Arch Daily |
- Pigalle Duperré / Ill-Studio
- Seattle's Upcoming 134 Meter Residential Tower Takes Form As Series of Stacked Cubes
- From Landscape to Roofscape / Laura Katharina Strähle & Ellen Rouwendal
- Snabba Hus Västberga / Andreas Martin-Löf Arkitekter
- Thumbs up Building / B.U.S Architecture
- Eden Villa / xyz architects
- Space Renovation of No.5 Teaching Building / C+ Architects
- E-1 / Naf Architect & Design
- Sorrento Beach House / AM Architecture
- The Complex Yet Simple Geometry of Toyo Ito's Tama Art University Library
- Schulich School of Engineering Redevelopment and Expansion / Diamond Schmitt Architects + Gibbs Gage Architects
- 44 Maps Reveal New Yorkers’ Thoughts About Rats, Parks, Bike Safety And Other Urban Issues
- The Cave / Abraham Cota Paredes Arquitectos
- A Curated Guide to the Modern Architecture of São Paulo
- Mediathek / Laboratory of Architecture #3
- Critics Laud Francis Kéré’s 2017 Serpentine Pavilion for Its Simplicity and Authenticity
- Camburiú Building / AR Arquitetos
- Painting the Post-Digital: The Meaning Behind the Motifs
- Ilimelgo Reimagines Future of Urban Agriculture in Romainville
| Posted: 04 Jul 2017 10:00 PM PDT  © Sebastien Michelini
 © Sebastien Michelini "The anatomy of the human body as well as it's performances have had a lifelong relationship with art. Since the legacy of Greek and Roman antiquity, sport is represented as a dominant idea within the beauty of an era. This never-ending quest for modernity has forged a strong bond between functionality and aesthetics over the decades. Through this new court, we wish to explore the relationship between sport, art and culture and its emergence as a powerful socio-cultural indicator of a period in time. We aim to establish visual parallels between the past, present and future of modernism from the « Avant Garde » era of the beginning of the 20th century, to the « Open Source » times we live in today, and our interpretation of the future aesthetics of Basketball and sport in general." Ill-Studio & Pigalle.  © Sebastien Michelini  © Sebastien Michelini  © Sebastien Michelini This posting includes an audio/video/photo media file: Download Now |
| Seattle's Upcoming 134 Meter Residential Tower Takes Form As Series of Stacked Cubes Posted: 04 Jul 2017 09:00 PM PDT  Courtesy of Burrard Group/Weber Thompson A 440 feet (134 meters) tall stack of twisting cubes, Nexus is an upcoming residential tower planned for the northern edge of downtown Seattle, as the city experiences a shortage of for-sale housing amidst a thriving rental market. Designed by local practice Weber Thompson and commissioned by Vancouver-based Burrard Development, the tower includes 367 residential units and 3200 square feet of retail, aiming to offer one of few residential opportunities in Seattle's downtown core.
 Courtesy of Burrard Group/Weber Thompson  Courtesy of Burrard Group/Weber Thompson Formally, the twists of the stacked cubes differ by a margin of 4 degrees for each box, combining to create an 8-degree separation between the two. The design aims to achieve a level of perceived dynamism, enhanced as users circulate through the building and its programs. The space between rotations serve as rooftop gardens, adding greenery to the architecture and fragmenting the overall mass.  Courtesy of Burrard Group/Weber Thompson  Courtesy of Burrard Group/Weber Thompson This condition of these "sky terraces" allows for a number of penthouse levels and wraparound outdoor decks, as opposed to simply one penthouse floor at the top. "Sculpted erosions" at the corners of these floors create 2-storey townhouse units, adding diversity to the floor plan and offering private balconies and transparent living rooms, capturing the cityscape.  Courtesy of Burrard Group/Weber Thompson  Courtesy of Burrard Group/Weber Thompson Parking is available above grade at the base of the tower, also activating corners with micro-units. A backlit interactive façade responds to the movement of vehicular and pedestrian traffic, complimenting the street level retail opportunities including a major restaurant that opens up onto the street, weather permitting. Currently under construction, Nexus is set for completion by mid-2019. News via: Weber Thompson.
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| From Landscape to Roofscape / Laura Katharina Strähle & Ellen Rouwendal Posted: 04 Jul 2017 08:00 PM PDT  Courtesy of Laura Katharina Strähle & Ellen Rouwendal
 Courtesy of Laura Katharina Strähle & Ellen Rouwendal From the architect. What if students were able to make a change for poorer regions of the world with a small-scale intervention in architecture?  Courtesy of Laura Katharina Strähle & Ellen Rouwendal  Sketch  Courtesy of Laura Katharina Strähle & Ellen Rouwendal Two students challenged this question by setting up their own Design-Build-Project and designing a prototypical pavilion structure for public use in East Africa.  Courtesy of Laura Katharina Strähle & Ellen Rouwendal The combination of design research and architectural composition triggered the project to grow beyond a theoretic level. With the vision to show the feasibility and potential of the sustainably designed pavilion, the students Laura Katharina Strähle and Ellen Rouwendal developed a design for a community centre in a rural village in West-Kenya.  Floor Plan The research of building techniques, cultural and construction patterns resulted in the reinterpretation of traditional patterns of inhabitation and the final design. Managing the follow-up five month construction phase, acquisition of all funding and having the project leadership on site forms part of the students' challenge to explore the potentials of a Design-Build-approach on academic level.  Courtesy of Laura Katharina Strähle & Ellen Rouwendal The design for the pavilion structure is inspired by the local Acacia Tree. Under the trees, people like to gather for being protected from sun and rain. By modifying the principle for a reciprocal roof by Leonardo da Vinci, the culture of the community is translated into an architectural roofscape resulting in a prototype building principle. The main structure is made of bamboo creating a 64 sqm column free space underneath. The shape of the roof, the open courtyard and the permeable walls provide optimal water catchment and a constant breeze inside. Simplicity, low-tech design solutions and an understandable design process are the most significant aspects to communicate and realize the project successfully with the local inhabitants, local workers and international students.  Exploded Axonometric Within a period of less than two years, the students proof that the design fulfils its goals towards creating a design with a strong impact on architecture in poorer parts of the world.  Courtesy of Laura Katharina Strähle & Ellen Rouwendal This posting includes an audio/video/photo media file: Download Now |
| Snabba Hus Västberga / Andreas Martin-Löf Arkitekter Posted: 04 Jul 2017 07:00 PM PDT  © Johan Fowelin
 © Johan Fowelin From the architect. Snabba Hus Västberga is the second in a series of projects designed by Andreas Martin-Löf Arkitekter that utilizes off-site prefabrication techniques to provide affordable rental apartments for young people in Stockholm. The apartment buildings achieve sophistication at a low cost through the careful use and adaptation of standardized materials and methods. The project offers a timely solution for the growing housing shortage in Stockholm  © Johan Fowelin The six buildings were placed across the site to create a shared central courtyard. A system of prefabricated concrete structural elements support 280 apartments which have been assembled offsite. The ground floor accommodates larger family apartments as well as various auxiliary functions such as laundries, storage rooms, bicycle parking, and shared studios for flexible use and events. The compact apartments have generous glazing and balconies that are oriented inwards to the private courtyard. Semi-external corridors wrap the outer face of the building and are enclosed through alternating opaque polycarbonate and vertical aluminium slats. The corridor walls are treated with a chequered pattern of painted and raw concrete which is seen from the street. The three entrances, enclosed by raw glass, are located at the corners of the site, promoting movement throughout. Custom corridor lights and stair rails compliment the palette of standard prefabricated components used in general.  © Johan Fowelin  Ground Floor Plan  © Johan Fowelin In June 2017, Snabba Hus Västberga was awarded the prestigious "Golden Room" award, Stockholm Architects' Association Prize, issued by Architects Sweden annually to an individual or practitioner whom has progressed the field of architecture in Stockholm. The project was recognized for its considered approach to Stockholm's housing shortage through prefabricated, high-quality but low-cost apartments that are able to be relocated for future use.  © Johan Fowelin This posting includes an audio/video/photo media file: Download Now |
| Thumbs up Building / B.U.S Architecture Posted: 04 Jul 2017 05:00 PM PDT  © Kyung Roh
 © Kyung Roh From the architect. The land of the building adjoining the main street (the well-formed commercial area) was in the form of the reversed letter of "L". It was not so wide for pedestrians; easy access to the building, for which I felt sorry to the client. We proposed the way of using this narrow land to attract more pedestrians, but it was excluded from the agenda because it meant a reduction of a lot of rentable space. First of all, it is important to maximize the rentable area by securing as much coverage and floor area ratio as possible. We satisfied the client's desire first and then infiltrated our desire into it inch by inch. At the time, we were just like diligent bees incessantly flying over flowers to get their desired honey. This was the way that we got our so tasty and authentic honey.
Once enough area was secured, the volume was naturally decided on right away, except that some device was needed on the narrow land adjoining the main road to attract pedestrians. This narrow land becomes a road that traverses the ground back and fro or is divided into the two roads: one for crossing the ground to get behind the building and the other for climbing the building to rise far into the sky. The door to the road is always open, sometimes serving as a short cut for pedestrians to cross the street or sometimes as a small yard for pedestrians' brief rest.  © Kyung Roh The client's demand that the building sides all should be built with curtain-walled windows put us at a little bit embarrassment. The side overlooking the Han River was fit for the demand to some degree, but the other sides were likely to create a little bit disconcerting situation in which one would be forced to see the backward appearance of the behind building adjoining the nearby land. The land was located in an area of no interest, and according to the deliberation criteria, the building had to have a less than 60% of window area. Laws are sometimes a good means to persuade clients. We decided to find a way to let the client know that the curtain-walled windows are not appropriate regarding the laws or the land situation and to bypass his demand. It was the client's single demand that the front side of the building should have a window, and we wondered what the fundamental reason for the demand was.  © Kyung Roh For the client, the windows were a way of exhibiting the city (or the surrounding landscape). He wanted to see them all - the Han River at the frontal side of the building, the nearby streets, and the neighboring buildings. We needed not design the windows as a means of exhibiting the city. We modified the sizes of the windows according to the direction in which you saw them from each of the corner faces of the building and accentuated the sense of speed of the panorama when you get to each of the floors through the vertical traffic line.  Panorama Window As a result, the windows get smaller as they are going backward from the side overlooking the Han River. When you get to each of the floors, the surrounding appearances are unfolding like a panorama and the perspective drawing phenomenon is further distorted as the sizes of the windows of each side vary..  © Kyung Roh A shy yet sensual desire of seeing over there, with the eyes slightly covered with the fingers, is being expressed. As all these desires are fused into one, the building softly thumbs up. To someone, it may be the highest compliment or an expression of the encouragement saying, "You all worked hard. You did a great job."  © Kyung Roh This posting includes an audio/video/photo media file: Download Now |
| Posted: 04 Jul 2017 03:00 PM PDT  © mina
 © mina From the architect. Avoiding social interaction yet allowed wide possibilities of contact with nature is the core aim of this project. The owners wanted to keep the house as the private meeting hub for the big family, rather than for hospitality purpose. There was no hunger of connection with the neighborhood.  © mina The architects resolved this assignment with the close-outside-open-inside concept, by concealing itself from the outside, and open the most inside to welcome natural lighting and natural ventilation.  Section A The house is composed of 3 floors. Open ground floor where connects living room, dining room and library. First floor with 3 bedrooms which are connected by a transitional space for some entertainment activities before sleeping time.All the closed spaces were positioned a bit further, leave the center very open.  © mina The Architects' intention was to borrow the greenery of the outside garden to extend the interior view.  Section B A staircase leads from the ground floor to the second floor, then right straight to the void considered as the inside garden, which is the main hub to draw sunlight in. The bedrooms are positioned around this void, thus naturally making it the center of the whole house.  © mina The entrance leading to the open space of living room brings the view directly to the pool. This somehow blurs the boundary of inside and outside  © mina Natural lighting is the main element to connect all spaces and create a virtual relationship between floors. Openable sliding windows and timber screens allow natural lighting, raining and ventilation through spaces inside.  © mina The master bedroom is located in the second floor of the house. The architects put the inside balcony in front of the large bedroom with the intention of turning it into an inside yard, with a series of timber screen. The owners would able to adjust their placement to meet their need of lighting and privacy.  First Floor Plan Getting back to the basic: Simplicity, clean lines, raw material are all to make this project appealing.  © mina The choices of materials were based on the basic materials, such as rough stone, timber and plain porcelain. The raw textures contrasts nicely with the clean look of interiors.  © mina This posting includes an audio/video/photo media file: Download Now |
| Space Renovation of No.5 Teaching Building / C+ Architects Posted: 04 Jul 2017 01:00 PM PDT  © Xia Zhi
 © Xia Zhi From the architect. In the autumn of 2016 the principal architect of C+ Architects Cheng Yanchun received a design invitation from Beijing University of Civil Engineering and Architecture. The project is to renovate Teaching Building No.5 , which is situated in the old campus on Zhanlanguan Road of Xicheng district. BUCEA is Cheng's undergraduate Alma mater, so it contains unusual meaning to participate in the design for his university.  Before  © Xia Zhi No.5 Teaching Building established in 1956, combined both Chinese and Western architectural elements. The internal space is simple, in the middle of a narrow corridor, on both sides of the corridor is the classroom, and at each end in the building there is a staircase.  Section "We used to have advanced mathematics classes in this teaching building and the class started at 8 o'clock in the morning. I still remember that I woke up quite early just for saving a seat in the front of the class. At that moment, I thought that the corridor in this building was very long and the light was trance." Cheng once recalled at the beginning of the project.  © Xia Zhi Open the Sealed History Before designing, the architect was not only thinking about the building itself, but also the relationship between the building and the context. No.5 Teaching Building is located on the west side of the campus, enclosed a small garden with the No.3 building and the No.4 building. The small garden planted some plants, and a fountain. People would like to have a rest in the garden sometimes, actually, it mainly as the traffic space and landscape.  © Xia Zhi While transforming the inner space, the architect also think about the further design of the garden in some day. The courtyard is built in a private place and exterior environments rarely disturb it. Considering the cooperation of three buildings, the architect was trying to make it to serve more educational activities, not only as the garden. After transforming, the entrance is added to the center of the south side facing the garden, it is a public space as well. People are encouraged to have more interactions with the garden.  First Plan Going with the Flow The architect founded that the wooden structure of the roof and the gable of the whole building were very charismatic, when the building was dismantled internally, so the architect decided to keep the exterior of the cabin, and only reinforce and clean it up. After the modification, the original arch was clearly shown in the gable, multiple arches arranged in a row, formed an orderly space. People on the second floor of the public spaces can directly see roof and the original shape of the gable. The newly components and the old parts also can be seen directly.  © Xia Zhi Beyond that, the architect added skylights. From the beginning of the morning, the whole building is filled with sunshine. And with the changes of lighting, the atmosphere inside will be slightly changed as well. The natural light from the wooden house is projected on the interior wall of the building and the ground. This spatial experience of the light and shadow is similar with the garden, which has been mentioned.  © Xia Zhi Create a New Experience of the Space The old building lack of the public space for drawing review and lectures, but there is a growing demand for public space in today's teaching mode. The architect decided to pull down the south side of the middle of the second floosr to create a two-story high-rise space, here as an open amphitheater could hold a variety of public events. The northern space transformed into a public place for drawing review and discussion.  © Xia Zhi The new public space in the center of the building could serve the area of instruction on both sides, also has weakened the sense of the closeness of the narrow corridor, sight line up and down here, make building space more open and tridimensional. Furthermore, the walls on both sides of the first and second floor corridors will also serve as the exhibition space for students' works and teaching achievements.  © Xia Zhi The addition of natural lights and three-dimensional open space, all of these elements provide a new experience for the old building. This posting includes an audio/video/photo media file: Download Now |
| Posted: 04 Jul 2017 12:00 PM PDT  © Toshiyuki YANO
 © Toshiyuki YANO From the architect. A long three-story flat which consists of 6 dwelling units, 3 studios and 3 duplexes, stands along private passage diverged from the street in front of the premises. Behind the entrance doors of the flat is White Layer, long and thin space whose entire surface is painted in white. Behind the White Layer is living space such as kitchen, dining and living room.  © Toshiyuki YANO White Layer is facing south along the private passage, functioning as buffer zone between the passage and living space while receiving sunshine and wind from the passage and delivering them to living space. In terms of room layout, White Layer is where corridor and stairs are located, traffic line inside the flat, sometimes used as earthen floor, entrance, sun room, and work space.  Floor Plans 6 dwelling units have different room layouts but share the same structure of White Layer/ living space. Residents would go out from White Layer through private passage to street in front of the premises and to local community. The flat building with simple facade draws a slow curve, giving unified impression to the exterior.  © Toshiyuki YANO The premises is located within a several-minute walk from Musashi-Koyama station and Palm, largest shopping arcade in Tokyo, where convenience and enjoyment of life are scattered in the alleys.  © Toshiyuki YANO This project is aimed to build a flat with distinct presence and comfort in unique environment of the community.  © Toshiyuki YANO This posting includes an audio/video/photo media file: Download Now |
| Sorrento Beach House / AM Architecture Posted: 04 Jul 2017 10:00 AM PDT  © Dianna Snape
 © Dianna Snape From the architect. Sorrento Beach house is a new dwelling located on Victoria's first settlement site of 1803, on Sullivan's Bay. The beach house begins as an austere and robust object in the landscape which begins to relax and respond to its natural environment as it approaches the water.  © Dianna Snape Considering the site's history, we thought the exterior should not be playful. It should be heavy and robust as one would wish for a ship, or pier, and somewhat austere to avoid polite domestic gestures which seemed out of place against a sombre historical context.  © Dianna Snape  Ground Floor Plan  © Dianna Snape With this in mind; a broad & very heavy timber screen wraps the building, acting as a sunscreen to an insulated concrete shell beyond whilst directly referencing local coastal structures.  © Dianna Snape The house transitions between the concepts of shelter and exposure articulating privacy and the occupant's experience of the site. Internally, the sleeping zone emphasises the thermomass concrete shell and is characterised by internal surface, punched-out windows, deep timber sills, and filtered light through external slotted timber screens.  © Dianna Snape Broad light enters the living-zone and the architecture transitions to a language of spatial openness and less formal restraint, responding to sunlight, wind, privacy, and extensive foreshore views.  © Dianna Snape The concrete interior emerges to face the harsher conditions of the foreshore, the waterline "presses" against the building creating a sweeping roof line, earthy colours from a local quarry appear in the ground slab, and the timber ceiling fragments into a natural crystalline pattern which happen to align with constellations in the night sky on the eve of settlement.  © Dianna Snape The living areas are conceptualised as outdoor space; earth below, sky above waterline directly in front.  © Dianna Snape This posting includes an audio/video/photo media file: Download Now |
| The Complex Yet Simple Geometry of Toyo Ito's Tama Art University Library Posted: 04 Jul 2017 09:00 AM PDT In his latest video, filmmaker Vincent Hecht takes us inside Toyo Ito's Tama Art University Library. The project is notable for its effortless geometry, with the entire building comprising a series of simple concrete arches which, when combined, create a complex "emergent grid" which allowed for great flexibility in the building's plan. Hecht's video shows how this geometry works in practice, as the elements of the library snake through the building's light, open interior.
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| Posted: 04 Jul 2017 08:00 AM PDT  © Ed White
 © Ed White From the architect. The Canadian Natural Resources Limited Engineering Complex is an infill expansion of the Schulich School of Engineering at the University of Calgary. The design integrates over 4500 students, faculty and staff in new and modernized space within the existing campus. The goal was to improve the teaching, research, administrative and support spaces as well as to upgrade public circulation and to provide the school with a centralized social hub.  © Ed White The phased, seven-year-long project took place with the existing facilities fully occupied. Many of the servicing elements within the design are exposed and celebrated such that they become central elements of the building aesthetic and create a didactic learning tool for students. Significant portions of the old precast cladding have been internalized to become a major archeological element within the new atrium. A gantry crane located beneath the skylight serves as an iconic example of working engineering within the very heart of the public spaces.  Basement Plan To allow maximum flexibility for curriculum changes in the future, which will extend the life of the building, the servicing for the new spaces has been carefully arranged to allow numerous room configurations. The labs were moved to the upper floors so that their ducted path to the roof and penthouse were shorter.  © Ed White The project is designed as an economical infill scheme that maximizes new built area with a minimum of new building envelope, most of which is glazed. The south elevation, which is the only full "face" the building has, is four stories of dynamic view glass, a product that darkens depending on the intensity of the sun, thereby ensuring that glare and heat gain does not compromise the usefulness and level of comfort.  © Ed White The architects took this sustainable feature a step further by programming the glazed panels allowing graphics to dance across the facade. "We've currently programmed it to go through a set sequence twice a day, with the tinting slowly dissolving into basic patterns as time passes," said David Dow, Principal, Diamond Schmitt Architects.  Sections Students congregate in the light-filled space on brightly coloured, X- and O-shaped seating designed by Dutch firm Feek. The atrium floor drops away in an amphitheatre-type setting to improve connection with the basement, which both extends daylight into the core and provides access to a garden. Two 240-seat theatres anchor the expansion at the north and south. Flexible space with retractable seating in one theatre can accommodate lectures, exhibition space or dining venue. A large sliding partition opens onto outdoor event space where learning opportunities integrate with the landscape.  © Ed White The complex has a sustainability mandate to pursue LEED Gold certification. There are multiple green goofs to both insulate and mediate heat-island effect. As part of an awareness campaign, an electronic dashboard for real time display of the energy performance and resource use of the building is provided.  Ground Floor Plan This posting includes an audio/video/photo media file: Download Now |
| 44 Maps Reveal New Yorkers’ Thoughts About Rats, Parks, Bike Safety And Other Urban Issues Posted: 04 Jul 2017 07:00 AM PDT  via The New York Times How satisfied are you with your city's garbage service? Its parks? The way it handles pest control? What about homelessness? In the USA's largest metropolis, which covers a total of 468.484 square miles (1,213.37 km2) and is home to over 8.5 million people, New Yorkers' perception of their city and the services it provides reveals the "uneven distribution of New York's opportunities," according to a survey conducted by The New York Times. The project also shows relative accord and satisfaction with fire and emergency medical services and agreement that use of tax dollars, public housing and traffic can be improved.  via The New York Times In addition to the 44 diagrams that map resident satisfaction for a number of urban issues, The New York Times has created an interactive infographic that shows the ranking of each neighborhood/district. The design of the graphic shows the distribution and trends of satisfaction; services for the homeless ranked dismally across the board, whereas daytime park safety received high marks throughout.  How Midtown Manhattan compares to New York's other neighborhoods.. Image via The New York Times See the maps and interactive infographic over at The New York Times. This posting includes an audio/video/photo media file: Download Now |
| The Cave / Abraham Cota Paredes Arquitectos Posted: 04 Jul 2017 06:00 AM PDT  © Cesar Béjar
 © Cesar Béjar
 © Cesar Béjar The land is located within the metropolitan area of Guadalajara, in one of many private condominiums delimited by large walls, as a result of increased insecurity in Mexico. It is this duality among a chaotic city and the search for isolation and shelter, what generates Introspective Architecture.  © Cesar Béjar An Architecture that seeks to give a fundamental importance to the user's privacy, generating an atmosphere that combines the correct management of light and the fluidity of spaces.  © Cesar Béjar The project was born from listening the client's needs: within the list of dependencies, a space seemed fundamental, a multipurpose room located on the basement was needed where the client´s family would spend a lot of quality time. We thought of introducing a double height patio that would provide natural lighting and ventilation to the basement.  Section A This gave us the perfect excuse to plant a tree that would bring character to the space.  © Cesar Béjar On the ground floor, the crown of the tree rises, filling the void generated by the double heights, extending its branches throughout the surrounding spaces. This void acts as an articulator, causing an indirect spatial relationship between the entrance on both levels and the dining room, the spaces can be seen but not touched.  © Cesar Béjar When you enter the house, whether by the basement or the ground floor, the tree welcomes you, as a host who opens its arms to salute you.  Ground Floor Plan Oriented towards the back of the plot the dining room is located on a space with a double height, it communicates with the void of the patio on the basement, and generates a segmented triple height that causes astonishment to the viewer once it is discovered. Facing south, a large window bathes in light the space of both concatenated double heights.  © Cesar Béjar On the second level where the rooms of the children are located. A staircase with a solid handrail brings a sculptural approach to the space, which in turn let us discover another double height that relates with the last level of the house where the main room is illuminated through a patio. A window that captures the light of the east, lets the warm air of the house escape.  © Cesar Béjar The outer form: a cube that sits on a stone base, seeks to be as closed as possible but opening the grooves necessary to provoke in the viewer an interest in knowing what goes on inside.  © Cesar Béjar This posting includes an audio/video/photo media file: Download Now |
| A Curated Guide to the Modern Architecture of São Paulo Posted: 04 Jul 2017 05:00 AM PDT  Samuel Cabral, via Flickr. License CC BY 2.0 There are many ways to get to know a city. There are those who, when commenting on a particular city they have visited, remember the gastronomy and restaurants they frequented. Other travelers will remember the music and the parties; others will remember specific markets or events. You, a keen ArchDaily reader, probably took careful note of the architecture above anything else. Each of these means of knowing a city keeps specificities and riches, but none of them alone can recreate a faithful mental landscape of the real city. There is no problem in this, after all, the same city can be very different for two people who live in it or who are visiting it. Among these ways of getting to know a city, we focus on architecture, more specifically, the modern architecture of São Paulo, in an attempt to offer our readers a look at one of the largest city in South America from an architectural approach We have selected some widely known works and others less cited, so that this guide of São Paulo's architecture is as interesting for those accustomed to the city as it is for those who pass through it sporadically or even those who have never visited it but are planning a trip. Next, get to know São Paulo from some of the most important works of modern architecture in the city. Modernist House on Santa Cruz Street © Pedro Kok Architect: Gregori Warchavchik An Architects Second Residence © Nelson Kon Architect: Vilanova Artigas Institute of Architects of Brazil - Department of São Paulo © Rafael Schimdt Architects: Rino Levi, Roberto Cerqueira Cesar, Miguel Forte, Jacob Ruchti, Galiano Ciampaglia, Zenon Lotufo, Abelardo de Souza and Helio Duarte Glass House © Fernando Stankuns via Flickr. License CC BY-SA 2.0 Architect: Lina Bo Bardi Oscar Americano's Residence © Nelson Kon Architect: Oswaldo Bratke Conjunto Nacional © catonahotgreenroof Architect: David Libeskind Castor Delgado Perez's Residence © Acervo Digital Rino Levi FAU PUC Campinas Architect: Rino Levi Atlético Paulistano Club Courtesy of Relae Design Architects: Paulo Mendes da Rocha and João De Gennaro Rock Gallery © Jen Leonard, via Flickr. License CC BY-NC-ND 2.0 Architect: Siffredi & Bardelli and Alfredo Mathias USP History and Geography Building © Gabriel de Andrade Fernandes, via Flickr. License CC BY-SA 2.0 Architect: Eduardo Corona Metrópole Gallery © Alessandra Ramos Pinto, via Flickr. License CC BY-SA 2.0 Architects: Salvador Candia and Gian Carlo Gasperini São Bonifácio Church © Ricardo Amado Architect: Hans Broos CECAP Guarulhos Screenshot from - youtube.com/watch?v=E_fa8Vkf3V8 Architect: Vilanova Artigas Faculty of Architecture and Urbanism, University of São Paulo (FAU-USP) / João Vilanova Artigas and Carlos Cascaldi © OWAR Arquitectos Architects: Vilanova Artigas and Carlos Cascaldi Tomie Ohtake's Residence © Nelson Kon Architect: Ruy Ohtake Alceu Amoroso Lima's Library © Rafael Munduruca Architect: José Oswaldo Vilela Jabaquara Cultural Center.jpg?1499098673 "© Shieh Shueh Yau") © Shieh Shueh Yau Architects: Shieh Shueh Yau and Gustavo Neves da Rocha Filho Vale do Anhangabaú (requalification) Courtesy of São Paulo City Architects: Jorge Wilheim, Rosa Kliass and Jamil Kfouri São Paulo Cultural Center © Marcio De Assis Architects: Eurico Prado Lopes and Luiz Telles Museu Brasileiro da Escultura (MuBE) © Nicolas de Camaret. Courtesy of Arquivo Arq Architect: Paulo Mendes da Rocha This posting includes an audio/video/photo media file: Download Now |
| Mediathek / Laboratory of Architecture #3 Posted: 04 Jul 2017 04:00 AM PDT  © Nakanimamasakhlisi
 © Nakanimamasakhlisi From the architect. To be inviting is a central aspect forming the architectural concept of the third municipal Mediatheque opened in 2017 in Tbilisi Georgia.  © Nakanimamasakhlisi  © Nakanimamasakhlisi The building is located in the center of the park, in the district where the housing blocks stand surrounded by the vast and industrial zones. The project is aimed to fill the deficit of the cultural and educational facilities of the area. The Building serves as a traditional and a multimedia library for children and adults, it has the reading halls, children play areas, spaces for the lectures and various presentations. Mediatheque is also a venue for conferences, concerts and exhibitions.  © Nakanimamasakhlisi  Plan 0.00  © Nakanimamasakhlisi The architectural form can be perceived as something, that is divided into two parts and enclosed in a single rectangular frame. The Building is situated at the end of the main pathway of the park, which flows under the fabric coated steel contour, which is cantilevered for 12 meters in front and envelopes the dynamic self standing composition including the spiral ramp welding with an cylindrical volume of the cafeteria.  © Nakanimamasakhlisi However, there is a certain distance till the entrance, but setting foot into the contour already gives an impression of the soft access. The form of the ramp is derived from the children's slide and serves as a welcoming gesture for the kids.  © Nakanimamasakhlisi Surrounded by the frameless glass, interior is arranged by the functional oval rooms, which also hold the structural load of the second floor.  © Nakanimamasakhlisi Building also featured the blue round courtyard on the upper floor, which serves as source of sunlight and is a perfect place for events or reading under the sunlight.  © Nakanimamasakhlisi This posting includes an audio/video/photo media file: Download Now |
| Critics Laud Francis Kéré’s 2017 Serpentine Pavilion for Its Simplicity and Authenticity Posted: 04 Jul 2017 02:30 AM PDT .jpg?1499123140 "© Iwan Baan") © Iwan Baan London's annual temporary architecture pavilion spectacular has returned. Each summer the Serpentine Pavilion program selects an accomplished architect who has yet to create work in the United Kingdom, and asks them to build a temporary shelter on the gallery's lawn. The resulting structure is erected in June and dismantled in October. This year's offering is designed by Francis Kéré—the first pavilion designed by an African Architect to grace Kensington Gardens. Kéré's project is composed of a series of curving blue walls shaded by an elliptical cantilevering wood and steel canopy. Thus far the design has been universally lauded by critics; read on to find out why they thought the project was so appealing. .jpg?1499123175 "© Laurian Ghinitoiu") © Laurian Ghinitoiu "This simple structure is laced with countless stories of inclusivity which speak to a London in grief" – Ike Ijeh, BDOnline Ike Ijeh places Kéré's communal pavilion in the social context of the Grenfell Tower disaster, Brexit, and the divisive political climate that currently grips the capital city. Ijeh finds this year's offering to be one of the "most low-tech pavilions in years" and as a result, the journalist commends the project for its welcoming design and unpretentiousness.
Ijeh claims that even though Francis Kéré is a native of Burkina Faso, his accessible and intimate project is proof positive that the multiculturalism of London itself is successful. By promoting genuine human interaction through natural materials, Kéré's project is a vote of confidence in tumultuous times:
.jpg?1499123196 "© Laurian Ghinitoiu") © Laurian Ghinitoiu "The resulting miniature-stadium-esque aesthetic is unmistakably Kéré, and is led by a mix of pragmatic climatic responses and the storytelling he is becoming known for" – Jon Astbury, The Architects' Journal Jon Astbury praises both the simplicity and cultural significance that Kéré's pavilion embodies: everything from the laced wood and steel canopy, to the stacked and painted wooden walls carry symbolism.
Astbury goes on to praise how the building selflessly negotiates the climatic challenges of the site. The structure's massive canopy can simultaneously filter sunlight, protect occupants against rain, and tend to the park's green space:
.jpg?1499123207 "© Laurian Ghinitoiu") © Laurian Ghinitoiu "Inspired by a tree used as a meeting place in his native village of Gando, architect Francis Kéré has brought a piece of Burkina Faso to London—a deceptively simple roof that seems to float above the greenery" – Oliver Wainwright, The Guardian Wainwright remarks on the tranquillity achieved through Kéré's space through its straight forward, human-centered design. He finds that through the building's simple elements, complexity is derived:
Wainwright goes on to applaud the project's relative authenticity. Kéré's "upturned hat" is entirely unusual to the Serpentine as it escapes the parametric tropes that pavilions of the past have seemingly been stuck in. It's also one of the few projects, he argues, that delivers more than its concept promised:
 © Iwan Baan "Kéré's pavilion is a tree-like space in which to enjoy all weathers and 'meet your dream'" – Rowan Moore, The Observer Rowan Moore claims that the pavilion is successful because of the scope of what it tries to accomplish. The gathering space is merely a small sheltered seating area with good lighting conditions. The project doesn't transcend its pragmatic purpose by wandering into the realm of sculpture. Program is still king in Kéré's tactful project.
The critic lauds the level of authenticity that Kéré achieves. He finds the rationalization for the design choices to be more convincing than previous pavilions:
.jpg?1499123186 "© Laurian Ghinitoiu") © Laurian Ghinitoiu "The structure does have a certain geometric exuberance to it—albeit less of the Instagram pizzazz of last year's unzipped wall of boxes by Bjarke Ingels or the rainbow-tinged polytunnel created by Selgas Cano for 2015." – Edwin Heathcote, The Financial Times Edwin Heathcote frames his positive review of the pavilion around an interview conducted with the architect himself. He finds Francis Kéré's design expressive but not self-absorbed. The structure is a respectful homage to the building techniques prevalent in the architect's native Burkina Faso.
The pavilion's success is a promising milestone for African architecture, says Heathcote. This small shelter in central London represents an unexpected embrace by the West towards African design, and its popularity could help spur public interest in the continent:
Diébédo Francis Kéré's Serpentine Pavilion Photographed by Laurian Ghinitoiu This posting includes an audio/video/photo media file: Download Now |
| Camburiú Building / AR Arquitetos Posted: 04 Jul 2017 02:00 AM PDT  © Maíra Acayaba
 © Juan Pablo Rosenberg From the architect. The project for this eight apartment building located on a steep terrain in São Paulo proposes an alternative for a collective housing in the city, by treating the group of residential units as a cluster of overlaid houses forming a "vertical village".  © Mário Daloia  © Maíra Acayaba This resource, apart from creating a rich volume for the building, associates the quality of life of each resident to low impact on the neighborhood, in an association of individual and collective advantages.
The resulting volume arises from the juxtaposition of collaborative responses to six specific assumptions raised:  © Maíra Acayaba At first locating eight housing units on a 750m² (15x50m) plot, without the possibility of using progressive and taxes (C.A = 1), forced us to seek an alternative route to optimize the areas of each apartment. External areas, not computable, emerged as a natural response.  © Maíra Acayaba  Plans  © Mário Daloia The sloping terrain, a former industrial stockyard was already divided into four plateaus going from the street down. Another solution was to take advantage of these levels, as well as the existing retaining walls, in order to minimize the energy cost with earthwork.  Diagram  © Juan Pablo Rosenberg  Section The stacking of volumes in relation to these levels was replicated in the development of the building, generating blocks of different sizes and depths resulting in terraces for the apartments. This solution ensures that all units have at least 40 m² of external sunny area, overlooking the valley to the East. This feature, not only qualifies the use, but also ensures "porosity" to the building which minimizes the shadow and preserves air flow in the neighboring plots. The fitting of each unit's floor plan within a structural modulation aims, in particular, to position the bedrooms to the sunny façade and to turn the wet areas to the South, enabling good ventilation and sometimes two-story high ceiling in the living rooms. The terraces are always part covered, part uncovered, facing the valley to the rising Sun, as well as most of the rooms.  © Mário Daloia This posting includes an audio/video/photo media file: Download Now |
| Painting the Post-Digital: The Meaning Behind the Motifs Posted: 04 Jul 2017 01:00 AM PDT  Courtesy of Fala Atelier The ever-growing realm of "post-digital" drawing is currently at the forefront of a healthy dosage of discourse, appreciation and even criticism, as professionals and students alike continue to push the envelope of accepted architectural representation and exchange a waning hyperrealism for the quirks and character of alternative visual narratives. Central to this new wave of illustration is the inclusion and appropriation of specific icons and characters from famous pieces of modern art, selected in particular from the works of David Hockney, Edward Hopper and Henri Rousseau, whose work undoubtedly remains at the forefront of their individual crafts and styles. While the revival of these works, albeit in a drastically altered form, demonstrates an appreciation of and reference to masters of old, this practice has posed a few risks, as expressed by Federica Sofia Zambeletti of KoozA/rch, who warns of the standardization and misuse resulting from the repetitive inclusion of these images without consideration for their cultural origins. Yet when used with intentional specificity, these icons have the potential to create a rich graphic understanding of a project that surpasses solely aesthetic qualities. So, to help you better understand the references you use and impress all those who swoon over your compelling collages, here's a rundown of some of the most popular figures and motifs that have made their way from the art world into architecture's renderland.
David Hockney, Mr. and Mrs. Clark and Percy (1970-71) Punchy colors and striking portraits? Chances are you're looking at a fragment of David Hockney's work. Born in 1937, the English painter and photographer has long been considered one of the most influential British artists of the 20th century and a key figure of the 1960s pop art movement. Hockney is well known for his double portraits, a series which he began in 1968 with imaginary couples before basing his work off his real friends. In this piece, the subjects are Ossie Clark and Celia Birtwell, highly rated fashion designers from northern England who met the artist in the 1960s, and asked him to be their best man when they married in 1969. Frequently referenced for the distinct poses and expressions on the subjects' face, the statue-like painting of Percy the cat also commonly pops up in numerous interiors. Unfortunately, the Clarks' marriage did not last. David Hockney, My Parents (1977) Another double portrait of a more successful marriage perhaps, Hockney's parents Laura and Kenneth were painted a year before his father's death, as the artist's work shifted towards a closer study of human behaviour, highlighted here by the still serenity of his mother and the fidgeting of his father, reading Aaron Scharf's "Art and Photography". Much like Percy the cat, the painted vase of tulips between the two also follows the couple into the post-digital world. One can only wonder how the two would've reacted to their newfound architectural fame.
David Hockney, Beverly Hills Housewife (1966-67) Los Angeles domesticity became a focal point of Hockney's work, following his visits and eventual move California in the mid-1960s, where endless afternoons and the refracted light of swimming pools made their mark. Here in this 12-foot painting, American philanthropist and photographer Betty Freeman is depicted in her Beverly Hills home, later featured in other artistic contexts, and is accompanied by a distinguishable single palm tree and antelope bust that characterize her dwelling and set the standard for wealthy American living. Jack Vettriano, The Singing Butler (1992)  Courtesy of Maria Morais / KoozArch The shadowy realism of Scottish painter Jack Vettriano has often been compared to that of renowned American realist painter Edward Hopper (who is also a regular when it comes to the post-digital world). Born in 1951, he became a self-taught painter after leaving school for a mining job at 16. Vettriano's Singing Butler has become the best-selling art print in the UK, after the original sold for a record price in 2004. The painting was conceived after Vettriano received a comment noting his skill in depicting beaches and seaside settings, and portrays a couple dancing somewhere in the British Isles, while their maid and butler stand near to protect them from inclement weather. Though highly popular with the public, the piece has received staunch opposition from critics, due to its inconsistent finishes and odd character details, while the dancer's poses are taken directly from the Illustrator's Figure Reference Manual – a fact that Vettriano accepts and defends. The painting has widely been considered Britain's version of Grant Wood's American Gothic. Jack Vettriano, Mad Dogs (1992)  Courtesy of Maria Morais / KoozArch The costume and style of the previous work bleed into much of Vettriano's work as well as the architectural illustrations, given that many of the individuals add motion to an otherwise still setting. The painting also features the recurring beaches and umbrellas, though the dancing couple is replaced by two women and an umbrella-wielding gentleman, laying the foundation for a narrative that exists within the piece, yet is clearly open-ended, making it a popular feature in many a collage. Jack Vettriano, The Out of Towners (unknown)  Courtesy of Maria Morais / KoozArch Lacking the sharp edges of the previous two images, this painting depicts a trio of travelers, as the title suggests, visiting an unknown seaside destination. Vettriano includes a pier or pavilion in the distance, adding a tourist undertone to the characters. Interestingly enough, it seems that any reference to the artist's work within architectural representation remains limited to his tamer and more idyllic seaside settings, as opposed to the darker erotica that also is part of his repertoire of work. Henri Rousseau, The Dream (1910)
Vibrant, lush and exotic vegetation seems to be what French post-impressionist Henri Rousseau is best known for in both the art and the post-digital world, despite facing ridicule throughout his life for his supposedly childlike artistic manner. Born in 1844 and another self-taught painter, Rousseau was highly influential in the Primitivism movement for future generations of avant-garde artists, including the likes of Picasso. The largest and last of his 25 jungle-inspired works, this painting is a surreal depiction of Rousseau's Polish lover Yadwigha reclining on a sofa surrounded by exotic plants and numerous animals. In a poem accompanying the piece, Rousseau calls attention to the dreamlike quality of the setting, induced by the sounds of the flute and blurring lines between domesticity and the wild. Often regarded as one of his greatest masterpieces, The Dream put an end to the ridicule of Rousseau's work. Henri Rousseau, The Snake Charmer (1907)
This is another famous example of Rousseau's depiction of extravagant jungles, which were inspired not by his travels, but rather by his visits to the Jardin des Plantes and natural history museum in Paris. The surreal experiences he felt when visiting these places is translated through the fine brushwork that create the atmospheres of his wild settings; here induced again by the instrument of the snake charmer, or, Eve seducing the serpent in the Garden of Eden. Unlike Vettriano's motion-driven scenes, the jungle remains transfixed. Henri Rousseau, Exotic Landscape (1908)  Courtesy of Other Architects / KoozArch A lack of human presence distinguishes this work from others created by Rousseau, instead wholly focussing on the vibrant plants and hidden animals that populate the jungle during the day, as opposed to the night. A white and blue bird draws the eye at first glance, accompanied by monkeys and oranges, referenced by Rousseau from wildlife exposition and publications that he accessed in Paris, having never left France over the course of his career. Many styles of plants that he paints are highly similar, though not identical, and are both blatantly and subtly utilized in post-digital landscapes. Ultimately, referencing and drawing from history, culture, and society is integral to not only the depiction of architecture but the creation of architecture itself. While engaging with the former, it is becoming increasingly important to be aware of the implications and meanings associated with the symbolism and iconography we use, to create thoughtful narratives and rich spatial ideas that are both aesthetically delightful and conceptually nuanced, so that the post-digital age of drawing continues to stimulate relevant content that draws from works of old to create new images that stand as their own. Additional information via Tate Modern & MoMA.
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| Ilimelgo Reimagines Future of Urban Agriculture in Romainville Posted: 03 Jul 2017 11:00 PM PDT  Courtesy of Ilimelgo In their winning competition entry, French architecture firm Ilimelgo reimagines the future of urban agriculture with a vertical farming complex in the Parisian suburb of Romainville. The project integrates production of produce into the city through a 1000 square meter greenhouse that maximizes sunlight and natural ventilation. Recognizing the developing world's diminishing agricultural space, the project aims to meet the growing demands for crop cultivation in urban environments. Conscious of this need, the city of Romainville has been supporting sustainable and forward-thinking alternatives to small plot-based agriculture. Though they have implemented many rooftop and allotment gardens in the past decade, the Vertical Farm represents a comprehensive dedication to sustainability, education, and local economic participation.  Courtesy of Ilimelgo The building is split into two wings to aid crop growth, taking advantage of sunlight and limiting shade. Organic building materials such as straw bale and wood fiber insulation add to the sustainability of the project. The form of the Vertical Farm, a rectangular prism with a triangular roofline, is a reference to the existing architecture in the area.  Courtesy of Ilimelgo The ground floor of the building houses educational space, offering workshops and an instructional garden to teach the public about cultivation. Also included on the first floor is a place for crops to be sold.The Vertical Farm creates a small production loop, growing produce in the same place where is available for purchase by local residents.  Courtesy of Ilimelgo The upper floors feature spaces for bio-intensive farming using culture containers. Specially irrigated to provide healthy environments for specific crops, the containers also allow for a flexible and dynamic organization of space. The facility houses a mushroom farm, orchards, a henhouse, and laboratories that experiment in seed germination.  Courtesy of Ilimelgo Currently raising funds for the project, the final delivery is slated for Summer 2018. News Via: Ilimelgo. This posting includes an audio/video/photo media file: Download Now |
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