this project has reinvigorated a fire-damaged historic structure and facilitated a contemporary and appropriate new 21st century use. The project has been mindful to integrate material from the original pier in the new design, and the process of restoration was used to help train a new generation of craft specialists."

Photography Studio for Juergen Teller / 6a architects

The judges said: "The project comprises a series of three buildings and gardens to form a new studio, offices and archive for celebrated photographer Juergen Teller. The brief was for a light-filled, flexible, informal and welcoming set of spaces; with a natural flow and sociability.

The project expertly exploits a typically London condition. Constrained by a long and narrow industrial plot at the rougher edge of Ladbroke Grove; its only face nestles between cheap developer housing, an industrial estate and the hinterland of the Westway.

With few views possible out of the linear site, daylight is introduced through three courtyard gardens designed by Dan Pearson, and a grid of exquisitely thin concrete beams which march the length of the 60m site. These support north facing roof lights which fill the space with an extraordinary filtered light.

Board-marked poured concrete registers the rhythm of the existing brick built party walls. Two raked concrete stairs brace the studio space, the only interruptions in an open landscape, which runs the length of the site.

Detailing throughout is exquisite; from the in-situ concrete of the finely formed stairs, to the seamless brass balustrades. Large but delicately beaded timber window frames, add refinement to an otherwise minimal material palette. The building is an exemplar of fabric first and low energy design. The integration of services is expertly handled.

The project is a mature and confident statement of orderliness and precision, whilst also being relaxed and playful. It forms a refined, yet flexible workplace, which is already beginning to act as a setting to prompt and influence on the work of its client.

The building is sublime and the whole team should be highly commended."

News via RIBA

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Villa in Chennai / Inventarchitects

Posted: 19 Jul 2017 12:00 PM PDT

Architects: Inventarchitects
Location: Dr BP Rajan Road, Old Vandipalayam, Uthandi, Chennai, Tamil Nadu 600119, India
Architect In Charge: D.Vivek kumar, R.Nanda devi
Area: 455.0 m2
Project Year: 2017
Photographs: Dinesh Jayavel

Client: S.A.Khader
Structural Consultant: Axiset Engineering PVT. LTD.

From the architect. This offshore Villa is located in a prime locality along the East Coast Road in Chennai. Apart from the requirement of having private and semi-private spaces, we wanted the user to experience the coastal breeze along with the water, within his zone of proximity without having to access the beachfront. The concept behind this design relies on the spatial segmentation of semi-public areas which maximizes the virtual connectivity within the house through light which we call the exponent.

To achieve this experience, the design consists of a solid plane which protects the residence from the secondary southern heat, and the west consists of a solid volume which contains the private spaces - bedrooms. The rest forms the exponent which holds the semi-private space.

The detraction of volumes from the exponent felicitates the formation of open spaces which comprises of the swimming pool and the parking below. Successively, it helps the user from inside to interact with the space outside. The design and location of the swimming pool area is an important integral to this residence as it provides an exhilarating experience for the user who can appreciate the view of the beach being in the water or from the appending deck area.

The home-theater becomes the remnant volume in this process of detraction which in turn opens out to the terrace formed. It extends as a gathering space after an evening movie.

The conceptualization of the semi-private area involves intersecting 'L' volumes. Their internal interaction and the interaction with outside are marked as a frame which accentuates the view. This setup facilitates a well-lit double height living space. The junction created by these 'L' volumes houses the vertical circulation elements, the lift and the staircase. The staircase as a structure enhances the aesthetic quality of the living space and promotes visual interaction within the house.

The void frame on the north complements the solid frame introduced on the south side and it adds to the overall form of the design.

There are two forms of water which becomes part of this residence which completes the design. One is the internal form, which is from the infinity type swimming pool and the other is the external form which is collected from the inverted roof. Both water forms are collected onto a small 'mere' which adds to the aesthetic value of the landscape at the entry. The idea was to associate water as an entity which flows from all the levels, inviting every individual who enters this residence. Likewise, an individual at the entry, to his vista will be able to relate the water at each level – The 'mere' - landscape water body, the "Reflected Swimming pool water" which is casted on the ceiling and "Gutter Water" from the inverted roof as it rains or overflows from tank.

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Wallan Veterinary Hospital / Crosshatch

Posted: 19 Jul 2017 10:00 AM PDT

Architects: Crosshatch
Location: Hallam VIC 3803, Australia
Area: 280.0 m2
Project Year: 2016
Photographs: Jaime Diaz-Berrio

Designers: Mark Allan, Jaime Diaz-Berrio
Builder: Lang Construction
Timber Facade Screen: Woodform Architectural - Concept Click spotted gum battens

From the architect. Wallan Veterinary Hospital in regional Victoria is an efficient and elegant building that successfully refreshes the traditional vet hospital typology. The 24-hour facility, open seven days a week, needed an immediately identifiable, strong street presence, yet still had to be respectful of its residential context.

A sympathetic response to site

The client's brief called for a state-of-the-art facility that comfortably accommodates a range of programmatic requirements as well as addresses the site's unique constraints. Crosshatch co-founders Jaime Diaz-Berrio and Mark Allan's solution was to raise the single-level building on a recessive masonry base and set it back from the street. In doing so, they also mitigated flooding issues on a challenging site that slopes down towards a creek at the rear of the property

Making the building breathe

Three box-like volumes rationalise the plan and reflect the building's multiple uses. The public zone is located at the front with animal wards to the side. The staff-only and operational areas are the heart of the building and occupy the largest amount of floor space. Each volume breathes with ample cross ventilation allowed by louvred windows and intersecting corridors that gracefully punctuate the double façade.

The result is a calming, airy interior with a sense of flow and connection between zones. Uniformly spaced timber battens wrap the building on the north, east and west elevations and provide effective sunshading

The building as signage

Stylish Spotted Gum cladding visually unifies the building to create a singular cohesive form. This second skin is the facility's defining feature and also emphasizes the site's fall, investing the project with a strong connection to place.

At night, the battens soften the interior's lighting, omitting a warm glow that creates a lantern-like effect and announces the hospital as open. This innovative wayfinding strategy allowed Diaz-Berrio and Allan to eschew the use of traditional signage so as not to disrupt the form's uniform appearance. As a result, the battens create a veil that oscillates between transparent and solid, with views into the building that open and close depending on the visitor's approach. It lends the overall project an unexpected sense of dynamism rarely seen in a facility of this type.

Wallan Veterinary Hospital is Crosshatch's first commercial project.

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Little-Known Floating Concert Hall Designed by Louis Kahn Faces Demolition

Posted: 19 Jul 2017 09:00 AM PDT

© <a href='http://https://www.flickr.com/photos/spablab/3789270610/in/photolist-6LR18U-6fVSsc-6HZDsy-6LLR7H-6HZrQ7/'>Flickr user spablab</a>. Licensed under CC BY-ND 2.0

One of Louis Kahn's most unique and lesser-known projects, the floating concert hall known as Point Counterpoint II, is at risk of demolition, reports the Pittsburgh Post Gazette.

Built from 1964 to '67 as part of celebrations of the American Bicentennial, the 195-foot-long vessel has since be used as the waterborne home of the American Wind Symphony Orchestra (AWSO), allowing the group to take their own venue places as far away as Paris, France and St. Petersburg, Russia. Along with circular doorways and portholes, the structure features a 75-foot-wide stage that can be opened and closed using a hydraulic lift system.

© <a href='http://https://www.flickr.com/photos/150hp/3757007568/in/photolist-6LR18U-6fVSsc-6HZDsy-6LLR7H-6HZrQ7/'>Flickr user Dan Hatton</a>. Licensed under CC BY-NC-ND 2.0

Owned by AWSO conductor and founder Robert Austin Boudreau, the ship has been for sale for nearly new decades after its first farewell tour in 1997, but its unique purpose seems to have deterred buyers. If no one comes forward by the end of the AWSO's 2017 tour, the boat will be sent to a shipyard where its architectural features will be dismantled, leaving the rest to be repurposed as a derrick barge.

One advocate for the ship's preservation is world-famous cellist Yo-Yo Ma, who wrote a letter that will be in the August 17 issue of the New York Review of Books in hopes of gaining support.

"It sails as a powerful, living testament to American creativity and to the elemental role that culture plays in human life," the letter reads. "At a time when our national conversation is so often focused on division, we can ill afford to condemn to the scrap heap such a vibrant ambassador for our national unity."

Learn more about the story, here.

News via Pittsburgh Post-Gazette. H/T HyperAllergic, Architect's Newspaper

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Campus Markenhage / Natrufied Architecture

Posted: 19 Jul 2017 08:00 AM PDT

Architects: Natrufied Architecture
Location: Emerweg 29, 4814 NA Breda, The Netherlands
Area: 5000.0 m2
Project Year: 2017
Photographs: Boris Zeisser

Structural Engineering: Bartels, Apeldoorn 
Project Management: Avant, Utrecht
Contractor: Breda Bouw, Teteringen
Mechanical Engineer: Herman de Groot, Amersfoort
Client: Vereniging Onderwijshuisvesting Voortgezet Onderwijs Breda

From the architect. At the site of the Markenhage college, the new Campus Markenhage is realized with the existing Markenhage college that got renovated and extended with an extra wing for technical education and two new schools; the new Orion Lyceum and the Michael college, a Waldorf school. Together the three schools form the new Campus Markenhage.

The Markenhage is the big mother ship in the middle of the campus with on each side one of the two new wing mates. All three schools have a façade to the main street and connected park, together they form a new cultural axis as all cultural teaching spaces of the three schools are located next to each other along the street.

The Markenhage school has become a 2 level square with a patio in the middle by adding the new wing, with this the circulation of the existing building is improved so the 1000 students can find their way more easily. The new classrooms for Chemistry, Physics, and Biology provide more possibilities for teaching these technical classes.

The new Orion Lyceum for 150 students is located to the south of the Markenhage building. The open education of this school requires all classrooms to be connected to each other. The central Auditorium connects the two levels; all other spaces are placed around the Auditorium with different levels of privacy. Some classrooms are only disconnected by a screen of bamboo sticks, other with glass walls or walls that can be fully opened. In this way, all students are as much as possible connected together, but at the same time, they find privacy if necessary.

At the northern side of the Markenhage building, the new Waldorf School is made. The 350 students will find their classrooms in a three story building around a central Auditorium. With the theme of Head/ Heart/Hands, all classrooms are placed. At the ground floor, the 'Hands on' classrooms are placed like wood and copper workplaces, including an outside workshop but also a new gym. The 'Head' classrooms for languages, math, history and other typical rooms for concentration are placed on the outside of the building. Around the center core, all creative rooms are organized like theater, music, painting, and drawing. These are known as the 'Heart' rooms.

From the outside, the old and new buildings should grow together visually. With the existing red bricks and wooden window frames, two different kinds of FSC wood were added to the pallet (Jatoba and Louro Gamela) as well as natural slate and Aluminium window frames with a brown orange tone.

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House with a Tree / Sauter von Moos

Posted: 19 Jul 2017 06:00 AM PDT

Architects: Sauter von Moos
Location: Basel, Switzerland
Lead Architects: Charlotte von Moos, Florian Sauter
Area: 280.0 m2
Project Year: 2013
Photographs: Rolf Frei, Eiko Grimberg

Concept Idea: Charlotte von Moos, Florian Sauter, Pierre de Meuron

From the architect. Maintaining the tenderness and charm of the existing house from the 1930's, our intention was to

(1) Gently renovate / restore the existing structure
(2) Enlarge the building through a series of micro-scale additions that follow the logic of the existing spatial division into small rooms.
(3) Entangle the existing, the tree and the new in a joyful composition.
(4) Improve the house's energy-balance by modernizing all technical installations using exclusively renewable energies.
(5) Carefully relate the house to its surroundings, both natural and urban.

In line with these considerations, the annexes are all conceived as lightweight structures: a prefabricated wooden construction with a cladding of 'recycled' fir boards in the new corner tower facing north; a hovering though massively built bay window with a pronounced horizontal expression along the street; and lastly, steel for the filigree loggia with its inclined south-facing roof consisting of transparent photovoltaic panels in the garden. Balance-like old and new condition one another while in the interior the new wooden spaces add a meditative calm to the existing rooms' patina. At all times, the old house with its embedded history should in 'ghost'-like quality remain discernible.

Not engaging in a critical reconstruction, the design aimed at establishing a respect- and playful dialogue between existing and new, where each element maintains its own identity and voice in the process of their mutual activation. The red beech was considered an integral part and cornerstone of the design: Like the tree, also the house grew by hand of the multiple extensions, which ultimately frame the beech's impressive stature, and engage the interior with its lively presence.

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SO-IL + laisné roussel Win Competition for Innovative Riverfront Development in Paris

Posted: 19 Jul 2017 05:00 AM PDT

Aerial view from the Pont d'Austerlitz. In the foreground, the housing building and temporary pavilion. Image © SO – IL and laisné roussel (Weiss Images)

SO-IL and Laisné Roussel architects have been selected as the winners of an international competition to design a new masterplan for Place Mazas in Paris. Titled L'Atelier de l'Arsenal, the proposal seeks to integrate the historic fabric of the site into a new, flexible urban strategy organized around a variety of new buildings and public spaces.

View from the Arsenal Basin. In the foreground, the public plaza overlooking the swimming pool. Image © SO – IL and laisné roussel (Weiss Images)

Located along the Seine River and the Canal Saint Martin at the end of the Bastille Axis, the area is currently in the midst of several civic development projects, including the upcoming waterfront park, parc Rives de Seine. SO-IL and Laisné Roussel's proposal will add mixed-use program to the mix, all of which will feature views of the river and the Parisian cityscape.

"We are very excited to work on such a unique site in Paris," said Ilias Papageorgiou, Partner, SO-IL. "Our proposal suggests a dynamic approach in city making, one that considers history as well as the complexity of today's conditions while allowing room to accommodate future transformation."

Axonometric view from the Arsenal Basin. Image © SO – IL and laisné roussel

The masterplan divides the site into two main parts. The first, a seven-story wood structure, is located along the historical Haussmanian axis and offers co-living units, social housing and a restaurant. The other side of the site is dedicated to public activities, including a publicly-accessible pavilion containing co-working spaces, a fabrication lab, and a multi-purpose room; a repurpose lockhouse built in 1905 repurposed for cultural events; and three new public squares. An existing homeless facility on site, Aurore, will also be incorporated into the plan.

The design also seeks to activate the waterfront space, providing space for the Yacht Club of Bastille as well as a public swimming pool and several pools for biodiversity research and water quality monitoring.

"The design of the Atelier de L'Arsenal is motivated by our conviction that architecture is everyone's business. In our view, urban resilience and the collective practices developed for and by users are two major challenges for the cities of tomorrow. " Nicolas Laisné and Dimitri Roussel, Partners, laisné roussel.

View of the subway plaza from the Quai de la Rapée. On the left, the residential building, on the right, the temporary pavilion. Image © SO – IL and laisné roussel (Weiss Images)

The competition was organized by the city of Paris as part of the Reinventer La Seine initiative, which aims to introduce innovative new proposals at the intersection of architecture, creative urbanism, and development for sites along the river.

News via SO-IL

Architects: SO-IL, laisné roussel
Location: Voie Mazas, Paris, France
Client: REI Habitat, Icade Promotion
Team: Atelier Georges, Manifesto, Of ce for Cities, WoMa, Yacht Club Paris Bastille, Aurore, Colonies, Institut du Monde Arabe, Base Tara, Cluster EMS, Innogur, Elioth, Acousteb, Sinteo, Maitre Cube, Francilibois
Lead Developer: REI Habitat
Developer: ICADE
Landscape Architect/Urban Planner: Atelier Georges
Area: 0.0 ft2

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Apartement Vazio / AR Arquitetos

Posted: 19 Jul 2017 04:00 AM PDT

Architects: AR Arquitetos
Location: R. Salto, 59, São Paulo - SP, Brazil
Architect In Charge: Marina Acayaba, Juan Pablo Rosenberg
Design Team: Andrea Helou
Area: 172.0 m2
Project Year: 2015
Photographs: Maíra Acayaba

Collaborators: ARSBRASIL ENGENHARIA

From the architect. The project's main element is the great sculptural void which connects the three floors of the apartment, allowing sunlight to invade into the space and creating different visuals.

Drawing this void was the start to the whole project, with its form being strongly determined when the natural light, coming from the terrace, bathes the whole interior.

There already was a central opening in the original apartment. Therefore, our proposal was to transform this void into a great lighting sculpture.

Its irregular geometry answers to the pre existing structure as a way of rearranging the program – made of a living room, two suites, a lounge and a terrace - in three dimensions.

It proposes, on one hand, new views by different openings, and on the other hand subtle changes of light and shadow throughout the day and year. The angular walls create a rich game of dissolving whites in the central space, making the edges appear and disappear by each hour. The internal faces conform different rooms, giving them amplitude and different functions, as headboards or benches for example. It is the construction of this void that gives meaning to the entire space by which life unwinds.

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Chicago Architecture Biennial Special Projects To Inhabit a Series of Architectural Landmarks

Posted: 19 Jul 2017 03:00 AM PDT

Farnsworth House. Image Courtesy of Flickr CC user Jonathan Rieke. (Licensed under CC BY-NC 2.0)

The Chicago Architecture Biennial and it's artistic directors, Johnston Marklee, have revealed a collection of Special Projects designed to harness the curatorial vision of the event—entitled Make New History—and bring it to a number of significant landmarks in the city and in it's surrounding area. Featuring a SO-IL and Ana Prvački collaboration, a Francois Perrin installation, a new performance artwork by Gerard & Kelly at the Farnsworth House, photographs by James Welling, and films by Gerard & Kelly, the projects will inhabit some Chicago's greatest "architectural gems."

A full list of participants involved the main exhibitions can be found here.

In the Garfield Park Conservatory

As "one of the largest and most stunning conservatories in the nation," the Garfield Park Observatory was "considered revolutionary when it first opened in 1908." Francois Perrin's project, titled Air Houses: Design for a New Climate, is "set within the majestic Palm House, whose tropical microclimate provides an ideal setting for an architectural experiment that proposes new directions for building in relationship to landscape and climate. Perrin puts forth an alternative to a culture of mass consumerism that has produced buildings disengaged from their context (at ever greater environmental cost)."

SO-IL will be presenting a project with artist Ana Prvački exploring "the relationship between our senses and our collective experience." According to the Biennial, it intends to raise "questions about the impact of progress on the wellbeing of our cities the team is focusing on the poetics of persistent human elements within our lives.

In the Farnsworth House

located in Chicago's western suburbs in Plano, Illinois, will host a new chapter of Gerard & Kelly's ongoing project Modern Living, a series of site-specific performances and videos exploring intimacy and domestic space within legacies of modernist architecture. Structured in chapters, each one sited in a different modernist home, the project examines how the sites' interventions into traditional codes of domestic architecture produced notions of family and ways of living radical for their times.

Gerard & Kelly's project for the Chicago Architecture Biennial takes place during the Press and Professional Previews, with public performances on September 16 and 17 at the iconic Farnsworth House, designed in 1945 by Mies van der Rohe as a country escape for a single woman, the successful Chicago doctor Edith Farnsworth. Initially a pioneer of modernist architecture, commissioning Mies to design a radical statement for living, Farnsworth famously found the transparency of the house unlivable/

In the City Gallery in the Historic Water Tower

Located in Downtown Chicago, the City Gallery will showcase the first two chapters of Gerard & Kelly's Modern Living as an installation of two videos filmed on location at The Glass House and Schindler House. Alongside these videos, it will also feature an exhibition of James Welling's colorized images documenting the campus of the Illinois Institute of Technology (IIT) and Chicago's Lake Shore Drive Apartments, both also by Ludwig Mies van der Rohe and "closely associated with the modern movement of the 1950s."

Here, Welling will manipulate "the imagery using a series of techniques borrowed from the experimental photography scene of the 1960s. The resulting layered, multiple-exposure images result in what Jesús Vassallo describes as a kind of 'psychedelic Mies,' yielding unexpected and completely new works that defamiliarize, produce new readings and suggest future possibilities."

In the Chicago Cultural Center

James Welling's images of Chicago will be reproduced at an environmental scale and installed on the exterior of the building. This large-scale project and the photographs at the Historic Water Tower are part of a Chicago Architectural Biennial exhibition curated by Jesús Vassallo and titled A Love of the World.

On display at the Chicago Cultural Center, the exhibition will also include works by Luisa Lambri, Filip Dujardin, Alexander Apóstol, Daniel Everett, Marianne Mueller, Veronika Kellndorfer, Katharina Gaenssler, David Schalliol, Scott Fortino and Philipp Schaerer.

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A Virtual Look Inside the Case Study House #3 by William W Wurster & Theodore Bernardi

Posted: 19 Jul 2017 02:30 AM PDT

The third Arts & Architecture Case Study House has a noticeably different sensibility to that of many of the other designs in the series. While equally engaged with the goal of maximizing enjoyment of the natural surroundings, in this design the architects show more concern for privacy and protection.

The approach from the street is somewhat forbidding; aluminum siding presents an impenetrable front. Besides the front and garage doors, the small, high kitchen windows are the only visible openings, though it is possible to peer over the fence of grape stakes into the children's private garden.

Once through the front entrance, the space suddenly becomes welcoming, opening on each side into the living and sleeping quarters, with glass sliding doors opposite inviting one to step out into the back garden (which is surrounded by the wild canyon landscape). This room was conceived as an "enclosed porch" rather than a formal room, with both the terracotta flooring (extending to the terrace beyond) and louvered skylight emphasizing the outdoors. Functionally, however, it operates as both a connection and a buffer between the two wings of the H-shaped house, and as an informal living room.

The room's wooden paneling links it to the living room located to the left, which provides ample space for entertaining and access to the kitchen and workroom (a utility room large enough to accommodate hobby work), as well as a toilet—a useful detail considering how efficiently this half of the house has been separated from the bathrooms! This living room opens on two sides to the paved area, encouraging outdoor entertainment.

Over in the bedroom wing, a narrow hallway separates the parents' room from the children, who also have their own shared, but fully enclosed, garden. The master bedroom opens onto the larger garden that extends right around the house.

Despite the vast glass doors and the attention paid to echoing the natural surroundings with the choice of materials and colors (ranging from coral to deep blue-green, reflecting the clay soil and trees, supported by rough linen and beige carpets), this house seems less comfortable in its spectacular environment than other Case Study homes—those by Richard Neutra, for example, or the #2 house by Spaulding and Rex. Rather than embracing the canyon, it huddles under it. This might actually make the design better suited than the others to being transplanted to a different location, one with less natural privacy.

Don't miss Archilogic's other models of Case Study Houses and seminal projects shared on ArchDaily—click here to see them all!

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House Near El Cerro De Chipinque / Surber Barber Choate + Hertlein Architects

Posted: 19 Jul 2017 02:00 AM PDT

Architects: Surber Barber Choate + Hertlein Architects
Location: San Pedro Garza García, Nuevo Leon, Mexico
Lead Architects: James Choate III
Area: 10000.0 ft2
Project Year: 2013
Photographs: Phillip Spears

Structural : Jorge Guerra
Contractor: Salvador Arias

From the architect. The site for this single family residence is located immediately alongside the northern ridge of "El Cerro de Chipinque" in the Sierra Madre Oriental range in the state of Nuevo Leon in northeast Mexico. The house is configured to maximize views of the parallel ridgeline, as well as the dramatic peak, known as La Eme ("the M"), which terminates the eastern vista.

In the configuration of the residence, interior and exterior spaces are defined primarily by vertical planes of concrete, sliding in and out of the house to define interior and exterior zones for living, exploring the themes of Transparency and Penetration.

Secondary forms clad in thinly sliced black granite or contrasting white plaster express more solid and enclosed volumes. The texture and color of the granite allude to the visible rock peaks of the mountain range looming above. More monochromatic cut stone was used for flooring. Completing the palette of materials, warmer tones of wood are used inside and out which contrast with the coolness of the granite and concrete.

While the wood and stone components are largely expressed as simple cubic forms, the plasticity inherent in concrete is expressed and articulated with more complexity -- forming portals, generating negative space, and framing views. The composition is an honest expression of materials, selected to provide a range of textures, and configured to provide a hierarchy of scale.

Passive solar design is employed to manage solar gain. Rain is harvested from the roof and stored for irrigation and decorative fountains. "Permanent" materials are used for lifecycle longevity, including a decay-resistant wood species on the exterior.

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Johnston Marklee Explain What Matters For This Year's Chicago Architecture Biennial

Posted: 18 Jul 2017 11:00 PM PDT

Two months before the much-anticipated opening of the Chicago Architecture Biennal, this video collaboration between Berlin-based PLANE–SITE and Chicago-based Spirit of Space offers an insight into what is to come this fall. The first video of the series delves into the core message that curators Mark Lee and Sharon Johnston of Johnston Marklee have established as the groundwork for contributions from over 100 international participants. One of the youngest biennials in the architectural scene, the Chicago Architecture Biennial is only in its second edition and is still defining the unique and independent traits that will help it stand out from other similar events.

The series from PLANE–SITE and Spirit of Space will unravel some of the Biennial's main themes, and delve into its program, reporting on such projects as the reinterpretations for Howells & Hood's 1925 Tribune Tower; 3D responses to historical images of building interiors; a labyrinth of galleries that will host larger installations; and some of the biennial's anchor sites across the city of Chicago.

I would like the visitor of the Chicago Biennial to leave with a sense of excitement, and also leave with a sense of wonder about architecture, because I think wonder doesn't necessarily imply complete understanding, but it triggers something that leads to more inquiry.
– Mark Lee

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Tech News

četvrtak, 20. srpnja 2017.

Arch Daily

Arch Daily

Barrett's Grove / Groupwork + Amin Taha

British Museum World Conservation and Exhibitions Centre / Rogers Stirk Harbour + Partners

Command of the Oceans / Baynes and Mitchell Architects

City of Glasgow College - City Campus / Reiach & Hall Architects and Michael Laird Architects

Hastings Pier / dRMM Architects

Photography Studio for Juergen Teller / 6a architects

In the Garfield Park Conservatory

In the Farnsworth House

In the City Gallery in the Historic Water Tower

In the Chicago Cultural Center

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