Arch Daily |
- VONNA / PYO arquitectos
- Reale Group Office Building / Iotti + Pavarani Architetti + Artecna
- MOỌC Spring / RÂU ARCH
- Norman Foster Stresses the Importance of Interdisciplinary Architecture in Creating Future Cities
- Spotlight: Philip Johnson
- House 01 / ES Arquitetura
- RIBA Releases Statement Addressing Grenfell Fire Tragedy
- This Video Presents an Abstract Reflection on Our Modern Cities of Glass
- Emiel Claus / Perneel Osten Architecten
- 9 Weird and Wonderful Architectural "Ducks"
| Posted: 08 Jul 2017 10:00 PM PDT  © Imagen Subliminal
 © Imagen Subliminal From the architect. The project for Estudio Vonna is built with distances. Distances with the existing.  © Imagen Subliminal The new separates from the existing. Thus, the shop window carpentry is attached to the facade anchoring from the outside, "presenting" the existing structure, appropriating its qualities, detaching itself from it and putting it in value. Its execution, its assembly and its detail are a presentation of the interior intervention.  Axonometric The carpentry is folded to distance itself from the street and welcome the client in a "domestic" space. Its delicate materiality steps away from the bare space that surrounds it and from the movement of the street. The marble that defines the interior showcase plinth leans out of the street and invites to enter.  © Imagen Subliminal The intervention on existing materials is focused on recovering their "gross" qualities. The terrazzo tiles are diamond polished. The suspended ceilings are dismantled and the building concrete skeleton appears. The surfaces are undressed revealing their folds, their superimposed accidents, allowing a glimpse of excavated time.  Courtesy of PYO Arquitectos  Courtesy of PYO Arquitectos In the main space, the new materials near the existing ones through joining elements like brass profiles in the marble cuttings, wood strips in the partitions supports, or metal anchors in the pine wood uprights of the samples exhibition wall.  © Imagen Subliminal  Railing Detail  © Imagen Subliminal There is a writing of time, in which each line can be thought of as a boundary between two incessantly forking and crossing times. The project juxtaposes in the same space two successive cuts, revealing the space between them: a temporary space, in which the trace acquires thickness, an architecture built from the experience accumulated in the traces.  © Imagen Subliminal This posting includes an audio/video/photo media file: Download Now |
| Reale Group Office Building / Iotti + Pavarani Architetti + Artecna Posted: 08 Jul 2017 07:00 PM PDT  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG From the architect. The new operations headquarters of Reale Group in Turin was opened in October 2016, not far from Piazza Castello, in the heart of the historical centre. The new spaces accommodate 800 work stations, 150 car parking spaces and a conference room for 280 people. It is an important and ambitious project aimed at ensuring innovative standards in the building performances but also focused on generating a new urban redevelopment process through attentive dialogue with the city.  © Fernando Guerra | FG+SG  © Fernando Guerra | FG+SG The architecture defines a contemporary insertion in the heart of the historical centre: a new construction that represents a significant replacement project achieved without taking up additional land, into which Reale Immobili has invested 50 million euros. The new innovative and highly comfortable offices cover a built area of 23,500 square metres, giving form to a building that redefines the urban block highlighting the presence of an internal courtyard covering 1,700 square metres, visible from the street front. All the spaces help to achieve an excellent quality work environment and define an urban campus that exists in synergy with the historical site. Certified as class A2, the new complex complies with all the highest energy standards and has the characteristics to attain the international LEED Platinum certification.  © Fernando Guerra | FG+SG The architects Paolo Iotti and Marco Pavarani (Iotti + Pavarani Architetti), together with a group of designers from Artecna, have redefined the urban block through a project that involves the volumetric organization and design of the external façades and those facing onto the internal courtyard. The entire complex takes on board the surrounding area and "absorbs" a protected historical façade (that on Via Bertola and Via San Dalmazzo), creating a compositional solution in harmony with the surrounding buildings.  Facade Composition Diagram The architectural envelope becomes a fulcrum, a gravitational hub in the urban fabric of this part of the surrounding centre of Turin: it focuses the attention on itself and, through a simple and rigorous arrangement of the four façades, defines a contemporary intervention which is at the same time intimately linked to the place, simultaneously generating the conditions for high energy efficiency and excellent exploitation of the light.  © Fernando Guerra | FG+SG As a counterpoint to the external envelope exposed to the urban context, a more transparent and subtle façade surrounds the internal courtyard, which fits with the furnished garden. A clad counterfaçade system with shaped profiles of anodized aluminium in different colours screens the doors, windows and glass partitions creating the effect of a vibrant "artificial forest" sensitive to changes in the natural light.  © Fernando Guerra | FG+SG  Ground Floor Plan  © Fernando Guerra | FG+SG This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Jul 2017 01:00 PM PDT  © Hùng Râu Kts
 © Hùng Râu Kts From the architect. The project is a combination of accommodation, convalescence, restaurant and food service to be built to serve the needs of tourists visiting the spring water stream. The first floor of the building is a residential area for visitors and ancillary services such as kitchen, storage, sanitary and bathing areas, And wall tiles decorated with chopped stone.  Section and Elevation The 2nd floor is a reception area for visitors to combine the refreshment area, restaurant, used reinforced concrete pillars combined with nulgar bamboo Tree material, Leaf leaf, reinforced steel frame system.  © Hùng Râu Kts On the overall architecture, the project uses raw materials and raw materials to match the modern materials to ensure the construction is sustainable because the construction area is the place where frequent floods and storms annually.  Diagrams The building's skylight is used to light the middle part. The roof truss system is quite sophisticated. Hope this project will contribute to the homeland an interesting tourist attractions full of interesting.  © Hùng Râu Kts  Floors Plans  © Hùng Râu Kts This posting includes an audio/video/photo media file: Download Now |
| Norman Foster Stresses the Importance of Interdisciplinary Architecture in Creating Future Cities Posted: 08 Jul 2017 09:00 AM PDT Architecture, as both a profession and the built environment, currently finds itself at a crossroads in trying to adapt to a world in constant flux. Cities and its people face continuous socio-economic, political and environmental change on a daily basis, prompting a necessary rethink in the evolution of sustainable urbanization. With a focus on housing, society and cultural heritage, RIBA's International Conference, Change in the City, aims to offer insight into the "New Urban Agenda" and how architects can play an interdisciplinary role in future urban development. Speaking in an interview ahead of the conference, Norman Foster is a strong advocate for a careful consideration of what aspects of urban life need to be prioritized when designing cities of the future. For an increasingly global society, Foster stresses the need for architecture to surpass buildings and tackle its greatest obstacle – global warming, honing in on its roots and factors involved to create viable urban solutions.  Sainsbury Centre, Foster + Partners. Image © Tim Caynes
 Hearst Tower, Foster + Partners. Image © Chuck Choi Infrastructure, "the urban glue that binds buildings together", is another aspect that architects need to work with, surpassing the expectations of simply creating single structures while also encompassing transportation and public space. This is a step in reviving the condition of traditional cities, which did not separate areas of living, working, and culture and created mixed-use environments instead of ghettoization.
 Spaceport America, Foster + Partners. Image © Nigel Young Furthermore, Foster argues that the only way to be able to enact such changes and advances in sustainability is through a revised interdisciplinary approach to design. Central to this is the architect's ability to advocate, share knowledge and collaborate with other fields, allowing other architects to build on prior work.
For all of Lord Foster's insights into the future of cities, check out the full interview above. News via: RIBA.
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| Posted: 08 Jul 2017 07:00 AM PDT  The Glass House. Image © <a href='https://www.flickr.com/photos/mbschlemmer/7468240258'>Flickr user mbschlemmer</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> When he was awarded the first ever Pritzker Architecture Prize in 1979, the jury described Philip Johnson (July 8, 1906 – January 25, 2005) as someone who "produced consistent and significant contributions to humanity and the environment," adding that "as a critic and historian, he championed the cause of modern architecture and then went on to design some of his greatest buildings." However, even after winning the Pritzker Prize at age 73, Johnson still had so much more of his legacy to build: in the years after 1979, Johnson almost completely redefined his style, adding another chapter to his influence over the architecture world.  © <a href='https://commons.wikimedia.org/wiki/File:Philip_Johnson.2002.FILARDO.jpg'>B. Pietro Filardo (Wikimedia user Bpfilardo)</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Born in Cleveland, Ohio, Johnson studied history and philosophy at Harvard University, however it was a series of trips to Europe that would have a greater impact on his life. In 1928, Johnson met Mies van der Rohe, and the young American became enthralled by the Modernist style. Johnson started his career not as an architect, but as a curator: in 1932, along with Henry-Russell Hitchcock, he curated the Modern Architecture: International Exhibition held at the Museum of Modern Art. With his coining of the "International Style" moniker, Johnson played a huge role in defining what we know as modernism today.  The Glass House. Image © <a href='https://www.flickr.com/photos/mbschlemmer/7468236748'>Flickr user mbschlemmer</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Johnson didn't start his own career as an architect until many years later, but when he did, his years observing the movement and his prominent position in the architecture community meant that he found success very quickly. In 1949 his Glass House drew significant attention, and was actually completed two years before van der Rohe's own experiment with an all-glass dwelling, the Farnsworth House—which Johnson had used as inspiration in his design. Johnson and Mies also maintained a close working relationship, with Johnson designing the interiors of van der Rohe's Seagram Building in New York, completed in 1950.  The Crystal Cathedral. Image Courtesy of American Seating Johnson went on to design a number of notable works alone including the Munson-Williams-Proctor Arts Institute (1960), the New York State Pavilion for the 1964-65 New York World's Fair, and both the 1953 Sculpture Garden and 1964 extension to New York's Museum of Modern Art. However it was in 1967, when he began collaborating with John Burgee, that he began his most productive period which included the spectacular Crystal Cathedral in Los Angeles (1980).  AT&T Building. Image © David Shankbone Shortly after Johnson was awarded the Pritzker Prize, however, the aesthetic style employed by him and Burgee took a dramatic turn: in 1984 he designed the iconic AT&T building in New York (today the Sony Building), a 197-meter tall Postmodernist skyscraper. The building became infamous for its ornamental style, and clearly showed Johnson's transition to the postmodern stable of architects which included Michael Graves and Robert Venturi. Though he officially retired in 1989, Johnson continued to influence designs, acting as a consultant to John Burgee, contributing perhaps most notably to the design of the Puerta de Europa in Madrid, two leaning towers that have become an icon of the Spanish capital.  From left: Andy Warhol, David Whitney, Philip Johnson, Dr. John Dalton, and Robert A. M. Stern in the Glass House in 1964. Image © David McCabe Though many architects might go through a number of stylistic periods in their career, Philip Johnson's free-wheeling and eclectic approach to design could be seen as something of an anomaly. His appreciation of—and ability to design in—a wide range of styles can be most notably seen at his estate in New Canaan, Connecticut, where the original glass house is surrounded by everything from a deconstructivist gatehouse to an 18th-century farmhouse. This has been explained by referring back to his early career: as much as Johnson was a prolific architect, he was also a curator and a collector, and his career might be seen as a collection of stylistic movements. In an article for T Magazine, architecture critic Alexandra Lange explains that his own home was "his supreme achievement in the art of not being boring. A living museum of American style, it's a monument to his endlessly inquisitive and acquisitive nature." See all of Philip Johnson's buildings featured on ArchDaily via the thumbnails below, and more coverage via the links below those. AD Classics: 1988 Deconstructivist Exhibition at New York's Museum of Modern Art (MoMA) The Trust Declares Philip Johnson's New York State Pavilion a "National Treasure" The Glass House: "Conversations in Context" Artist Fujiko Nakaya Shrouds Philip Johnson's Glass House in Fog How the Crystal Cathedral Is Adapting for a New Life Out of the Spotlight Inside Philip Johnson's Underappreciated Glass House in Manhattan References: Pritzker Prize, Wikipedia, T Magazine This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Jul 2017 06:00 AM PDT  © SLAphotostudio
 © SLAphotostudio From the architect. The project was born from a different and very peculiar interview: - "I would like that the house has music, feeling, wood, air, fire, water, light, path, search. And it was also an icon that represente something innovative. "- Developed from its conception by a group of professionals from different areas, the project and the work of House 01 was developed with sustainability premises, trying to prove that one can build in a Rational, minimizing environmental impacts, transforming an object of living into an example object of change of habits in the construction and the use of the residence.  © SLAphotostudio House 01, located in the Condominium Lagoa Dourada in Criciúma (SC), was the winner of the Saint-Gobain Prize for Architecture - Sustainable Habitat in the categories Featured Sustainability and Professional Residential Modality. This award is national, it’s in the 4th edition and aims to reward projects that present better solutions for the rational use of natural resources. Owned by clinical philosopher Beto Colombo and Albany Colombo, the architect Diego Espirito Santo is responsible for the project. Amanda Pamato de Souza (Luminotcnic project), the landscape architect Benedito Abbud, the engineer Mauro César Sônego and the interior architect Vânia Marroni Búrigo.  Site Plan The initial intention was to create a promenade architecturale, contemplating internal courtyards, large rooms, division between private and social areas, as well as promoting a visual contact with the exterior landscape. Another aspect taken into account was the integration between the environment and the interior of the residence, protecting the privacy of its residents through architectural strategies. During the design stage, several factors interfered in the decisions, such as the conditioners of the environment - where no tree was removed -, the needs program and technical aspects of compatibility with other designers.  © SLAphotostudio The horizontal frames and openings were responsible for many bioclimatic aspects, such as large areas of lighting and ventilation, besides being the main integrating elements of architecture with nature.  © SLAphotostudio The needs program on the ground floor includes garage, service suite, library, garden, cinema room, gym, restrooms, pool, living room, tasting room, laundry area, closet and sewing studio. In the technical subsoil are located the warehouse, studio, central control and energy and cisterns, along with the treatment of sewage and pumps.  © SLAphotostudio From the outset, Ecoefective solutions and materials were sought that were truly sustainable and healthy for both people and the environment. In order to achieve the objectives, intelligent solutions for water treatment were applied, reusing and treating 100% of the sewage generated by the residence on the ground. Another highlight of this project was the innovation with the use of titanium dioxide in the concrete that has the property of cleaning the air, eliminating the CO2 of 12 cars per day, because with the incidence of the ultraviolet rays in contact with the concrete walls of the house Causes it to release free radicals that break down pollutants by acting as a natural air purifier.  © SLAphotostudio  © SLAphotostudio In addition, House 01 also has several other aspects that have been designed, from its design, to reduce environmental impacts. They are: waste management plan, Integrated System Ecosewer that reuses water for irrigation of the land, use of photovoltaic panels and the need for air conditioning for cooling or heating of the residence because special attention has been given to cross ventilation, natural lighting, Solar orientation and use of Ecoroof - Medium Laminar System.  Section  Section In interior design, materials were used with technology aimed with sustainability throughout the interior of the house that was possible. Among them are the baseboards made of recycled material, fixed furniture made with reforestation wood, all the fabrics used were linen and cotton that are natural, the inner floor was made with treated wood, the bamboo was elected as the main wood of the house mainly Used in the internal doors, reuse of furniture that was already in use by the owners, accessibility of the house that was conceived with universal access, among others, that are part of the concept of sustainability.  © SLAphotostudio This posting includes an audio/video/photo media file: Download Now |
| RIBA Releases Statement Addressing Grenfell Fire Tragedy Posted: 08 Jul 2017 05:00 AM PDT .jpg?1499302315 "© Wikimedia User Stemoc (CC-BY-4.0)") © Wikimedia User Stemoc (CC-BY-4.0) The Royal Institute of British Architects (RIBA) has released an official statement on design for fire safety following the tragic Grenfell Tower fire on June 14. The causes and aftermath of the catastrophic fire, which ravaged 27 storeys of the council estate in the London borough of North Kensington are currently under investigation, with a team of 250+ working on operations including recovering and identifying victims (the death toll has risen to 80+) according to recent reports from the BBC and the Met Police. The aluminium-composite cladding Reynobond PE - identified as one of the main reasons for the fire's spread up the building's façade has sparked outrage over failed safety regulations and debate over the lack of responsibility behind the building's (and many others) construction overall. Further fire safety tests revealed the cladding to be present in up to 60 similar council estates with more being urged to submit samples for testing. For a quick summary, we've covered some key points from each of the 3 sections addressed RIBA's statement below: *What is Approved Document B? It's mentioned several times in the full text (added to the end of the article) and is the document outlining the official breakdown of fire safety regulations in the UK, covering both dwellings and larger buildings. RIBA refers to the need for this document to be revised and updated several times in their full statement, as well as drawing safety details from the document. (For reference you can find a copy of it here). Commentary on the regulatory and procurement context: There is a need for a full public inquiry with evidence taken under oath and a need for a comprehensive Approved Document B. Concerns raised by RIBA include: delays in the review of Approved Document B, especially the changing approaches to the design/constructions of external envelopes of buildings, the loss of responsibility from the architect/engineer in overseeing the design and materials in construction (giving it to contractors/sub-contractors), and the disappearance of on-site work for architects who oversee construction and workmanship. The Regulatory Reform (Fire Safety) Order 2005 is also a point of concern, affecting legislation and oversight from local fire authorities. Guidance to RIBA members on fire safety following the fire at Grenfell Tower: This section outlines key documents to consult for fire safety in buildings: Approved Documents B Vol. 1 (Dwellinghouses) and Vol. 2 (Buildings other than Dwellinghouses) as well as further resources to consult for architects, designers, and RIBA members. In particular, the design for external walls for fire safety is specified, highlighting guidelines covering the importance of external walls. Fire compartmentation (containing a fire by protecting shafts, stairs etc) is crucial to overall fire safety. The role of sprinkler systems in reducing the risk of building inhabitants is also recognized in Approved Document B, with a need for checking and enforcing all of the mentioned strategies in construction. Aluminum Composite Material (ACM) is flagged as a key material to identify and submit samples for in buildings (whether the right cladding has been used). Letters have been issued to all housing authorities/association chief executives, owners, landlords, and managers of private residential blocks in England to conduct urgent safety checks in the wake of the Grenfell Fire. The Department for Communities and Local Government (DCLG) is offering private owners safety tests on cladding for buildings over 18m high, with resources and letters attached to the statement. Recommendations for the Government from RIBA Call for a public inquiry, with technical and expert support from RIBA. In parallel, a formal review of Approved Document B, especially considering the mandate for sprinkler systems in all new schools (reference to BB 100 document, detailed in full text below). Read on for the original statement from RIBA below:
RIBA Statement on Design for Fire Safety - Update 5 July 2017 Following the devastating and tragic fire at Grenfell Tower, the RIBA called for the immediate commencement of the delayed formal review of Building Regulations Approved Document B; a review recommended by the Coroner after the inquest into the deaths resulting from the 2009 fire at Lakanal House. The results emerging from the current DCLG testing program, prompted by the Grenfell Tower fire, demonstrate more than ever an urgent need to investigate the efficacy and usability of the current version of Approved Document B and related standards, as well as the building control compliance and enforcement regimes. The RIBA believes that the review of Approved Document B must be a comprehensive, transparent and fundamental reappraisal, rather than amendment or clarification, and should begin without delay to remove uncertainty, provide clarity and protect public safety. RIBA Statement on Design for Fire Safety Originally published 22 June 2017. Starting in the early hours of 14 June 2017 a devastating fire at Grenfell Tower in Kensington, London caused a significant number of fatalities. This document supplements statements made by the RIBA in the immediate aftermath of the tragedy and provides three new contributions:
Commentary on the regulatory and procurement context Understandably there has been a lot of media speculation about the causes of the Grenfell Tower fire and the reasons for the huge loss of life, and a desire to seek answers as quickly as possible. The relevant authorities, including the police, will inevitably require some time to complete their investigations and the public inquiry will provide an opportunity for the fullest possible examination. This should be a full public inquiry, with evidence taken under oath and the inquiry able to order witnesses to attend by summons. However, for a number of years concerns have been raised by RIBA members and other experts about aspects of the regulatory and procurement regime for buildings in the UK. These include:
The RIBA believes that future proposals for the fire safety regulatory regime should be informed by the specialist fire safety expertise of relevant professional organisations and groups, such as the Building Research Establishment, the Fire Protection Association, the Fire Safety Federation, the Institute of Fire Engineers, the Association of Specialist Fire Protection and the All Party Parliamentary Fire and Rescue Group, and also take full account of this wider set of construction industry regulatory, practice and process issues. Guidance to RIBA members on fire safety following the fire at Grenfell Tower Requirements for fire safety are set out in Approved Documents B Vol.1 (Dwellinghouses) and B Vol.2 (Buildings other than Dwellinghouses) of the Building Regulations as appropriate, including means of warning and escape, internal fire spread and compartmentation, external fire spread and access for fire and rescue equipment. For larger, more complex buildings, designs may alternatively conform to BS 9991 Code of Practice for Fire Safety in the Design, Management and Use of Residential Buildings and BS 9999 Code of Practice for Fire Safety in the Design, Management and Use of Buildings. The fire safety options set out in the Approved Documents for compliance with Part B requirements are minimum acceptable solutions. Section 12 of Approved Document B Vol. 2 covers the design of external walls for fire safety and includes specific requirements for tall buildings, above 18m. External walls are elements of structure and must meet the relevant period of fire resistance. Section 12 also includes requirements to ensure that the external envelope of the building does not provide a medium for fire spread that is likely to be a risk to health or safety. It sets out requirements for external surfaces, insulation and cavity barriers and the test standards that products and components must meet, as well as the alternative method of demonstrating that the complete proposed external cladding system has been assessed according to the acceptance criteria in BRE report BR 135"Fire performance of external thermal insulation for walls of multi-storey buildings" for cladding systems using full-scale test data from BS 8418-1:2002 or BS 8414‐2:2005. In blocks of flats, effective fire compartmentation is crucial to overall fire safety. Requirements for compartment floors, compartment walls and protected shafts (for stairs, lifts, chutes, ducts, and pipes) are set out in Section 8 of Approved Document B Vol. 2. Particular care is needed when undertaking works to existing blocks of flats to ensure that compartmentation is maintained. The role of sprinkler systems in reducing the risk to life is recognized in Approved Document B Vol 2. Even when sprinkler systems are not required in the Approved Document, we recommend that clients consider the benefits of installing sprinkler systems as an additional means of providing life safety. This may be particularly relevant in projects which involve material alterations to existing buildings, where the overall building as a whole may not comply fully with all aspects of the current Approved Document B Vol. 2. The Department for Communities and Local Government (DCLG) issued letters, to all local authority chief executives and housing association chief executives, on 18 June 2017, and to owners, landlords and managers of private residential blocks in England, on 20 June 2017, communicating that in the aftermath of the tragic events at Grenfell Tower, owners and managers of residential tower blocks need to urgently carry out fire safety checks to ensure that appropriate safety and response measures are in place. In particular, it is important to identify whether any high-rise buildings incorporate panels of Aluminium Composite Material (ACM) and if so that the right type of ACM cladding has been used. Annex A to this letter states that "On buildings with a floor over 18m above ground level, where ACM panels are identified, it is necessary to establish whether the panels are of a type that complies with the Building Regulations guidance, i.e. the core material should be a material of limited combustibility or class A2. A footnote clarifies: 'Material of limited combustibility as described in Table A7 of Approved Document B (Vol 2); Class A2-s3, d2 or better in accordance with BS EN 13501-1'. Local authorities and housing associations have been asked to check residential blocks over 18m in height to identify whether they have ACM panels and to submit small samples of the panels for laboratory testing to ensure that they are of limited combustibility. The letter from DCLG to local authorities and housing associations is available from: https://www.gov.uk/government/publications/safety-checks-following-the-grenfell-tower-fire DCLG is also offering private owners of residential buildings an opportunity to test cladding on blocks over 18 meters high through arrangements put in place with the Building Research Establishment (BRE). These checks will be paid for by DCLG, and the information will be available to DCLG from BRE. Where building owners and managers consider they may have concerns about cladding on buildings over 18 meters high, they should follow the process defined in the letter from DCLG available from: https://www.gov.uk/government/publications/safety-checks-on-private-residential-blocks Recommendations to the Government The RIBA called for a public inquiry in the immediate aftermath of this tragedy and will be calling on our members to provide technical and expert evidence to it. We wish to stress that this should be a full public inquiry, with evidence taken under oath and the inquiry able to order witnesses to attend by summons. The public inquiry is likely to take some significant time. It would be irresponsible for the RIBA to speculate at this stage about the cause and spread of the Grenfell Tower fire and the reasons for the shocking and distressing level of loss of life. However, the RIBA believes that certain actions should be commenced in parallel with the public inquiry process. In particular, we urge the Government to:
(The design of fire safety in schools is covered by BB 100. Approved Document B states that schools will typically satisfy Part B of the Building Regulations where the life safety guidance in BB 100 is followed. A final draft consultation document for a new version of BB 100 proposed that it will no longer include an expectation that all new schools will have sprinkler systems fitted. We note that the All Party Parliamentary Fire and Rescue Group raised serious concern about both this proposed change and also the inclusion in the current version of BB 100 of alternative approaches that avoid the need for sprinkler systems.) Further information The RIBA is actively monitoring the issues raised by the tragic fire at Grenfell Tower and will update members on any important developments. RIBA members with information or concerns should contact our members' information line on 020 7307 3600 or their RIBA regional team. News via: RIBA.
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| This Video Presents an Abstract Reflection on Our Modern Cities of Glass Posted: 08 Jul 2017 02:30 AM PDT In this visual essay, Greek filmmaker Yiannis Biliris documents the all-pervasive pall of glass that covers the modern city. The three-and-a-half-minute-long film, produced by Visual Suspect and shot entirely in Hong Kong, captures the vivid reflections seen in the facades of the city's buildings, as Biliris selectively pans and zooms his camera to instill a strong sense of urgency in the viewer's mind. The essay, beautifully haunting in its imagery, might be seen as a reflective commentary on the state of our built environment today. Inspired by Albert Einstein's general theory of relativity, which states that mass causes a distortion in space and time, it seems to subtly ask if our understanding of reality is warped itself. Describing the video as "a visual essay about perception and knowledge as [a] reflection of our reality," Biliris comments that "mass curves space and time, while the observer has his own perspective." Why do we continue to shroud our buildings in glass veneers when we're aware of the horrifying environmental impacts of our actions? Why do we still routinely talk about glass structures as transparent and freeing when glass more typically, as shown in the video, reflects and distorts, inhibiting our true appreciation of space? Following a striking image of a lone tree in a sterile plaza, the film ends in the framing of a host of people on a city sidewalk. As their reflections ripple off the window-panes of a moving bus, these people represent the primacy of human experience as the more important consideration in the design of our cities. TED Talk: Justin Davidson on the Pitfalls of Glass Skylines This posting includes an audio/video/photo media file: Download Now |
| Emiel Claus / Perneel Osten Architecten Posted: 08 Jul 2017 02:00 AM PDT  © Arnout Fonck
 © Arnout Fonck From the architect. PERNEEL OSTEN ARCHITECTEN rethinks an existing house overlooking the river Leie and the surrounding landscape. The original closed volumes are opened-up and extended into one clearly organised plan. The building interacts with the beauty of its surroundings and redefines its unique context: new exterior gardens with their own atmosphere and orientation are linked with the interior through carefully constructed vistas and circulation routes throughout the house.  Courtesy of Perneel Osten Architecten  Courtesy of Perneel Osten Architecten  © Corneel Cannaerts A meandering timber roof supported by three concrete chimneys connects old and new, interior and exterior. The roof structure is visible throughout the house and unfolds from the entrance area where you can almost touch the structure all the way to the ridge above the bedrooms. The careful selection of materials, the extensive detailing and craftsmanship all strengthen the quality of the spaces.  © Arnout Fonck  Ground Floor Plan  © Arnout Fonck This posting includes an audio/video/photo media file: Download Now |
| 9 Weird and Wonderful Architectural "Ducks" Posted: 08 Jul 2017 01:00 AM PDT  Collage based on a photograph of Robert Venturi. Original photograph © Denise Scott Brown They exist for a reason. Coined by Robert Venturi and Denise Scott Brown in Learning from Las Vegas, "Ducks" are buildings that project their meaning in a literal way [1]. No architectural metaphors here - they are exactly what they look like. Many emerged alongside interstate highways, a lone doughnut or dinosaur punctuating the road trip across America. Places like Las Vegas and Macau have built their identity in the kitsch and literal language of architecture – with the duck a strong contributor. Though they get relegated to one of the weird forays of the postmodern era, ducks still make current-day appearances (like the Chicago Apple Store's recent Macbook roof). Are they fun, kitschy, or just plain ugly? Love them or hate them, ducks have a light-hearted presence in our architectural history. Below are 9 weird and wonderful examples of buildings that make no apologies for being exactly what they are: 1. Big Duck / Long Island New York, USA Image <a href='https://commons.wikimedia.org/wiki/File:The_Big_Duck.JPG'>via Wikimedia</a> (public domain) The one that started it all, Robert Venturi coined the architectural term "duck" from this precedent in his 1972 book Learning from Las Vegas. Built in 1931 by duck farmer Martin Mauer, the structure was designed to sell (you guessed it) ducks and eggs, with its unusual shape and prime location attracting many customers. Initially built along a busy street in Riverhead NY, the duck enjoyed a nomadic life moving several times before settling 6km down to the small town of Flanders, Modelled after a Pekin duck, the roly-poly proportioned building was built almost entirely from wire mesh and concrete to make room for a gift store. Apart from being immortalized through Venturi's writing, the Big Duck made architectural history by landing a spot on the USA's National Register of Historic Places in 2008. 2. Mr. Toilet House / Suwon, South Korea Image <a href='http://news.wef.org/next-stop-mr-toilet-house/'>via wef.org</a> The two-story, 420 square meter house was originally built in 2007 for Sim Jae-Duck (fittingly named), former congressman and mayor of the Suwon province of South Korea. Nicknamed "Mr. Toilet" for his career-defining pursuit, Sim was devoted to improving the state of restrooms in the country. "The toilet is also a central living place that possesses culture," he said at an assembly. The house is a literal monument to Sim's eccentric quest of beautifying the restroom – with stairways following the movement of pipes and a painted steel exterior alluding to the white ceramics used in toilets. After Sim's death in 2009, the private home was transformed into a toilet museum, with exhibitions, collections, and activities dedicated to funding public bathrooms in developing countries. Looking for the restroom? The building has four – one even featuring floor-to-ceiling glass that turns opaque at the push of a button. 3. Haines Shoe House / Hallam Pennsylvania, USA Image <a href='http://visitpadutchcountry.com/photos-haines-shoe-house-york-pa/'>via visitpadutchcountry.com</a> Shoe salesman Mahlon Haines reportedly approached the building's architect with a boot and said: "build me a house like this". The Shoe House was born; built by as a form of advertising for Haines' business in 1948. The 25 foot-tall building is 5 stories high, with upper floors previously rented out to couples and now hosts building tours. The house is planned with its living room at the toe, the kitchen at the heel and living quarters running up the ankle of the boot. An ice-cream shop is also located in the shoe's instep. 4. Dog Bark Park Inn / Idaho, USA © <a href='https://commons.wikimedia.org/wiki/File:Toby_and_Sweet_Willie_Dog_Bark_Park_Inn.JPG'>Wikimedia user Graystock</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> The two-bedroom B&B was designed and built by artists Dennis Sullivan & Frances Conklin, opening in 2003 as the world's largest beagle-shaped building. With a canine-themed interior, the building is a quirky addition to America's "roadside architecture" – popular in the early days of automobile vacation trips that formed a deep-rooted part of America's culture (Many of these overlaps with the postmodern "ducks" that Venturi mentions). The beagle building gets quirkier, also hosting a museum for chainsaw artists (think painted timber sculptures of different dogs). 5. The Museum of Tea Culture / Meitan, China Image <a href='http://skyrisecities.com/news/2016/06/4-global-museums-novel-architecture'>via skyrisecities.com</a> Officially the erected as the world's largest teapot in 2010, the museum rises to a height of 78 meters with a diameter that stretches as wide as 24 meters. A building entirely devoted to teapots, the 5,000-plus square foot museum is one of the most "duck-like" buildings both in design and program, taking literally to the next level. Meitan possesses a rich history surrounding tea - known as the hometown of Chinese green tea. With China deciding to steer away from "weird buildings" we're glad to see this quirky addition make it in time. 6. Chiat/Day Building by Frank Gehry / Venice, California, USA © <a href='https://www.flickr.com/photos/ikkoskinen/352579207'>Flickr user ikkoskinen</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Not deconstructivist, but still curvy – this is definitely one of the architect's weirder works. Frank Gehry designed these binoculars as an entrance to his more Gehry-like Chiat/Day commercial building (behind) in 2001. The postmodern-style building is known for its unusual mishmash of different architectural styles and materials. Ten years later, Google announced they would be leasing the building as part of their Los Angeles expansion – the binoculars now serving as an entryway to their Venice offices. 7. Kindergarten Wolfartsweier / Karlsluhe, Germany Image <a href='https://www.karlsruhe.de/b4/stadtteile/bergdoerfer/wolfartsweier/leben_wolfartsweier.de'>via karlsruhe.de</a> Designed and built in 2011 by artist Tomi Ungerer and architect Ayla Suzan Yöndel, this adorable kindergarten goes beyond metaphor in its details. Clad in concrete and metal, the two-floor building allows natural light to flood inside through its round window "eyes". Though the idea of entering through the mouth of a giant cat and having class in its belly sounds creepy - an endearing façade, green "fur" roof and tail-shaped slide ensure the building stays true to its playful spirit. 8. Cabazon Dinosaurs / California, USA Image <a href='https://commons.wikimedia.org/wiki/File:Cabazon-Dinosaurs-2.jpg'>via Wikimedia</a> taken by Wikimedia user Jllm06 (public domain) Started in the 1960s, the giant dinosaurs were intended as roadside attractions by the sculptor Claude K. Bell (see 4) to attract customers to his Wheel Inn Restaurant (now closed). The first - named "Dinny" was built over a period of 11 years by 1975, with "Mr-Rex" added later in 1981. Bell created Dinny out of salvaged material from the neighboring highway: with a steel framework and an expanded metal grid forming its shape, before being covered in coats of "shotcerete" spray concrete. A wooly mammoth was also intended to be built but was never realized. After Bell's death in 1988, the property was sold and is now used to host a creationist museum and gift shop. 9. Longaberger Building Headquarters / Newark, USA © <a href='https://commons.wikimedia.org/wiki/File:The_Basket_Factory_Longaberger.JPG'>Wikimedia user Barry haynes</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Along with the Big Duck, the Longaberger basket building is a fixture in novelty architecture. Built as the literal embodiment of the company's best-selling product, the 180,000 square foot building opened in 1997. The company's founder Dave Longaberger had originally wanted all companies to follow a basket-like form, but only the headquarters was completed prior to his death. Nowadays has been tragically left unoccupied, with Longaberger ceasing to pay property taxes for the property in 2014. Sadly the famed basket has been left empty and languishing on the property market, with no potential buyers. A long and complicated foreclosure process is underway but so far the building is still left standing as a relic to those who still wish to pay a visit. [1] Frederick, Matthew "101 Things I Learned in Architecture School"
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