Arch Daily |
- Cap Canal / Rue Royale Architectes
- Three House / Junsekino Architect And Design
- Glebe House - Studio & Residence / U+I Building Studio
- Hey! A Lovely Tiny Space / A'Lentil Design
- Reflections / pentArchi
- Engineers Have a Solution for San Francisco's Sinking Millennium Tower
- Abasto Ancho - TetrisHomes / Ariel Jacubovich | Oficina de Arquitectura + OPA Oficina Productora de Arquitectura
- Zinnengasse Restaurant / Wuelser Bechtel Architekten
- With Costs Soaring, SHoP-Designed "World's Skinniest Skyscraper" Faces Foreclosure
- Bon Lait Sports Hall / Dietrich | Untertrifaller Architekten
- In This Semi-Derelict Montenegrin Prison, 7 Temporary Structures Untangle the Spatial Possibilities of Nautical Rope
- Rincón del Pescador House / TAAB
- Learn to Design an Urban Block With This Set of 50 Cards
- 2017 Stirling Prize Shortlist Leaves Critics Divided and Underwhelmed
- Spotlight: Santiago Calatrava
- The Glass Centre / Philippe Samyn and Partners
| Cap Canal / Rue Royale Architectes Posted: 28 Jul 2017 07:00 PM PDT  © Kelvin Dolmaire
 © Kelvin Dolmaire From the architect. How to approach designing a building offering 56 homes that also creates a balanced urban dynamic in an area undergoing a profound transformation? How to reclaim the river banks, open up a neighbourhood cut off by the canal and the ring road? How to imagine an architectural concept which looks towards the architecture of the future that is yet to be invented and to the surrounding natural environment intended to grow and develop?  © Kelvin Dolmaire These are the ambitions of the Cap Canal project, for which the architects at the Rue Royal practice drew inspiration from the duality which so often characterises these buildings: the duality of materials, initially the most obvious contrast, as well as that of the north and south aspects of the building, of the interplay between the built and the unbuilt, of matte and shiny finishes and of the staggered volumes etc. This inspiration serves a commitment to providing increasingly high quality social housing, adopting a demanding and complex approach to increase space, light, privacy, view and comfort. In the Saint-Jean neighbourhood of Villeurbanne, which rubs shoulders with the town of Vaulx-en-Velin, this flagship project stands as a silent manifesto.  © Kelvin Dolmaire Urban forms: the bow and the comb  Site Plan The block plan is distributed in a simple and effective fashion around two buildings: the main building forms a block to the north surrounded by surface parking at ground level. To the south, a block set at right-angles marks the end point of the layout which continues out with garden strips extending out to the perimeter of the plot. The two buildings are connected with glass walkways, creating a gap which contributes to the desired transparency, offering views into the heart of the plot, extended on the ground floor by the main footpath leading to the apartments.  © Kelvin Dolmaire The interlocking architecture  © Kelvin Dolmaire On a base of board-formed glazed concrete, also used for the loggias and balconies, these materials dialogue harmoniously. A light-coloured coating is used on the external insulation on the north side of the building, the gables, and the east facade of the second building. Elsewhere, a metal skin that is pleated, perforated, and ribbed with a vertical pattern forms a darker bodywork which changes colour with the light, creating reflections and transparencies. The perforated metal balcony balustrades echo this material used in a different way with the same aim of preserving the translucency.  © Kelvin Dolmaire On the north facade, the windows of the bedrooms, kitchens and bathrooms create a pattern and shadows. The aluminium frames overhang to different extents from this deliberately smooth facade, creating clear but variable shadows. The architects also chose to group the frames vertically on three to five levels, forming large gaps to create even more movement. These variations around the windows contribute to the concept of a facade alternating full and empty spaces, very distinct from the facade with its metal skin.  © Kelvin Dolmaire Garden strips This garden, open onto the town, provides a variety of spaces and atmospheres, areas to rest, to walk or to play. The strips extend to the administrative limit of the plot without emphasising the curve. The planted strips are separated from the road with wooden fencing and the mineral elements with a metal fence.  © Kelvin Dolmaire Social housing. Cap Canal is by no means an exception to this rule. Firstly, in terms of the social mix, as it combines an affordable housing programme with 19 homes sold to Rhône Saône Habitat, and 37 social housing units for rent, managed by Est Métropole Habitat  © Kelvin Dolmaire All the apartments provide a high-quality environment to maximise the comfort of residents: large balconies, dual aspect, apartments which are not overlooked, large bay windows letting in plenty of natural light. The colours used for the facade were adjusted in conjunction with the Villeurbanne city council colourist, as well as those used in the communal areas of the building and the interiors of the rented apartments (EMH) where a pallet of three colours was chosen for the bedroom, bathroom and kitchen/living room.  © Kelvin Dolmaire From an environmental perspective, the project meets the objectives of the 2012 thermal regulations and the Grand Lyon guidelines. A number of measures have been used including optimal compactness, external insulation, a wood pellet boiler and a clean worksite charter. This posting includes an audio/video/photo media file: Download Now |
| Three House / Junsekino Architect And Design Posted: 28 Jul 2017 03:00 PM PDT  © Spaceshift Studio
 © Spaceshift Studio From the architect. In Thai culture, people usually use window bars for the safety in their residence. However, the perception of window bars in terms of architectural aesthetic is quite difference as many of them believe the use of this element can deprive the beauty of the design. Unlike for Three House, the interpretation of window bars is deviant. By rearranging the use of window bars, this elements become a main aesthetic part as well as create the sense of uniqueness to the design.  First floor plan A single family living unit locating on Ladphraow, one of the crowed living area in Bangkok, called three house is named after the design concept which compose of 3 axes – 3 masses – 3 layers – 3 users. - 3 Axes create free space of 2 masses between planes  © Spaceshift Studio Private and public areas are created by the space among 3 layers parallel with the construction land. Layout plan creates courtyard area in the back for personal area and a courtyard garden provides both private and public space.  Cross Section  Section 04 Building wall is designed to be a frame for security, energy saving and heat prevention to the house. By using window bars as a frame for the outer layer, the bars is used as a part of aesthetic as well as providing some senses of security for the inner layer which is the space within. The double ceiling is to reduce the heat and create natural airflow to homeowner.  © Spaceshift Studio This posting includes an audio/video/photo media file: Download Now |
| Glebe House - Studio & Residence / U+I Building Studio Posted: 28 Jul 2017 01:00 PM PDT  © Thilo Pulch - Pulch Photography
 © Thilo Pulch - Pulch Photography From the architect. This shop-top-housing project is located on a small back lane in a Heritage Conservation Area in Sydney's inner-west bustling suburb of Glebe. The new building makes maximum use of the available small site of only 92sqm by extending to all boundaries and pushing the private open space up to the top.  © Thilo Pulch - Pulch Photography The house draws inspiration from previous centuries european architecture translated into modern details. Internal split levels allow the exterior facade to be broken up and stepped to create a small scale appearance suitable for its location. The zinc roofing is wrapped around as standing-seam wall cladding to the upper floors, while the bottom level dark painted brick grounds the building in its setting.  © Thilo Pulch - Pulch Photography At street level the self-contained studio with its own kitchen and bathroom provides the opportunity to be rented out separately or live above your own workplace. A 4 meter high ceiling and minimalist material palette of brick and off-form concrete creates an unobtrusive space waiting to be occupied by a creative person  Basement and Ground floor plans An all concrete staircase leads up to the residential part of the building. The core concrete wall starting at the studio, continues through the bedroom level and finishes in the top floor living room. The material palette that was chosen for the interior consists of concrete, timber, steel and glass, assigning each material its well determined place to provide a modern and uncluttered aesthetic.  © Thilo Pulch - Pulch Photography The middle level houses the bedroom, robe and bathroom. Building to all boundaries meant restriction with window placements. Therefore operable skylights in the bedroom and bathroom give glimpse of the sky while laying in bed or having a shower and provide ventilation. Also the use of wire glazed steel frame internal doors allows natural light to penetrate to the inner most areas.  Section 02 Black polished plaster walls have been used to create accent walls in the bathroom. Light coloured wooden floors continue up the second set of stairs and throughout the top floor main living, dining and kitchen which has been kept open plan. The high ceiling and exposed black steel beams create a dramatic look while at the same time complimenting the floor to ceiling black steel framed windows.  © Thilo Pulch - Pulch Photography The floating tv shelf merges into a stair that leads over a glass floor landing, which furthermore transfers natural light to the lower floors, out to the roof terrace. Here the high balustrades give total privacy to the occupants and neighbours, whilst allowing views of the surrounding treetops and glimpse of city skyline.  First and top floor plans Although appearing compact from the outside the house surprises with space and natural light on the inside. The building expresses its character through the use of materials and is an attempt to tell a coherent tale with a minimum of materials.  © Thilo Pulch - Pulch Photography This posting includes an audio/video/photo media file: Download Now |
| Hey! A Lovely Tiny Space / A'Lentil Design Posted: 28 Jul 2017 12:00 PM PDT  Courtesy of A'Lentil Design
 Courtesy of A'Lentil Design A Couple and a Cat, Double Happiness  Before-After Floor Plan Designer break down original housing pattern, to rearrange movement, and makes owners can reach every space with five steps from the central point of house. To reduce aisle and corners, designer makes space open, introduce sunlight into rooms, and makes inside room looks bright and bigger. Besides, designer integrates owners' requirements, to strength functional design, and converts second bedroom into living room, efficiently use every space. Making original wall hang TV to be a book shelf, and there still space for sofa and table under the shelf.  Courtesy of A'Lentil Design Furthermore, to create a cloakroom from an aisle, it not only meet hostess's requirement, but also make use of fractional area to create beautiful under stair storage. At the last, to consider about new born baby, designer builds an attic as a bedroom, it could be a storage room, or second bedroom, and even a small world for cat or for children in the future. Designer not only arranges space according to couple's living habits, but also promotes space efficiencies.  Courtesy of A'Lentil Design For coloring plan, entire space color arrangement is white, but decorate lemon yellow dot from entrance to living room; paint main bedroom with bright Macaron color to relieve stress from work. A tiny space contains large requirements, designer meets owners' needs and makes home become the sweetest place in the world, even makes owners get happiness easily.  Courtesy of A'Lentil Design This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 Jul 2017 10:00 AM PDT  © CaCo Photograpy
 © CaCo Photograpy From the architect. Reflections at Camp Mountain is a modern rural farm house. The building sits atop a spur at the foot of Camp Mountain surrounded by 360 degrees views yet secluded from the world.  © CaCo Photograpy The house was sited on the southern edge so as to create a usable north-facing plateau in front of the house over looking the valley and hills beyond.  © CaCo Photograpy The geometry resulting from the angles in both plan and elevation offers protection and a multitude of reflections as the sunlight changes throughout the day and present the occupants a full immersion of the given external climatic conditions.  © CaCo Photograpy Externally, the hills, horizon and sky reflect themselves constantly from various angles in the glazing and the transparency of the clerestory, which provides a view of the surrounding hills behind extending the sky at sunrise and sunsets.  © CaCo Photograpy Deep bored piers and a high retaining walls anchor the basement storey to the crest of the hill and allow the first level to surface as single to the courtyard. The plan is dissected by two rammed earth walls, which define the private and public zones, enriching the interiors with its earthy color of soil from the site.  Ground Floor The warmth of timber floors inside and polished concrete floors outside, the texture of the earth walls contrast with the exposed steel frame, frameless glazing system reflecting on the rural nature of the modern rural farmhouse.  © CaCo Photograpy The plan is also mirrored almost symmetrically along a north south axis defining the living / parent zone living and children / dining wing areas and the kitchen being at the heart of the house straddles the center area with its teardrop concrete bench.  © CaCo Photograpy The boomerang shape roof hovers over the steel frame structure becoming almost invisible from eye height and harvests the water then drawn the underground water tanks.  © CaCo Photograpy At night the changing colored LED lights reflecting in the clerestory add another dimension of geometry and myriad of refractions of the interior and exterior. The house and sky also reflects itself in the pool. Providing opportunity for play and reflection and admiration by the proud owner builder.  © Andrea Picanza This posting includes an audio/video/photo media file: Download Now |
| Engineers Have a Solution for San Francisco's Sinking Millennium Tower Posted: 28 Jul 2017 09:00 AM PDT  Image via Wikimedia. Photo by Wikimedia user Hydrogen Iodide in public domain. As reports have emerged that San Francisco's infamous sinking skyscraper, the Millennium Tower, is continuing to settle downward, engineers from LERA and DeSimone Consulting have unveiled a potential fix for the building's woes. Since construction began in 2005, the 58-story luxury condominium tower has sank approximately 17 inches downward and while leaning 14 inches to the North. And according to a new report from Arup Ground, the issue doesn't appear to be resolving itself anytime soon: in the past 7 months alone, the building has sunk an additional inch and tilted a further two inches, causing cracking in the building to worsen. Triggered to action, developer Millennium Partners brought in LERA and DeSimone to devise a solution that would return the building to its original siting and secure it against sinking, all while allowing the building to continue operating through the repair process. The engineers' solution would involve drilling 50-100 new foundation piles from the basement level into the bedrock 200 feet below – a strategy considered during the original construction process but ultimately deemed unnecessary. Existing piles embedded into the landfill carrying the structure's mass reach just 60-91 feet down. The plan is estimated to cost between $100 million and $150 million, though who will ultimately foot the bill remains unclear, as a lawsuit between Millennium Partners, the homeowners assocation and the nearby Transbay Transit Center remains unresolved. Learn more about the story here. News via San Francisco Chronicle.
This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 Jul 2017 08:00 AM PDT  © Javier Agustín Rojas
 © Javier Agustín Rojas From the architect. Abasto Ancho is a building with ten residential units and one storefront. It is located at the corner of Sarmiento and Anchorena streets in the Abasto section of Buenos Aires.  © Javier Agustín Rojas The project was developed according to the city's building and planning codes and regulations and conditioned by the norms of the real estate market. First, the project was developed, then the units sold, and finally the building constructed with financing from the sales at construction phase in a modality common in Argentina.  © Javier Agustín Rojas The uncertainly resulting from not knowing the building's final users at the design phase was envisioned as an opportunity to experiment with ways of organizing collective housing.  Ground Floor Plan To that end, three lines of architectural research were pursued: the Abasto neighborhood and its relationship to the materialization of the building's façade-envelope; the configuration of the residential units such that variability could be systemized; and the layout of the building's common spaces in order to encourage sociability. Those three lines, each of which corresponds to an instance in the building's architecture, could be called Abasto, TetrisHomes, and Branching Spaces respectively.  © Javier Agustín Rojas Abasto  © Javier Agustín Rojas The Abasto market's ceiling, with its ability to join the divergent, was harnessed in the project specifically in relation to the building's façade-envelope. A piece that extends between the building's interior and exterior gives shape to partly covered intermediate spaces, balconies, terraces, sections of archways with distinct degrees of transparency.  Model 1 The envelope was built using a system of precast concrete elements held to the building structure by metallic supports. The space between the curves of those elements and the variation in the aluminum joinery give shape to balconies and terraces. The precast elements were designed and constructed especially for the project on the basis of three models. The color of those elements was yielded by sampling the color of the Abasto market's ceiling/roof.  © Javier Agustín Rojas TetrisHomes  Pieces Breakdown Sections The building contains four I-shaped units, one J-shaped unit, one L-shaped unit, one O-shaped unit, two T-shaped units, and one S-shaped unit, and the storefront.  © Javier Agustín Rojas Like Tetris, this project is a simple game: all you have to do is arrange the pieces as they fall, leaving no empty spaces...  Model 2 Branching Spaces  Axonometric A vertical continuum that joins the lobby to the shared roof terrace in order to bring certain qualities of the street's public space to the doors of the inhabitants' homes.  © Javier Agustín Rojas  © Javier Agustín Rojas This posting includes an audio/video/photo media file: Download Now |
| Zinnengasse Restaurant / Wuelser Bechtel Architekten Posted: 28 Jul 2017 06:00 AM PDT  © Stefan Wülser
 © Stefan Wülser From the architect. The Zinnengasse, between Münsterhof and Wühre, is one of the older intact alleys of the left bank of river Limmat and Zurichs' old town. The edge of the road and the volumetires of the building are still like they've been built in the 16th and 17th century. The houses themselves were at least partly broken off and rebuilt in the last century - except for the Neuhaus and Pelican house located directly at the. In the case of the Zinnengasse 7, only the cellar walls of the 17th century Bürgerhaus, as well as individual pieces of the original façade decoration glued to the new façade, are preserved.  © Stefan Wülser After a very varied use in the first 300 years the store locality on the ground floor found a constant use as a restaurant in 1959 - after demolition and reconstruction of the property. As only the second Chinese restaurant on urban land, the "Gelber Schwan" opened the doors and stood for years between distrust and curiosity of the city dwellers. Thus, before our conversion, the interior was also seen as an eclectic mixture of late modern architecture, Swiss "pub charm" and Chinese decor elements.  © Stefan Wülser Space imprint  Concept  Ground floor plan Strategy  © Stefan Wülser Bar  © Stefan Wülser Restaurant  © Stefan Wülser This posting includes an audio/video/photo media file: Download Now |
| With Costs Soaring, SHoP-Designed "World's Skinniest Skyscraper" Faces Foreclosure Posted: 28 Jul 2017 05:30 AM PDT  Renderings from 111 West 57th's teaser site. Image via 111w57 The SHoP-designed 111 West 57th Street, "the world's skinniest skyscraper," is at risk of never being completed due to soaring construction costs, the New York Post has reported. With fewer than 20 of the supertall skyscraper's 82 stories currently constructed, a lawsuit filed by investment group AmBase is claiming the project is already $50 million over budget due in part to "egregious oversights" including neglecting to factor in the cost of construction cranes.  Renderings from 111 West 57th's teaser site. Image via 111w57 AmBase's suit is targeting the project developers, Michael Stern's JDS Development Group and Kevin Maloney's Property Markets Group. As reported by The Real Deal earlier this month, the two parties had developed a contentious relationship as early as last year when AmBase sued the developers for allegedly diluting their stake in the project. The most recent news comes after the owners – Maloney, Stern and AmBase – defaulted on a $25 million loan payment to Spruce Capital Partners in June, putting the project at risk of foreclosure. A court ruling this week blocked Spruce from taking ownership of the project for the time being, but could still allow the lender to put the property up for a foreclosure auction.  Renderings from 111 West 57th's teaser site. Image via 111w57 A lawyer for Stern has responded to the most recent suit as "baseless." Court records show the original construction budget was filed at $855 million in June 2015. News via New York Post, The Real Deal. H/T Curbed. This posting includes an audio/video/photo media file: Download Now |
| Bon Lait Sports Hall / Dietrich | Untertrifaller Architekten Posted: 28 Jul 2017 04:00 AM PDT _Julien_Lanoo.jpg?1501015053 "© Julien Lanoo") © Julien Lanoo
_Julien_Lanoo.jpg?1501014997 "© Julien Lanoo") © Julien Lanoo From the architect. The multi-functional sports hall is timber-frame constructed with straw insulation and forms a neighborhood hub in the heart of Bon Lait, an urban development area in the Lyonnais district of Gerland. The hall is available to both the primary and secondary schools as well as to local clubs and sports enthusiasts, and is a social meeting place for the locals throughout the week. The allocation plan consists of a triple gym for various ball sports and a training hall for martial arts, dance and gymnastics. _Julien_Lanoo.jpg?1501015137 "© Julien Lanoo") © Julien Lanoo The surrounding area is very diversified and features a dense development of predominantly four- to five-story residential buildings with recessed attic levels. Dietrich | Untertrifaller Architekten and Tekhnê Architectes decided to work within this context towards a simple building shape that opens up to the square with an urban balcony ("loggia urbaine"). This form creates a connection between the public area and the interior of the hall, thus stimulating the interaction between indoors and outdoors. With a homogeneous shell of pre-grayed larch wood battens and generous glazing, the sports hall stands out boldly from the environment. Through its simplicity, it also emphasizes its function as a low-threshold, available-to-all communal infrastructure. The outer shape of the box – which at first sight is simple – is deceptive, however.  Ground Floor Plan Inside the 9-meter-high hall with its 45 x 24-meter-wide playing field, the ceiling is characterized by wide-spanning laminated timber elements upon which truncated wooden pyramids evenly distribute the daylight that penetrates through the north-facing sheds throughout the room. The wall cladding made of wooden slats ensures good acoustics. The spectator stands, built as three-tiered concrete seating rows, and the interior access routes and adjoining rooms are arranged at the rear as the backbone of the building. The martial arts sports hall, which can also be used for dancing and gymnastics, is located on the upper floor. It is well-supplied with daylight via a window strip and an air space with a skylight. _Julien_Lanoo.jpg?1501015118 "© Julien Lanoo") © Julien Lanoo The Bon Lait sports center impressively demonstrates how well timber architecture works in an urban context. The building deserves the title 'sustainable' – not least through its use of renewable resources such as wood and straw. Above all, it is an interplay between material, economic construction and building comfort that has been achieved here, with good daylight utilization, natural ventilation and aesthetically appealing surfaces. _Julien_Lanoo.jpg?1501015065 "© Julien Lanoo") © Julien Lanoo This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 Jul 2017 02:30 AM PDT
Kotor is an ancient fortified city located in a secluded bay on Montenegro's Adriatic coast. It has been Venetian, Austrian and—most recently—part of the former Yugoslavia. Today, as part of an independent nation, it's narrow streets, small squares, and warm stone buildings define the character of a UNESCO World Heritage Site which, each summer, becomes one vast cruise terminal as tourists arrive in their droves to bask in it's dry heat and spectacular natural environment. At this time, however, it also plays host to KotorAPSS (Architectural Prison Summer School) – an eight day-long gathering dedicated to infusing contemporary cultural life into the city by means of temporary architectural installations.  Developing the projects in Kotor, Montenegro. Image © Luka Boskovic Located in an abandoned, part-derelict prison built during the occupation of the Austrians, the brief faced by the twenty-six participants this year was simple: to design and build "temporary structures that have to be set-up quickly but can also become part of the public space, part of the community, part of the program, and a point of interest for visitors and tourists." The primary material: rope, produced locally; the mentor: Nikola Radeljković of Numen / For Use.  Developing the projects in Kotor, Montenegro. Image © Luka Boskovic  Developing the projects in Kotor, Montenegro. Image © Luka Boskovic Broken LightSonja Jankov, Đina Prnjat, Nemanja Mitrović, Janž Omerzu "150 lines of the rope project the bars of 6 prison-cell windows onto the wall they are facing. From each window, there are 25 lines coming from each window connecting outside into a single spot and in this way joining otherwise isolated prison cells. The geometry of the installation is sharp and precise in contrast to the surrounding ruined space and the greenery. These lines symbolize the beams of light and thoughts from the cells as they extend and interconnect these six spaces into the outer space but not for long as they find the wall just outside."  Project: "Broken Light". Image © Luka Boskovic  Project: "Broken Light". Image © Luka Boskovic  Team: "Broken Light". Image © Luka Boskovic Stair StrikeSara Simoska, Agata Skorka, Nikola Abramović "The intervention measures and experiments with the different views while moving up through the stairs. It freezes the interaction between the human and the complex space of the staircase. Leading to the hidden garden behind the prison, it introduces the spaces throughout the building."  Team: "Stair Strike". Image © Luka Boskovic  Project: "Stair Strike". Image © Luka Boskovic AgoraGeorgios Grigoriadis, Vasilis Aloutsanidis, Dimitrios Chatzinikolis "The concept of Agora is based on the analysis of the inner structure hierarchy and the process of the fabrication of the rope, resulting with an eight yarns structure. It starts with the woven eight-yarn rope and the knots are gradually expanding as they move away from the anchor point. The big rope opens up to form the space provoking and marking the general assembly - the agora. A place of congregation, gathering place or an assembly; central public space in ancient Greek city-states."  Project: "Agora". Image © Luka Boskovic  Project: "Agora". Image © Luka Boskovic  Team: "Agora". Image © Luka Boskovic How Deep is Your LoveChi Chun Tang "A single rope represents a single person, every single prisoner. The twisting of a single rope results in an amorphous mass, a brain of the prisoner, his distorted. But it also can be a sea creature, floating in the sea or a plant, rooted in the prison."  Project: "How Deep is Your Love". Image © Luka Boskovic  Team: "How Deep is Your Love". Image © Luka Boskovic CoronaAna Aleksić, Bojana Bobičić, Gosia Pawłowska, Snežana Zlatković , Miloš Đikanović, Andrew Scheinman, Dejan Todorović "There is one work stuck between the prison and the church of St. Paul. Starting from the ancient well, the existing central cylindrical element in the space, different directional planes are constructed line by line by combination of a multitude of points that become crucial elements of the entire radial composition."  Project: "Corona". Image © Luka Boskovic  Project: "Corona". Image © Luka Boskovic  Team: "Corona". Image © Luka Boskovic OculusSabina Marov, Aiste Ambrazeviciute, Luka Ljumović "It has been inspired by an endless flow of triangular geometry within a defined space. The micro-location of the structure (small courtyard against the side-wall of the prison with high walls surrounding it) is hardly definable while the rope structure that drowns into this space appears as a contrast. The linear matrix of the installation dominates the vertical opening. Viewer is invited to approach the structure in vertical directions from two points: street level and the upper level – prison's terrace."  Project: "Oculus". Image © Luka Boskovic  Project: "Oculus". Image © Luka Boskovic  Team: "Oculus". Image © Luka Boskovic ScopeInes Pajović, Kristina Savić, Lina Viluma, Luka Ljumović, Miljena Vučković, Sherief Al Rifai "Scope focuses on the spatial relationship between the inside of the prison walls and the spaces that define the outside. Despite their proximity, "the outside" remains a distant longing, exacerbated by the permanence of the steel bars that veil the window openings, and the physical dimensions of the fenestrations that restrict views to the Kotor sky. Observing the linearity of internal perspectives within the prison, particularly the walled views out of the cell windows, Scope aims to allude to an expression of freedom by bending the perspective of the prisoners view towards the sky."  Project: "Scope". Image © Luka Boskovic  Project: "Scope". Image © Luka Boskovic  Team: "Scope". Image © Luka Boskovic This posting includes an audio/video/photo media file: Download Now |
| Rincón del Pescador House / TAAB Posted: 28 Jul 2017 02:00 AM PDT .jpg?1501036275 "© César Béjar") © César Béjar
.jpg?1501036037 "© César Béjar") © César Béjar From the architect. Rincón Del Pescador House develops around a central courtyard following the traditional houses of the region as a reference. Halls and passageways delimit the project: a horizontal perimetric that links the main floor areas, and a single point vertical that connects the different levels in the plan.  Ground Floor Plan The chosen materials --locally sourced volcanic stone-- enhance the house's main lower level areas, providing fresh spaces to rest during the day. .jpg?1501036287 "© César Béjar") © César Béjar The project is closed to the south, and open towards itself and the northern view of the valley. The fountain in the central courtyard draws inspiration from the local water wells, and the sound of flowing water accompanies all the other sounds in the house. .jpg?1501036396 "© César Béjar") © César Béjar The program consists of three levels. The lower floor, accessed through a gate, contains the main lounge, dining room, kitchen, service rooms, and master bedroom. All of them opening towards different courtyards.  Section The lower level takes advantage of the topography of the land and presents a semi-basement with an open side to a sunken garden that illuminates and ventilates a music study and visitor's room. .jpg?1501036347 "© César Béjar") © César Béjar The house is built on an incline from which the valley of Zamora and Jacona are enjoyed, allowing the upper level (consisting of a terrace and a library) to maintain a direct relationship with the view towards the north .jpg?1501036161 "© César Béjar") © César Béjar This posting includes an audio/video/photo media file: Download Now |
| Learn to Design an Urban Block With This Set of 50 Cards Posted: 28 Jul 2017 01:00 AM PDT  © a+t designing cards We know perfectly well that learning in architecture and urbanism can take on multiple forms. Just think of all the modeling, drawing, plans, theoretical classes, workshops, 3D models and even virtual reality exercises. In this same line, the team at a+t architecture publishers have put together a collection of cards that seek to facilitate the designing of an urban block with 50 design styles. Each card measures 13 x 8 cm and is printed on both sides, with a version in English and Spanish. Also, each design includes its axonometric profile, general layout, shade patterns, use coefficient and total built space in both meters and feet.  © a+t designing cards The creators at a+t research group see the set as "50 strategies for organizing spaces", or, "50 reflections about the use of space." As the team explains, their size allows for architects to "compare them, put them in order and mix them up, in order to adapt the best design to the project and also to combine different forms of design to a project."
Via: a+t architecture.
 Learn to Design an Urban Block With This Set of 50 Cards This posting includes an audio/video/photo media file: Download Now |
| 2017 Stirling Prize Shortlist Leaves Critics Divided and Underwhelmed Posted: 28 Jul 2017 12:00 AM PDT  The 2017 winner of the UK's most prestigious architecture award, the Stirling Prize, will be announced on October 31. Leading up to the main event, The Royal Institute of British Architects (RIBA) has released its list of the six shortlisted buildings, a collection that has left many critics scratching their heads. What the list left out seems to be as noteworthy as what was included, and while critics' opinions on individual buildings differ, they seem mostly united in finding the overall list uninspiring and underwhelming. Read on to find out what they had to say.  Photography Studio for Juergen Teller / 6a architects. Image © Johan Dehlin "This year's run-down still makes for an oddly pallid affair" – Ike Ijeh, BDOnline Ijeh is perhaps one of the least-impressed critics. While he notes that it's less disappointing than some previous years' lists, he still takes issue with half of the chosen buildings and laments the exclusion of others, saying of the Juergen Teller studio by 6a Architects:
While dismissive of the "big name" projects, Ijeh is slightly more impressed by the smaller nominees included in the list, with his favorite of the group being Groupwork and Amin Taha's Barrett's Grove.
 Barrett's Grove / Groupwork + Amin Taha. Image © Tim Soar "The biggest truck-lift in Europe…is vying with a gloriously ungaudy pier and a Glasgow tower that thinks it's a town." – Oliver Wainwright, The Guardian While Wainwright is less harsh towards the individual buildings than Ijeh, he too recognizes the unusual nature of the collection. However, he disagrees directly with Ijeh about which buildings are most worthy of the recognition:
Wainwright also brings up what holds as a common thread throughout the reviews: the notable exclusions from the list. He describes the left-out Tate Modern Switch House with deference and a tinge of regret:
 The British Museum World Conservation and Exhibitions Centre / Rogers Stirk Harbour + Partners. Image © Joas Souza "The Stirling Prize 2017 shortlist displays a woeful lack of adventure." – Rowan Moore, The Observer Moore's concern about the list is that it does nothing to push the envelope of architecture and instead reacts to trends in the field while neglecting projects that truly define their time:
Distressed by the picture that the field of architecture is sending to the general public with these nominations, Moore is another critic baffled by the snub of the Tate Modern extension. He questions in his article whether the award is truly showcasing the best cultural accomplishments or whether it's instead becoming too cerebral:
 City of Glasgow College - City Campus / Reiach & Hall Architects and Michael Laird Architects. Image © Keith Hunter "The Tate-shaped hole in the shortlist is not so surprising" – Rob Wilson, The Architects' Journal Not everyone was offended by the missing Switch House. Wilson seems to find it overrated, though he does still agree that the list is lacking overall. What Wilson seems to miss in the list is diversity, appreciating it where it does appear, and generally seeming bored by the selection. He ultimately believes that the Stirling list does not account for the issues facing today's designers:
Wilson's choice for the winner reinforces his priority for architecture that engages on a deeper level with the communities it serves. Recognizing and appreciating the interdisciplinary nature of the field, Wilson finds the list lacking in those qualities.
 Command of the Oceans / Baynes and Mitchell Architects. Image © Hélène Binet "The Stirling prize has a pretty strange record, not exactly of getting it wrong (though it often does that) but of answering the wrong question." – Edwin Heathcote, Icon Another critic concerned by what the list fails to address, Heathcote agrees that the exclusion of the Tate Modern, as well as John Pawson's Design Museum, is an example of the Stirling Prize not accurately representing cultural accomplishments or engaging with society's most urgent problems.
Popular among most of the other critics, Heathcote appreciates the Glasgow City College and the Juergen Teller studio. But among the seemingly disparate projects, Heathcote finally recognizes a theme, noting the rigor, exceptional detailing, and understated style they have in common:
 Hastings Pier / dRMM Architects. Image © Alex de Rijke
This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Jul 2017 11:00 PM PDT  The Quadracci Pavilion at Milwaukee Art Museum. Image © <a href='https://www.flickr.com/photos/bvincent/18091164/'>Flickr user bvincent</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> Known for his daring neo-futurist sculptural buildings and over 50 bridges worldwide, Santiago Calatrava (born July 28, 1951) is one of the most celebrated and controversial architects working today. Trained as both an architect and structural engineer, Calatrava has been lauded throughout his career for his work that seems to defy physical laws and imbues a sense of motion into still objects.  Image via screenshot from <a href='http://www.archdaily.com/773960/video-santiago-calatrava-discusses-the-wtc-transportation-hub'>ArchDaily's interview with Calatrava</a>. Born and raised in Valencia, Calatrava grew up wanting to be an artist, taking art classes at 8 years old. Encouraged by his parents who saw potential for an international future for their son, he left home to attend l'Ecole des Beaux-Arts in Paris. However, when he arrived in 1968, the student protests were at their climax and, finding the classes canceled, he returned to Valencia to enroll in the Escuela Técnica Superior de Arquitectura. After graduating, he went to ETH Zurich to receive a degree in structural engineering followed by a PhD in technical science, making him one of the few architects at the time to also be fully trained as an engineer.  The City of Arts and Sciences of Valencia. Image © <a href='https://www.flickr.com/photos/timsnell/9153338448/in/photolist-eWRfC9-fVep9z'>Flickr user timsnell</a> licensed under <a href='http://https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> Starting his own practice in Zurich in 1981, Calatrava soon won a competition to design a local train station. The design, inspired by the skeleton of a dog that he had received as a gift, would be an indication of the style that would later define him, with curving concrete corridors that come together to create the semblance of a ribcage. His first American project, the Milwaukee Art Museum, went even further, featuring moving parts that required off-site fabrication, with organic forms reminiscent of a bird. It was also during his early career that he would design many of the bridges that helped to define his reputation as an architect, including his Bac de Roda Bridge in Barcelona, Spain.  Bac de Roda Bridge. Image © <a href='www.flickr.com/photos/52320409@N07/6139293185/in/photolist-amvtYv-D3RVMK-D3RXen-CJ2sYY-eEpxBz-CdCUVw'>Flickr user solopilar licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> In the wake of 9/11, Calatrava received the commission in 2003 for the redesigned PATH Rail Terminal at the World Trade Center. However his design, evocative of a phoenix rising from the ashes, began a series of recent controversies, as his project was delayed several times and went violently over budget. This pattern would be repeated in a number of projects including his canceled Fordham Spire in Chicago (also known simply as the Chicago Spire) and his removal from the commission of the Cathedral of Christ the Light in Oakland, California. Calatrava, however, has disputed the poor reputation he has collected in recent years, arguing in many cases that problems with projects were caused by forces beyond his control. He nonetheless remains one of architecture's most influential figures—his ambition and structural ingenuity pushing the envelope with new projects like the Museum of Tomorrow in Rio de Janeiro and the Yuan Ze University Project in Taiwan.  World Trade Center Transportation Hub. Image © Santiago Calatrava See all of Santiago Calatrava's Works featured on ArchDaily via the thumbnails below, and more coverage below those: AD Interviews: Santiago Calatrava AD Interviews: Santiago Calatrava Santiago Calatrava Discusses the WTC Transportation Hub AD Interviews: Santiago Calatrava on the Museum of Tomorrow Santiago Calatrava Awarded the European Prize for Architecture Santiago Calatrava's Turning Torso Wins CTBUH's 10 Year Award Santiago Calatrava's Florida Polytechnic Building Awarded "Best in Steel Construction" by AISC Video: Calatrava's Dubai Observation Tower Passes Wind Tunnel Testing How Santiago Calatrava blurred the lines between architecture and engineering to make buildings move With the Opening of the WTC Transportation Hub, Has Santiago Calatrava Been Vindicated? Santiago Calatrava on Ground Zero, Design Philosophy and the Greenwich Peninsula Project Santiago Calatrava's City of Arts and Sciences Through the Lens of Photographer Sebastian Weiss Gallery: Calatrava's WTC Transportation Hub Photographed by Hufton+Crow Learn About Santiago Calatrava's WTC Hub and More In This Short Documentary Rising from Tragedy: A Conversation with Calatrava, Childs, and Libeskind by Andrew Caruso If You Haven't Seen Calatrava's World Trade Center Oculus In Person, This is Pretty Darn Close VIDEO: Elegance in Motion at Calatrava's Liège-Guillemins Railway Station in Belgium Santiago Calatrava's City of Arts and Sciences Stars in Disney's "Tomorrowland" This posting includes an audio/video/photo media file: Download Now |
| The Glass Centre / Philippe Samyn and Partners Posted: 27 Jul 2017 10:00 PM PDT  © Marie-Françoise Plissart
 © Marie-Françoise Plissart From the architect. The Glass Centre, Flemish Centre for Modern Art, has been constructed along the length of the "De Vryheyt" passage, right in the heart of the town of Lommel. On "Dorp" square it completes the cultural ensemble for- med by the Aerts house and the regional tourist cent- re. In the "De Vryheyt" passage, a new glass gallery links "Dorp" square with the "De Adelberg" cultural centre and its future theatre.  Section 05 The nature of the project required us to design a glass building, and it has been designed in such a way that the space it provides blends in seamlessly with the art it displays and produces, forming a unified whole. Furthermore, the structure emphasises the Glass Centre's multifunctionality (education, information, ser- vices, exhibitions and glass production). The building's architecture adapts to this multifunctionality, using glass in varied and innovative ways. The Glass Centre is composed of two interconnected glass areas that interact with each other: first, there is a parallelepiped composed of a stainless steel frame covered with an ultra-clear glass curtain wall; second, there is a glass cone made up of triangles, which clearly identifies the building as the Glass Centre. The roof is considered to be the fifth facade and will receive a special treatment in the future.  © Marie-Françoise Plissart The range of colours used for the finished interior decor includes only white, black and a range of pure greys, composed exclusively of white and black pigments. The result is a neutral canvass that maximises the impact of the art works and their colours. In practice, we have retained white and two shades of grey with 35 and 45 percent black.  © Marie-Françoise Plissart From the outset, the building's sustainability was consi- dered to be an essential element of the project, both by the owner and by the architect. Heat from the kilns is therefore collected and used to heat the building and rainwater is used for the glass production work.  © Marie-Françoise Plissart The 6 m high parallelepiped houses the exhibition areas, which are laid out on three levels around the cone (the lower level, street level and the first floor). The luminous street level floor attracts visitors' attention and entices them into the Glass Centre. This area overlooks the exhibition hall situated in the lower level, the access to the cone and the two-storey glass kiln. As a result, visitors are naturally drawn to the lower level.  Planimetry 02 The lower level, which benefits from little natural light, is particularly well adapted to exhibiting art works made from glass. The exhibition area has a direct link to the workshop: it is separated only by large glass panels, enabling visitors to follow the manufacturing process whilst remaining at a safe distance.  © Marie-Françoise Plissart A semi-closed mezzanine offers an enticing view of the cone and the exhibition area on street level.  © Marie-Françoise Plissart The glass cone, which is 8 m in diameter, reaches a height of 30 m, dominating the other buildings in the town centre. It is clearly visible from all directions, but it is not an imposing presence in the urban landscape thanks to its filigree structure and the ultra-clear cove- ring that makes it almost transparent. At night, however the cone stands out as a real landmark thanks to a sea of electroluminescent diodes, as well as its illuminated point. Its point, which is made of perforated steel plate, is lit from the inside by a projector that shines upwards. The electroluminescent diodes that light up the structu- re in varying patterns are attached to the joints of the frames. They snake around the walls and come to a point at the top, constantly changing the building's visual impact.  © Marie-Françoise Plissart This posting includes an audio/video/photo media file: Download Now |
| You are subscribed to email updates from ArchDaily. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google Inc., 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
Nema komentara:
Objavi komentar